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

August, 1930 The Phonograph Monthly Review 369 rather difficult to compare them exactly with the Germans, as the latter change so often, even be- tween sides of the same number (as in the Bene- dicts) . The interpretations, as might be guessed, are in entirely different keys. The Spaniards accent the dramatic and emotional side of the music, and take it more slowly. In the Brunswick, the speed is often excessive, and they rely on vigour and brilliance. The mass is written in four parts throughout, with S.A.T.B. soloists, alternating, and combin- ing with the choir, except in the Sanctus which is for solo quartet alone. Bruno Kittel begins the Gloria like a whirl- wind, which is possibly an ideal for it, but his choir, or any other, is unable to give anything but an impression of being overdriven and breathless. He has a tendency to be loud, even in places marked piano. The soprano for this section, Emmy Land, is decidedly weak and wav- ering The “Qui tollis” section is more poignant and dramatic under Millet. In the fugue on “in gloria dei patris,” the Germans are, as is to be expected, superior in precision and distinction, and they fortunately slow down their pace some- what. In the final side—“cum sancto spiritu” and the extra “Gloria in excelsis” added by Beethoven —the Victor set seems to be particularly fine— the opening of the record gives a good effect of spaciousness and the “Gloria” is brilliantly done. The first side of the Credo is rather lacking in the force and precision which I had expected from Kittel. In the opening of the “Et incarna- tus,” the Victor conductor follows the original edition of 1827 in assigning the music to the solo tenor, instead of to the tenor section of the choir. (It may be that they double the vocalist, but it is impossible to tell definitely). The “Crucifix- us” is an example of Beethoven’s essentially dra- matic treatment, but for all the horror-struck atmosphere, it is far from attaining the pro- foundly tragic effect of that of Bach. Due to a more accurate recording of the frequent pianissi- mos, the Brunswick is more satisfactory here. In the orchestral motive of resurrection, how- ever, the Spaniards are much more properly light- footed and joyous. In the abrupt change at the words “iudicare vivos et mortuos”—suggesting the terrors of the Last Judgment—the incorri- gible dramatist again shows himself. The final fugue, “et vitam,” is atrociously difficult in its vocal writing, but it is creditably tackled by both groups. It is easier to follow, and on the whole more successful under Kittel, however. But neither recording director divides it in the right place, both stopping just as the climax is reached, and placing it on the last side. The entrance of the soloists with melodious “amens” seems a de- cided anti-climax after this. According to the Philharmonia edition the Sanctus is scored throughout for soloists alone, but in both these versions the chorus sings the “pleni sunt” and “hosanna,” music which is ex- tremely difficult if not impossible to make sound effective. The lengthy Benedictus is the most purely beautiful number in the mass. The Span- ish violinist makes his solo entirely too saccha- rine for most tastes, but Wilfried Hanke reme- dies this. The first entrance of the basses, piano, is one of the finest and most truly religious mo- ments in the score, but it is very nearly inaudible in both sets. Finally comes the Agnus Dei, and here theatri- cality and emotionalism reach their height. Drums and trumpets indicative of war are intro- duced and the supplication for peace becomes ag- onized. That this was for Beethoven the climax of the work merely a glance at the length will show; for the two sentences he composes a setting which is but little shorter than that for the whole Gloria. However, so much has been written about it and it has been so often compared with Bach’s conception, that I need say no more. In the first part of this movement the Spanish solo- ists are most vehement in the intensity of their cry for mercy, but I personally prefer the much calmer and also slower supplication of the Bruns- wick singers, although it is probably not so much in the spirit of the music itself. On the last side the Orfeo Catala obtains some big effects, but the ending is rather weak. In summarizing these two versions, I can only repeat what I have said above: the Brunswick is probably the better because of its clearer record- ing, more satisfactory breaks, etc.: the chorus is also better suited to the work, although the sopra- nos are often very shrill and the interpretation is freer of emotionalism and more brilliant. This last must, however, remain a matter of personal taste. Notes on the Contributors to this issue Robert H. S. Phillips, Bethel, Connecticut, is a stu- dent at Harvard University, and a frequent contributor to the P. M. R. He has reviewed a number of the larger choral and operatic works*, including the Columbia Tristan album, and the Victor—H. M. V. Wagnerian series. Harry Alan Potamkin, New York City, is an author- ity on the films and mechanical music. He has re- cently traveled in Europe for fifteen months as foreign correspondent of the National Board of Review. He is a contributor to the Musical Quarterly, Close-Up, Gramo- phone, Arts,. New Masses, Boston Transcript, and many other American and European journals. William Henry Seltsam, Bridgeport, Connecticut, is a dancer, a pupil of Mikhail Mordkin, and one of the first to ultilize an electrical phonograph and recorded ballet music m ballet presentations and dance recitals. Nicolas Slonimsky, Boston, is known as a composer conductor, pianist, and music critic. He is conductor of the Boston Chamber Orchestra, and author of articles and reviews in Modern Music, Boston Transcript, etc. His Studies m Black and White were published last fall jjj the Contemporary Music series, edited by Henry Cowell, and his A Little Pool and others songs have been sung widely in concert by Roland Hayes, Gertrude Earhart, and others. Dr. J. E. S. Vo jan, Chicago, is Secretary of the Bo- hemian Arts Club of that city. He has written numerous articles and reviews on topics of Bohemian music and recordings for the P. .M. R.