Phonograph Monthly Review, Vol. 3, No. 9 (1929-06)

c MUSIC LOVERS’ AXEL B. JOHNSON, Managing Editor Published by THE PHONOGRAPH PUBLISHING CO., Inc. General Offices and Studio: 47 Hampstead Road, Jamaica Plain, Boston, Mass. Telephone Jamaica: 5054 : Cable Address: “Phono” THE PHONOGRAPH MONTHLY REVIEW appears on the twenty-eighth of each month. All material is fully protected by copy- right and may be reproduced only by permission. Yearly subscription price $4.00 in the United States and $5.00 in Canada and other foreign countries, postage prepaid. Single copies 35 cents. All communications should be addressed to the Managing Editor at the Studio, 47 Hampstead Road, Jamaica Plain, Boston, Mass. All unsolicited contributions must be accompanied by a self-addressed, stamped envelope. All checks and money orders should be made out to THE PHONO- GRAPH PUBLISHING CO., Inc. General Review T HIS month the Victor Company features no less than three of the premier symphony or- chestras in the country and three of the world’s greatest conductors, Toscanini, Stokowski, and Koussevitsky. Topping the list is the great Beethoven Sixth Symphony played by Koussevit- sky and the Boston Symphony, easily the best re- cording to date of the “Pastoral” and one that fur- nishes us with another proof that something really exceptional may be expected when Koussevitsky and his men resume recording next season. Next in importance comes Toscanini and the New York Philharmonic Symphony with Dukas’ Sorcerer’s Apprentice and the Preludes to Acts I and III of La Traviata. Toscanini succeeds in getting Dukas’ Scherzo complete on two record sides, but that is on account of the fast tempi he takes. It was quite interesting to compare this recording of the Pre- lude to Act III of Traviata with the recent one by Guarnieri with the Milan, Symphony Orchestra for Fonotipia. It may be granted that Toscanini has a superior orchestra, but his shadings prove beyond reasonable doubt that he is still the master. Yet I wonder how Guarnieri would compare with him if he were given the same orchestra. A close contender, and as a matter of fact one of the rinest recorded masterpieces in the entire Vic- tor series, is Rimsky-Korsakow’s Overture—La Grand Paque Russe played in masterly fashion by Stokowski and the Philadelphia Symphony. It is a long time since I listened to an orchestral per- formance that has moved me as much as this. I should advise every one to read R. D. D.’s inspired review of this work. As stated in the Phono- graphic Echoes, the Victor Company has selected this important set for the first of an autographed series of limited de luxe editions. The set, compris- ing two records, the first of which is autographed by Dr. Stokowski, will be sold for $12.00, which includes an elegant leather album. Twelve dollars is quite a high price to pay for two records I admit, but this is the only time one will have the oppor- tunity of securing the great Stokowski’s signature on one of his very finest creations. Those who can- not afford to pay $12.00 or who get their order in too late to obtain one of the 250 sets of the special autographed edition, should by no means miss the regular issue of this work, released in two records at the customary price of $2.00 eaoh. Also on the Victor list is a remarkable record by Lawrence Tibbett and the Metropolitan Opera House Chorus and Orchestra, one of the very best of this great series; fine vocal records by Bori and Schipa; two Chopin etudes played by Paderewski; re-recordings of Kreisler’s popular Rondino and Schon Rosmarin; two popular songs delightfully sung by John McCormack; and a very pleasing record by the Victor Light Opera Company heard in Gems from “The New Moon” and “Whoopee.” Of the extensive popular list special praise should go to Ohman and Arden for their Dance of the Paper Dolls, for piano duet. The Columbia release is headed by the first Col- umbia recordings of the great Godowsky, heard in See last page for Table of Contents Copyright, 1929, by the Phonograph Publishing Company, Inc.