Phonograph Monthly Review, Vol. 3, No. 8 (1929-05)

May, 1929 The Phonograph Monthly Review 255 ton Witek, Strawinski's Fire Bird Suite (complete in eight record sides) conducted by the composer, Weber's Invitation to the Dance played by Wein- gartner and the Basle Symphony Orchestra, de Falla's Three Cornered Hat dances played by Arbos and the Madrid Symphony Orchestra, and Mayerl's Sennen Cove played by the Composer and the Court Symphony Orchestra. There is a long chamber music list, drawn largely from French Columbia recordings, and including Beeth- oven's Quartet in A minor, Op. 132, by the Capet Quartet; Pierne's Sonata da Camera with the com- poser a pianist, assisted by MM. Moyse (flute) and Lopez ('Cello) ; Saint-Saens Septet Op. 65, for string quintet, and piano; Mozart's Clarinet Quintet in A played by Draper and the Lener Quartet; Mozart's in B flat and Haydn's in D played by the Lenor Quartet. Stainer's Crucifix- ion is recorded complete in six records under the direction of Stanford Robinson, Rene Benedetti plays four pieces from the de Falla-Kochanski Suite Populaire Espagnole, Tertis plays his own arrangements of Schubert's Du bist die Ruh' and a Bach Adagio, a group of La Scala artists sings excerpts from La Gioconda, Mile. Feraldy sings arias from Lakme, Muriel Brunskill sings. Har- ty's Sea Wreck and Liszt's King in Thule, Fried- man plays Chopin's Berceuse and a Suk minuet, Nazareno de Angelis sings arias from Faust and Mefistofele, Gill Marchex plays Debussy's Golli- wogg's Cake-Walk and Couperin's The Flowering Ribbon, Borgiolio sings the Pagliacci Prologue, the Weiner Schubertbund (male chorus) sings Schubert's Die Nacht and Der Tanz, Bell Baillie sings a two-part aria (Let the Bright Seraphim) from Samson et Delilah, and Beaujon, Bourdon and chorus give a two-part version of the Church Scene from Faust. From the Parlophone Company comes Haydn's Toy Symphony conducted by Weissmann, followed by the Second Hungarian Rhapsody played by Szreter and the Berlin State Opera House Orches- tra under WeFssmann, Saint-Saens' March Hero- i'que by the Opera-Comique Orchestra under Cloez, and harpsichord solos bv Alice Ehlers—the first movement of Bach's Italian Concerto and the sec- ond movement of the fifth Brandenburg Concerto —the latter with string orchestra, flute, and vio- lin. For vocals there are; two choruses from Bach's Mass in B minor (Sanctus; Et Incarnatus est) by the St. William's Choir of Strasbourg, Isol- de’s Liebestod sung by Meta Seinemeyer coupled with King Mark's Tatest du's wirklich? sung by Andresen, arias from the Barber of Seville and Mefistofele sung by Augusto Garavello, and two Resenkavalier records—one devoted to the Pres- entation of the Rose (Act II) and the other to the final duet, both are sung by Conchita Supervia and Ines Ferraris. In France there is a release of the first record- ing of Strawinski's Fireworks, played by Pierne and the Concerts Colonne Orchestra (Odeon). Al- so a three-part Freishiitz Overture by Cloez for French Odeon, two Hansel und Gretel disks play- ed by Oskar Fried and the Berlin Philharmonic for Polydor, Scheherazade by Fried and the Berlin Philharmonic for Polydor, Debussy’s Petite Suite by Ingelbrecht and the Concerts Pasdeloup Or- chestra for French Odeon, the Rosamunde Over- ture by Max Tak and Symphony Orchestra for Pathe-Art, Mozart's G minor Symphony conduct- ed by Richard Strauss for Polydor, Faure's Bal- lade for piano and orchestra played by Magda Tagliaferro and symphony orchestra under Cop- pola for French H. M. V., Henriette Renie's Harp Concerto played by the composer for French Odeon, Ravel's Chanson HebraVque and Kaddish sung by Panzera (French H. M. V.), three more of de Falla's Chanson populaires espagnoles sung by Dolores de Silvera (French Columbia), and a series of new records by Leo Slezak for Polydor, including Strauss' Traum durch die Dammerung and Freundliche Vision, Wolf's Verborgenheit and Verschweigene Liebe, Brahm's Feldeinsamkeit and Schubert's Du bist die Ruh’. Among the new German works are the Flying Dutchman Overture conducted by Richard Strauss and Brahm's Academic Festival Overture conduct- ed by Julius Priiwer, and four records of Freis- chiitz excerpts (Polydor). Homocord lists Mendel- ssohn's Overture, Fingals's Cave conducted by Fritz Zweig, and the Rosenkavalier Waltzes con- ducted by Felix Gunther. I should like to call my readers' particular at- tention to the self-explanatory letters from Messrs. George C. Jell and Henry S. Gerstle printed in this month's Correspondence Column. The first double-sided records seem to be a very debatable subject, not unlike the famous ques- tion, “Who won the war?" or “Who discovered America ?" I am very glad to announce that this month's album sets from the Victor Company are avail- able in pressings for both ordinary and auto- matic instruments. The practice of pressing them for automatics alone was very inconvenient for most record buyers, but the Victor Company has been very prompt in changing its policy as soon as it learned of the public's sentiment in the matter. We have official information that all sets in the future will be available in both pressings, and that as soon as possible the sets issued during the last few months in automatic pressings only will be available in the pressings for ordinary phonographs. We have received a number of letters com- menting on the interview with Mr. Arthur Jud- son on the subject of Musicians and the Immigra- tion Law reprinted in our March issue from the Philadelphia Evening Public Ledger. One writer suggests that American music lovers band to- gether to agitate for a law which will permit foreign artists to enter and to remain in this country. I agree with him that there are many cases well worthy of consideration, but we must also consider our many very fine American mus- icians now out of employment. On a recent trip to New York I met a friend of mine, a noted 'cellist, fifteen years in this country, having come here directly from the Leipzig Conservatory