Phonograph Monthly Review, Vol. 3, No. 1 (1928-10)

28 The Phonograph Monthly Review October,. 1928 is a reading for every taste, and several for the tasteless. And now Weingartner, in his first recorded appearance in over a year and a half, adds another performance to the list, as different from the rest as they are from each other. Weingartner comes very close to achieving the most successful Blue Danube of all, particularly in the introduc- tion and the last pages. But in the main body of the waltz he fails, strive as he may. His reading is logically conceived, but there is a sense of too much effort in the execution. The flexibility, the dynamic poise, the sensuous- ness of the perfect waltz escape him. For all that, his record is a pleasure to hear,—one of many admirable virtues. The recording is very clear and pure; the per- formance straightforward and crisp. Despite its short- comings I prefer this performance to all the others with the exception of Dr. Blech’s (issued in the Victor Ger- man list.) Victor (International list) 59019 (D12, $1.25) Gluck-Mottl: Ballet Suite; played by Leo Blech and the Berlin State Opera House Orchestra. Felix Motti’s delightful arrangements are well-known in the concert hall. Both this and the second Gluck ballet suite are excellent material for the phonograph. Unfor- tunately this disk is very disappointing due to the inferior quality of the recording—a rare fault in these days! Both strings and wood winds are given an extremely shrill and unpleasant tonal “edge” that effectually prevents any whole- hearted enjoyment of the music itself. Dr. Blech’s read- ing seems rather perfunctory, although the. nature of the recording makes it difficult to estimate his performance accurately. It is a pity that such lovely, unspoiled music should be given inadequate representation; surely the Sec- ond Ballet Suite will fare better when it is made available for the phonograph. Victor (International list) 59017 (D12, $1.25) Dukas: Ariane and Blue Beard—Preludes to Acts 2 and 3, played by Piero Coppola and the Continental Symphony Orchestra. A welcome re-pressing from the current French H. M. V. lists, although neither of these preludes is. as impressive a tribute to Dukas as the records of La Peri, also conducted by Coppola. The performances are masterly, as one has come to expect from this conductor, and the recording is excellent. A worthy addition to the rapidly growing lists of recorded contemporary French music. (The “Con- tinental” Symphony is apparently merely an American alias for the “Gramophone” Symphony—house orchestra of the French H. M. V.—to which the French pressing of the work is credited) Victor 21597 (DIO, 75c) Flotow: Stradella—Overture, played by Rosario Bourdon and the Victor Symphony Or- chestra. Bourdon is simply incomparable in recorded versions of the standard concert overtures! This Stradella is easily one of the very best disks in his series, a performance that is virtually astounding in its directness and masterly effec- tiveness. Such a reading could be heard in concert per- haps once in a lifetime; usually one is given sloppy, half- hearted or incompetent performances that merely suc- ceed in spoiling these fine old war-horses. Bourdon is doing a splendid work in restoring their vitality and freshness, and in demonstrating that so-called light music need not be taken lightly; played with spirit and care it is worth the attention of every one, no matter how “seri- ous” his tastes may be. At 75c this disk is a piece of first rate orchestral playing and recording that no one should miss. French H. M. V. L-644-5 (2 D12s) Massenet: Scenes Pittoresques—Air de Ballet, Marche, Angelus, and Fete Boheme, played by Piero Coppola and the Gramophone Symphony Orchestra. (Imported through the H. Royer Smith Company, Philadelphia.) As a none too appreciative listener I approached these disks expecting something very much in the nature of the usual popular concert performance of what is exceedingly thin and banal music. I was agreeably surprised, as Coppola’s name should have warned me. He shares many of Bourdon’s talents with light music, and indeed this forceful performance could hardly be surpassed, by the Victor conductor himself. The recording is brilliant, but a trifle harsh. The performance is one of true virtuosity. It is a pity the music itself is not better worth the effects expended on it! Odeon 5147-9 (3 D12s, Alb., $4.50) Liszt: Piano Concerto No. 2, in A minor, played by Professor Josef Pembauer and an orchestra under the direction of Dr. Weissmann. The Okeh Corporation is to be congratulated on pressing this Parlophone work so promptly under the American Odeon label. This is the first time Liszt’s Second Piano Concerto has been recorded, although it appears frequently on symphony programs and by right should have been available on records long ago. Fortunately the delay re- sulted in the work’s receiving the benefits of present day skill with the difficult problems of recording the piano and orchestra — always a difficult combination. The orchestra is small and Dr. Weissmann brings out the solo wind and string passages with delicate emphasis. The general quality of the recording is on the quiet side, with, however, surpris- ing power in the fortissimos. The louder passages suffer somewhat from excess “roar” and a lack of perfect definition, but not to any serious extent. Professor Pembauer reads the work in a romantic, warm- colored, not-too-animated style, savoring to the full its luscious sweetness. One gets the impression of a more elaborate but nevertheless characteristic Liebestraum from the melting “motto” progression which opens the principal theme and which runs ubiquitously throughout the entire work. The piano records well, despite Pembauer’s some- times rather dry touch. The balance of the ensemble is good throughout. A work which has long been missing from the lists of re- corded concertos and one that is given here in pleasant and competent fashion. Not a work for frenzied admiration, but one that is sure to give warm pleasure to all but those inherently adverse to gentle sentiment in their music. Parlophone 0-6571 (D12 Korngold: Uas Wunder der Heliane—Vorspiel played by Dr. Weissmann and the Grosses Symphonische Orchester. (Imported through The Gramophone Shop, New York City.) Isn’t this the first orchestral work of Korngold to be recorded? Jeritza’s record of the Lute Song from Die Tote Stadt has long been deservedly admired. Weissmann plays this Prelude beautifully, at least to the ears of one un- familiar with the music. The orchestra and recording are particularly good, about the best I have heard from Parlo- phone recently. The composition itself is Straussian, some- what turgid, but decidedly interesting. Korngold has an innate orchestral sense; here his powers of construction are less flaccid than in some of the rare examples of his work to be heard in American concert halls. English Columbia 9375-6 (2 D12s) Strauss: Till Eulenspiegel’s Merry Pranks, played by Desire Dufauw and the Orchestra of the Brussels Royal Conservatoire. (Imported through The Gramophone Shop, New York City. French Columbia pressings of the same work were im- ported through the H. Royer Smith Company, Philadel- phia.) This is an impressive piece of orchestral playing and recording, although in some of the big moments of the piece the latter is not too clear or tonally pure. It is very realistic, however, and leads one to anticipate future releases by M. Defauw and his excellent band. The read- ing does not strike one as particularly felicitous on first hearing, as Dufauw is quite innocent of the Teutonic geniality and sentiment which we commonly associate with this true masterpiece of humor. He is by no means lacking in Gallic wit, however, nor a certain intensity and force- fulness which give us a very sardonic and passionate Till. The reading lacks impishness and a sense of the dramatic, yet it has a splendid sweep, overshadowed with a sense of fatalism. Till as a fatalist is rather a surprise, and not altogether to one’s taste. But the records are to be en- joyed and admired. They give evidence of a new and significant talent among present recording conductors. Strauss was not Dufauw’s happiest choice, but there is ample evidence of the success he is sure to have with more suitable selections. Odeon 3224 (D12, $1.00) Ketelbey: In a Persian Market and In a Monastery Garden, played by the Odeon Orchestra. This Ketelbey disk is now in the $1.00 classification and there is no difference in price between the Odeon and Columbia pressings, as was erroneously stated in the re- view of the latter in the last issue.