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

292 The Phonograph Monthly Review June, 1929 1 ’ . IS* Delius’ Brigg Fair conducted by Beecham, Ra- baud’s Marouf Ballet conducted by the composer, Turina’s Procession del Rocio conducted by Ar- bos, and Komzak’s Life in Vienna conducted by Anton Weiss. Artists of the Royal Opera, Co- vent Garden, are heard in excepts from Lohen- grin, Tosca, and Gioconda; the London String Quartet plays Borodin’s Nocturne; the Capet String Quartet plays Beethoven’s Quartet in C sharp minor, Op. 131, and Mozart’s in C major, K. 465; Friedman plays the Gluck-Brahms Gav- otte and his own Music Box; Georges Thill sings excerpts from Rabaud’s Marouf; Guglielmetti sings a two-part version of Adam’s Variations on a Theme of Mozart, and Edouard Commette plays Franck’s Pastorale on the Lyons Cathedral Organ. There is an eleventh list of Lecture-Records with George Dyson speaking and illustrating Early Keyboard Music, John Drinkwater reading his own poems, etc. Orchestral works on the H. M. V. list include Beethoven’s Third Leonora Overture played by Schalk and the Vienna Philharmonic, Mozart’s Kleine Nachtmusik conducted by Barbirolli, Sa- lome’s Dance conducted by Klemperer, a Liszt Polonaise conducted by Dr. Blech, and German’s Nell Gwynn Dances conducted by Sargent. The Cortot-Casal-Thibaud Trio is heard again in Beethoven’s B flat Trio (The Archduke), Mark Hambourg plays Debussy’s Jardins sous la pluie and the Schubert-Liszt, Hark, Hark the Lark, Mildred Dilling (harpist) plays Debussy’s First Arabesque and Zabel’s Am Springbrunnen, and Arthur Rubinstein plays Albeniz’ Navarro and Seville. The vocal records are led by the Lohen- grin Love Duet, Act III, sung by Pertile and Tel- lini with La Scala Orchestra. From the Parlophone Company come the Ros- enkavalier Waltzes again, this time conducted by Dr. Weissmann. Also the Overon Overture (in three parts) conducted by Bodanzky, with the Meyerbeer’s Coronation March on the odd side; Orpheus in Hades Overture played by Dajos Bela and his Orchestra; Chopin’s Fantasie Impromptu and Liszt’s Gnomenreigen played by Emil von Sauer; the Tales of Hoffman Barcarolle sung by Bettendorf and Branzell; the Church and Prison Scenes (two parts each) from Faust, sung by Seinemeyer, Dworsky, and List with the Berlin State Opera House Orchestra and Chorus under the direction of Dr. Weissmann; two arias from Tannhauser sung by Gerhard Hiisch; the Caval- leria Rusticana Introduction (two parts) with La Scala Chorus and Orchestra and Panizza; the An- gele Chorus from Elijah and Mozart’s Ave Verum sung by the Hof burg Chapel Choir, Vienna, Boys’ Choir; and Strauss’ Morgen and Mit deinen blauen Augen, sung by Lotte Lehmann. French Columbia offers the prize-winning works in the French zone of the Schubert Cen- tennial competition, a completion of the Unfinish- ed Symphony by Henry Ryder and another by Gustave Guillemoteau. Gaubert conducts the works and the Paris Conservatory Orchestra plays them. Elie Cohen conducts a symphony orchestra in Schubert’s Marche Militaire arrang- ed by Weniger, Molajoli conducts Respighi’s Pines of Rome and Fountains of Rome with the Milan Symphony, Feraldy and Claudel sing duets from Smetana’s Bartered Bride, and Mme. Croiza sings Honnegger’s Automne and Chanson des Sirenes, accompanied by the composer. We have again received several inquiries re- garding the American Phonograph Societies. It is evident that they cannot exist under the condi- tions here in the same manner as they do abroad. And yet several of the old societies and a number of new informal groups are flourishing by adapt- ing themselves to meet American conditions. Through the kindness of Mr. Robert H. S. Phil- lips, a student at Harvard University, we received a copy of the final program of a college gramo- phone society. This society gave twenty-seven concerts during the last season, with works of thirty-six composers represented, led by Beetho- ven with thirteen works, Wagner with twelve, Delius with eight, Moussorgsky and Tchaikowsky with seven each, and Schubert with six. I confess that we had no idea such a live enter- prise existed right here in Boston. At the begin- ning and during the season members of the Staff and I received several requests to join various such organizations, but to our regret we had to decline, as the steadily increasing work on the magazine takes often ten or fifteen hours of work a day. However, those enthusiasts should have the sup- port and co-operation of every music lover in this vicinity. We trust to be able to take an active part next season in this commendable venture. Through the kindness of Mr. S. J. Crawley, sec- retary of the Winnipeg Gramophone Society and record reviewer on several Canadian newspapers, we have been kept informed of the activities of this energetic and progressive group. The bi- monthly meetings during the season ended with a gala concert in the Walker Theatre on May 9th. The achievements of these and other societies and informal groups 'of phonograph enthusiasts is convincing proof that the society movement will flourish when it correctly adapts itself to local conditions. We regret that the illness of one of our re- viewers makes it necessary to postpone the review of the complete set of Carmen until next month. The next issue will also contain (among other features) Part 2 of “The Growth of Discord in Music,” by Alfred H. Meyer. t * *