Phonograph Monthly Review, Vol. 3, No. 6 (1929-03)

March, 1929 The Phonograph Monthly Review 183 tists of the calibre of Leon Goossens, Aubrey Brain, and Walter Gieseking. None of the works has as yet been actually released. On this month’s British Brunswick list are also a piano record by Brailowsky (Chopin’s Nocturne in E flat and Waltz in A flat), and an operatic disk by Alfred Piccaver (arias from II Trovatore and La Forza del Destino). There are three album sets from English Col- umbia: Mozart’s Piano Concerto in G, No. 17 (K. 453), played by Ernst Dohnanyi conducting the Budapest Philharmonic from the piano; Mo- zart’s Symphony No. 34 in C (K. 338), played by Sir Thomas Beecham and the Royal Philhar- monic (this is the symphony he played on his American tour last year) ; and a set of Chopin Nocturnes played by Godowsky, with an intro- ductory record by Ernest Newman. Arbos, con- ductor of the Madrid Symphony Orchestra (re- cently heard in this country with the New York and Boston Symphonies) makes his recording de- but with his own orchestra in three pieces from Albeniz’s Iberia suite (orchestrated by Arbos) and Granado’s Spanish Dance No. 6. For novelty there is a speech by King George at the opening ceremony of the Tyne Bridge, and a New Year’s Eve recording made outside St. Paul’s Cathedral. Sir Dan Godfrey conducts the Zampa Overture, William Murdoch plays Rachmaninoff’s G sharp minor Prelude and Debussy’s Minstrels, Ignaz Friedman plays Rubinstein’s Romance in E flat and Schubert’s Hark Hark the Lark, Gilbert Cre- pax (’cellist) plays Feure’s Apres un reve and Bach’s Air for the G string, the Paris Opera Company is heard in the Prologue and Polonaise from Boris Godounov, Mile. Feraldy sings arias from Manon, Bella Baillie sings a two-part ver- sion of Schubert’s Shepherd on the Rock, and Rex Palmer sings arias from Elijah. There is also a set of five records of Lehmann’s In a Per- sian Garden, sung by Labette, Brunskill, Eisdell, and Williams. On the Parlophone list is Dr. Morike’s re-re- corded version of Die Moldau, the ballet music from Manon played by Cloez and the Paris Opera- Comique orchestra, the Caliph of Bagdad Over- ture played by Manfred Gurlitt and the Grand Symphony Orchestra, and the Schubert-Berte Lilac Time Selection by Dajos Bella’s Orchestra. Prof. Pembaur is heard in a four-part version of Liszt’s Mephisto Waltz (piano solo) ; Meta Seine- meyer sings arias from Acts 1 and 2 of Madame Butterfly: Cernay, Lebard, and Fenoyer, acom- panied by Cloez and the Opera-Comique Orches- tra, are heard in the Card Scene from Carmen; Costa Milona sings arias from Werther and Un Ballo in Maschera; and the La Scala Chorus sings Vittoria’s Tantum Ergo and Palestrina’s Tene- brae Factae Sunt. In the Parlophone-Odeon series Pierne and the Concerts Colonne Orchestra play a movement from Berlioz’ Symphonie Fantas- tique: Conchita Supervia sings a two-part version of Rossini’s Una voce poco fa: Lotte Lehmann sings the Bach-Gounod Ave Maria and Handel’s Largo; and Nessi, Venturini, and Baracchi com- bine forces with La Scala Orchestra and Chorus in the Oragano and Brindisi from Otello. For once there are no album sets in the H. M. V. list. The largest work is Haydn’s ’Cello Con- certo in D. played by Guilhermina Suggia and a Symphony Orchestra under John Barbirolli. Passing over the many re-pressings from this country, there are disks by Cyril Scott, playing his own Danse Negre, Rainbow Trout, Lotus Land, and Souvenir de Vienne; Coates conduct- ing the London Symphony Orchestra in two ex- cerpts from the Fire Bird (The Princesses play with the Golden Apples, and Infernal Dance) ; Lauri Kennedy plays ’cello arrangements of Brahms’ Cradle Song, Dvorak’s Songs My Mother Taught Me, and Popper’s Hungarian Rhapsody; Samuel Dushkin makes his phono- graphic debut in a coupling of his own arrange- ments of Albeniz’ Jota Aragonesa and Tango; Paul Whiteman is heard in a Caprice Futuristic and High Water not yet released in this country; and the Virtuoso Quartet plays the first of Frank Bridge’s Three Idylls for String Quartet. Among the vocals are: Duparc’s Chanson Triste and Faure’s Clair de Lune sung by M. Panzera; Weep- in’ Mary, I Want to be Ready, and My Lord What a Mornin’ by Paul Robeson; Schubert’s Cradle Song and Faith in Spring by Elsie Sud- daby; Shaw’s Cargoes and Bantock’s Captain Harry Morgan by Peter Dawson; arias from Boheme and Dinorah by Mavis Bennett; arias from Lohengrin by Lauritz Melchior (accom- panied by Dr. Blech and the Berlin State Opera House Orchestra) ; and arias from Otello and Un Ballo in Maschera by Apollo Granforte. The National Gramophonic Society announces the release of Mozart’s Quintet for Wind Instru- ments, a work long missing from the recorded repertory. In Germany the German H. M. V. issues a two- part version of Wie lieblich sind deine Wohnun- gen from Brahms’ Requiem, sung by the Berl- liner Singakademie chorus under Prof. Georg Schumann, also a series of new releases by Blech and the Berlin State Opera House Orches- tra: Euryanthe Overture, Dvorak’s Slavonic Dances (unspecified), Liszt’s Second Polonaise, The Entrance of the Gods into Valhalla, and the Preludes to La Traviata and Un Balia in Maschera. All are in two parts except the last two, which are in one part each. Viebig and the Berlin State Opera House Orchestra play a two- part fantasy on D’Albert’s “Tiefland.” Claudio Arrau plays Busoni’s Kammerfantasie on Car- men, and Ivar Andresen sings two arias from the Magic Flute. In France Parlophone release Klemperer’s ver- sion of Brahms’ First Symphony. The French H. M. V. issues Coppola’s Burlesque and Ronde Sous la Cloche, conducted by the composer; Espana played by the Gramophone Symphony Or- chestra; and Wotan’s Farewell sung by Journet (four parts) ; Polydor issues Fingal’s Cave, Iphigenie, and the Flying Dutchman Overtures played by the Berlin Philharmonic, and a piano record of Prokofieff’s March from the Love for Three Oranges, Moussorgsky’s Gopak, and Rach- maninoff’s Barcarolle, played by de Valmalette. In the French Odeon lists are the Nin-Kochansky