Phonograph Monthly Review, Vol. 4, No. 12 (1930-09)

September, 1930, Vol. IV, No. 12 The Firebird, next to Petrouchka, should be of great interest to the musically inclined person. The former probably has the more contrasting music of the two: we have the graceful and beau- tiful melody of the Khorovode, the Berceuse and the Finale; we have the music of the Firebird’s dance which is more of a description of movement than being descriptive of the Firebird; and then we have at the other extreme the descripti ve music of the terribleness of Kostchei and his followers. When we listen to this oldest of Strawinskian bal- lets we marvel and rejoice at the ability of the phonograph to give them to us for personal study and enjoyment. 3. Pulcinella W E have only a fragment of Pulcinella in recorded form, if we speak in compari- son to other recorded Strawinskiana. Pulcinella was performed for the first time by the Diaghileff organization at the Opera, Paris, on May 15, 1920. The choreography was by Leonide Massine and the scenery and costumes, by the noted Picasso. Pulcinella was danced by Massine, Pimpinella by Karsavina, Prudenza by Tcher- nicheva and Rosetta by Nemtchinova (Mordkin’s guest partner in America a year or so ago). Even old Ceccheti stepped out of his old age and created a new part—that of the Doctor. Strawinski did not compose the melodies of the ballet—they were borrowed from Pergolesi (1710- 1736), but Strawinski’s scoring—need one com- ment? Pulcinella is another wonderful example of Strawinski’s amazing skill at instrumentation. It abounds in syncopations and beautiful colorings as one may judge from the recorded fragment (Columbia 67694-D). The subject of Pulcinella was taken from a manuscript found at Naples in 1700, which con- tained a large number of comedies. The particu- lar episode used in the Strawinski-Pergolesi bal- let was entitled Four Similar Pulcinellas. The story, somewhat vague, is as follows: All the young girls in the country are in love with Pulcin- ella; the young fellows, pricked with jealousy, try to kill him. At the moment when they think they have accomplished their purpose, they borrow Pulcinella’s costume to present them- selves to their sweethearts. But the malicious Pulcinella has had his intimate friend take his place, and this substitute pretends to die from the hands of the assassins. Pulcinella himself takes the dress of a sorcerer and brings his double to life. At the moment when the young swains think they are relieved of him and go to visit their loved ones, the true Pulcinella appears and arranges all the marriages. He weds Pimpinella, blessed by his double, Fourbo, who in turn ap- pears as the magician. The London Times, reviewing the English premiere at Covent Garden, remarked: “We are not sure as to what the story actually is, and do feel pretty sure that it does not much matter. The ballet is primarily a means of showing us what vitality and charm there is in music which most of us had forgotten. Stravinski puts on the magician’s cloak to resuscitate Pergolesi, just as Pulcinella on the stage puts on the magician’s cloak (we did not quite make out why) to resusci- tate other Pulcinellas.” 403 The score calls for two flutes (second flute in- terchangeable with piccolo), two oboes, two bas- soons, two horns, trumpet, trombone, and solo quintet of strings, and the usual strings—a scan- dalously small Strawinskian orchestra! However, Strawinski has worked out the music very cleverly. Most of it is re-scoring, yet the composer achieves the utmost effect with the simplest means. The recorded disc (conducted by the composer) consists of the Duetto, the Minuetto and the Finale. The Duetto, in 2/4 tempo, abounds in syncopations as does the Finale. The Minuetto is as beautiful as it is cleverly constructed and orchestrated, though always of the same simplic- ity, which is certainly the essence of good tech- nique. (Mr . Seltsam’s final article in the Strawinski series will deal with Apollo.) PHONOGRAPHIC ECHOES Basil Cameron; Issai Dobrowen Again the phongraph steals a march on the concert hall. The conductors announced for the next season of the San Francisco symphony are Basil Cameron for the first half, and Issai Dobrowen for the remainder. Both men are making their first conductorial appearances in this country, but both are already known through their recordings to the alert phono- phile. Cameron has been conductor of the Harrowgate and Hast- ings Municipal orchestras (England), and a guest with many of the leading European orchestras. Brunswick issues his per- formance of Dvorak’s fourth (“London”) symphony, an- alyzed by Dr Vojan on page 316 of the June 1929 issue, and reviewed on page 170 of the February 1930 issue. Dobrow- en’s recording of Grieg’s Symphonic Dances, Op. 64, is is- sued under the Odeon label (reviewed on page 168 of the February 1930 issue), and one of his violin compositions is released this month in a recording by Max Rosen for Bruns- wick (reviewed elsewhere in this issue). Brunswick Topics Comments on our contemporaries in the phono-musical field should not fail to include one of the liveliest and most attractive of phonographic house organs, Brunswick Topics, which has recently gone in for modem type faces with a fine flourish. It is intended for the public as well as for the dealer, and runs brief but diverting notes on current Bruns- wick releases and the activities of Brunswick artists. Mr. J. E. O’Bryon of the Brunswick publicity department has a deft sense for material of news and human interest, giving the Topics a blithe air that is far removed from the stodgi- ness or amateurness of most house organs. Celebrities and Their Favorite Records (It was suggested some time ago by one C. Fisher of Bronx- ville, N. Y. that it might be interesting to know the phono- graphic likes and dislikes of some of the musical and other great. Additions to this list will appear from time to time). Mr. and Mrs. Lawrence Tibbett write from their new Beverly Hills Home (where he is finishing the “New Moon”) that the following records are among their favorites: The Yvonne Printemps and Sascha Guitry Records Strawinsky—“The Rite of Spring” Wagner—Die Walkure Schumann—E flat major Quintet Beethoven—The Lenore Overture • Wagner’s Tristan and Isolde Franck—Symphony in D minor Bach—Toccata and Fugue in D minor—played by Sto- kowski Paul Robeson’s records and— Ravel’s Bolero by Koussevitsky