Phonograph Monthly Review, Vol. 4, No. 11 (1930-08)

368 The Phonograph Monthly Review August, 1930 position is the “Et in unum dominum” of the Credo, for soprano and alto, with two oboi cV- amoro. The “Et in spiritum sanctum,” for bass also with two oboi d’amore, is a place where the obbligato is much more reticent than it should be. As I mentioned above, Bach here, by means of a lively melody, inspired no doubt by the word “vivificantem,” unifies several musically some- what unpromising dogmatic statements of belief into one of the most attractive numbers. The lovely Benedictus, with solo violin, is almost ruined by the strained and breathless singing of Widdop. The number of the choruses is too large and too varied to permit of more than a sketchy mention of some of the outstanding points here, Surely among the very greatest is the “Gloria in excelsis deo,” with its jubilant opening and tender change of mood at “et in terra pax.” This is one of the duplicates, and I must confess that Coates seems quite lacking in the thrilling sense of a gradual progression toward a climax that Dr. Bairstow gives; and that climax is also much smaller in sheer volume of tone. The tragic “Qui tollis” is, from the greater fullness of ensemble, probably more satisfactory aa recorded in the newer set, although the full effect from the final progres- sions is not obtained. The “Cum sancto spiritu” is taken at a breathless pace, which would be well if (in combination with a slight echo already present), it did not tend still further to obscure the movement of the choral parts. That this is not due merely to a too great prominence of the orchestra but also to bad arrangement can be seen from the fact that even in the extended pass- ages where the accompaniment is reduced merely to the conlinuo, the chorus is not much more than a blur of sound. Since, according to Schweitzer, it is impossible even in performance to follow with accuracy the intricacies of the marvellously solid and stoutly affirmative chorus which Bach constructs on the basis of the Gregorian theme for the words “Cre- do in unum deum,” it is still less possible to do so on the phonograph. No one can miss the gen- eral effect, however. Schweitzer suggests that in this and in the “Confiteor” below, where the Gregorian motive is also introduced, the different voices be doubled by instruments—(which was actually done by C. P. E. Bach)—and this would certainly have been advisable for recording pur- poses, The “Crucifixus”—“the most deeply emo- tional chorus in the whole work” (Parry)—is a supreme expression of universal and overpower- ing grief and tragedy, finely conveyed by this record. An immediate and extraordinarily bril- liant contrast is formed by the “Et resurrexit,” and it is one of Coates’ greatest successes. The “Confiteor” follows somewhat the same plan as the above pair, but is written as one number. It is the most dramatic section in the work. At the words “et exspecto resurrectionem mortnorum” (beginning of second side) there is an abrupt slowing up, “adagio,” portraying the world of the dead, and leading, at “et vitam,” in a fashion which gives a soaring sensation of infinite relief and heart-felt joy, to a fittingly jubilant climax for the whole Credo. This also is excellently done. Parry calls the first part of the Sanctus “the greatest conception in the whole mass,” and I doubt if any will question his assertion. It is in six parts, and gorgeous yet majestic from begin- ning to end. Who does not experience a supreme thrill as the basses march down in octaves? Here a choice between the two versions is more difficult. The chorus stands out much better than usual in the newer one; also the other has an awkward break just before the end, which comes on the second side. It must be left to one’s per- sonal taste; I happen to prefer the Bairstow in- terpretation which is somewhat slower, at which pace alone it seems to me possible to impart its full majesty and magnificence. Strangely enough, instead of hastening the tempo for the second part (“pleni sunt coeli”) as is usual and would seem to be desired as the proper effect, (part one is 4-4, part two, 3-8) Coates seems al- most to take it more slowly, which gives it an ap- pearance of dragging and makes it in every way an anti-climax. The brilliant Hosanna, a double- chorus originally composed for a secular occa- sion, is of course to be repeated after the Bene- dictus. There remains only the “Dona nobis pacem,” set to the same music as the “Gratias agimus” of the Gloria—with a few necessary changes. I can think of no more fitting conclusion for such a work than this restrainedly rapturous hymn, itself gradually rising to the attainment of peace, as the trumpets spur it higher to the final perfect close. Ludwig van Beethoven: Missa Solemnis in D Major, Op. 123, sung by the Bruno Kittel Choir with the Berlin Phil- harmonic Orchestra, directed by Bruno Kittel. Soloists: Lotte Leonard, Emmy Land, Eleanor Schlosshauer-Rey- nolds, Anton Topitz, Eugen Transky, Wilhelm Gutmann, Herman Schey and Wilfried Hanke, violinist. Brunswick Album Series No. 17 (11 D12s, Alb., $16.50). The same, sung by the Orfeo Catala (Catalonian Choir) of Barcelona, Spain, with orchestra and unamed soloists, directed by Lluis Millet. Victor Masterpiece Series No. M-29 (12 D12s, Alb., $18.00). It is harder than one might think to decide be- tween these two sets. As to the recording itself, the Victor is richer but rather indistinct,—while the Brunswick, although somewhat unpolished, is vigorous and better balanced. It is unfor- tunate that such a really fine balance could not have been attained in the Bach, especially in view of the fact that Beethoven’s orchestra is much larger and noisier. Moreover, the Spanish ver- sion suffers from the usual disadvantages of ac- tual performance; rude breaks, noises etc. (It was made in Barcelona Cathedral, during the Beethoven Festival there.) The Orfeo Catala is a well-established choir of that city, famous throughout all Spain, but is entirely composed of male voices and so better adapted, as well as more noted, for its renditions of unaccompanied polyphonic music. Their soloists are on the whole finer, possessing rich latin voices, but it is