Phonograph Monthly Review, Vol. 4, No. 1 (1929-10)

October, 1929 The Phonograph Monthly Review 7 Granados’ Spanish Dances, all three of which have been recorded by Goossens and the New Light Symphony Orchestra (H. M. V. C-1553-4), and Moszkowski’s Spanish Dances, of which No. 1 has been recorded by the Victor Concert Or- chestra (Victor 20521). There is an acoustical version by the New York Philharmonic Orches- tra still retained in the Columbia catalogue (7012-M). Quaisi-oriental dances have long been popular in light concert versions. I might single out the Australian composer, Alfred Hill’s piece, Waiata Poi, brilliantly played by Verbrugghen and the Minneapolis Symphony Orchestra (Brunswick 15117) ; Moussorgsky’s Persian Dances played by the Royal Belgian Guards Band (Victor 35950) ; Lubormirski’s Danse Orientale played by the International Orchestra (Brunswick 77006) ; Glazounow’s Danse Orientale played by Stokowski and the Philadelphia Orchestra (Victor 1335) ; and, among the more elaborate works, the dance from Richard Strauss’ Salome —of which the best recorded performance is eas- ily that by Klemperer and the Berlin State Opera Orchestra (H. M. V. D-1663). Undoubtedly this last disk—an unusually brilliant one—will soon be released under the Victor label in this country. Working into the ballet-suite classification we come to those superb dance poems from Borodin’s Prince Igor. There are three versions issued here, Brunswick 15184-5 played by Sokoloff and the Cleveland Orchestra, Columbia 7138-9-M played by Beecham and the Royal Philharmonic, and Victor 6514 played by Stokowski and the Philadelphia Orchestra. The last disk is much abbreviated; Beecham’s performance is strangely flaccid for this usually electrifying musician; so Sokoloff wins without difficulty by default. His version has positive merits, however, in addition, although it is lacking in concert hall resonance. It is a version in miniature, but a striking piece of orchestral color and lithesomeness. There are several European versions, led by a performance with chorus and orchestra conducted by Coates (H. M. V. D-1528). Edison Bell X-505-6, by De- fosse and the Russian Ballet Orchestra; Parlo- phone E-10764, by Cloez and the Opera-Comique Orchestra; Pathe-Art, etc. (To be continued) Massenet and His Music By JAMES HADLEY (Continued from the last issue) I N 1878—a few years before the production of “Herodiade,” Massenet became Professor of Composition at the Conservatoire. He was very extraordinarily successful. A tireless worker himself, he insisted upon earnest work from his pupils, but they loved him devotedly, for he knew how to make the lessons vividly interesting. As his biographer, Schneider, has written; “He devoted himself to showing these young folks how to compose a cantata, how to give life to a lyric scene. They were practical lessons, having in view the securing of the Prix de Rome, the apogee of a Conservatory course.” Among his pupils was Xavier Leroux, who, though falling under the charm of Massenet’s style, proved later that he had a very distinct musical individuality of his own. Says one com- mentator:—“His song, “Le Nil” (The Nile), is written in modern French impressionistic man- ner but it gives a most striking tone picture of the might and grandeur of the ancient river of Egypt. The use of the violin as an obligato to the voice is especially beautiful. The version by John McCormack and Fritz Kreisler is a record of almost unbelievable perfection. (Victor, 88482). “Le Nil,” interpreted by Alma Gluck and Ef- rem Zimbalist, has, also, a legion of admirers, (Victor, 89090). The Abbe Prevost’s famous romance, “Manon Lescaut,” is one of the greatest novels of the eighteenth century. Considered as drama, alone, it possesses the quality of vital human interest that gives it a close and immediate connection with life in general. “Sad and sordid it may be,” says one writer, “but the story of the wayward Manon, as fascinating a black sheep as ever graced the pages of fiction—or history—is one of those vivid stories of love and passion which have ever made an appeal to those in search of a theme for musical expression. Massenet, a not- able ‘modern’ French composer, found by means of its story the expression of quite the best that was in him. Since ‘Carmen,’ modern French opera has no such masterpiece of its kind to show.” The first New York production of “Manon” occurred in December, 1885, with Min- nie Hauk as the heroine. In January, 1895, it was revived for the American debut of Sybil San- derson, a California girl who had gone to Paris some years before, and who had created a veri- table furore. A protegee of Massenet, she was considered to be the ideal “Manon.” That suc- cess was not duplicated when she appeared at the Metropolitan. The first act was a triumph; she