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

28 The Phonograph Monthly Review va n ■ 1 1 ...... .. . ..... . . n u Again the chorus gives striking evidence that its fame rests not only on its past performances. A disk like this is far from inexpensive, but no one could deny that it contains an amplitude of one’s “money’s worth.” Victor 7105 (D12, $2.00) Die Meistersinger—Preislied, and Lohengrin—In fernem Land (Lohengrin’s Narrative), sung by Richard Crooks with orcchestral accompaniments. Crooks leaves his usual type of operatic or “standard” selection to make a bold bid for higher recording honors with the big tenor arias from Die Meistersinger and Lohengrin. There is no timidity about his performances; he sings with abundant force—somewhat to the detriment of tone quality in the Prize Song. Lohengrin’s Narrative is tonally better, and Crooks’ frank open manner makes a pleasing and effective impression. The recording is very brilliant and spacious with the voice standing well forward even in the fortissimos. I do not think of Crooks as a great singer, but he certainly outdoes himself here. The disk is decidedly worth hearing. Victor (International list) 7102 (D12, $2.00) Otello—Ave Maria and Madama Butterfly—Un bel di vedremo, sung by Margherita Sheridan with orchestral accompaniments. After my remarks last month on Miss Sheridan’s ex- cerpts from Butterfly on Victor 7064 I am glad to see the International list bringing out another of her releases, although as yet none is made available in the domestic lists. Can this new disk be a re-pressing of the same selections issued by H. M. V. in England early in 1927? If so, it must have been a sensational piece of recording at the time, for even today it can hold its own among the better operatic records. The favorite Butterfly air is in Miss Sheridan’s best vein, but the magnificent Otello Ave Maria demands greater tonal breadths and evenness than she possesses. Yet she sings beautifully with a broader and more sustained vocal line than I imagined she was capable of. The song demands much from its singer and while Miss Sheridan’s performance falls, somewhat short of the ideal, it is a worthy effort. Columbia 1952-D (D10, 75c) The Little Red Lark (arr. Fisher), and McGee: Doreen, sung by Anna Case with piano accompaniments. Doreen is a pleasant quaisi-Irish trifle made distinctive by Miss Case’s adroit performance and lovely voice. The recording is good and the singing is carefully restrained. I imagine the song is rather more difficult than it sounds in this effortless performance, for the long “e” of “Doreen” frequently falls on notes well in the upper register, and of all the vowels it is the most awkward to handle vocally. The saying goes among song writers that even Richard Strauss could not “get away” with the word “sheep” (for instance) falling on a note of any considerable pitch alti- tude. But the difficulty seems non-existent for Miss Case. I imagine that The Little Red Lark is a genuine Irish folksong. It has the authentic ring, and a wild poignancy. A very moving song and beautifully sung; It’ deserves cordial commendation. May Miss Case give us more of the folksongs she sings so well. Irish and Scotch folklore alone provide a vast and almost untouched mine of musical gold. Chamber Music Columbia 1953-D (D10, 75c) Negro Spirituals (arr. Held) —Deep River and Nobody Knows de Trouble I’ve Seen, played by the Musical Art Quartet. Held’s transcriptions are free from over-elaboration; they stick close to the string quartet idiom while retaining much of the solo and response quailty of a Negro vocal quartet. The Musical Art Quartet gives restrained performances that capture the appropriate note of sincere, simple de- voutness. The recording is good and the string tone very pleasing to the ear. There is a real need for string quartet records that strike so happy a medium between super- ficiality and a complexity beyond the grasp of the musical novice. October, 1929 "" SI <5V Light Orchestral Brunswick 4462 (D10, 75c) Herbert: Badinage, and von Blon: La Danseuse, played by the Brunswick Concert Orchestra. Deftly turned performances, well recorded. A pleasing little salon disk. Brunswick 4442 (D10, 75c) Thome: Simple Aveu, and Furber-Gordon—The Far-Away Bells, played by the A & P Gypsies under the direction of Harry Horlick. The playing is quite sonorous but rather too thoroughly sentimental, particularly in The Far-Away Bells. Brunswick 20090 (D12, $1.00) Follow Thru Medley and Hold Everything Medley, played by Al Goodman’s Or- chestra with vocal refrains by Zelma O’Neal and Dick Robertson respectively. A1 Goodman boasts a clever orchestra and together they give very spirited performances of these popular operetta medleys. The vocal choruses are brief, and although Miss O’Neal sings fetchingly, the playing is the feature of a pleasing and effective popular record. Edison 14039 (D10, 75c) Softly as in a Morning Sunrise and Blue Hawaii, played by the Hotel Comodore Ensemble under the direction of Bernhard Levitow. This record packs a powerful surprise punch. One is all prepared for the usual salon trio at its sloppiest, but what one finds is a first-rate little orchestra playing what are virtually miniature light symphonic poems! The ar- ranger should surely be given label credit, for it is to him far more than to the original composers of these more or less popular songs that the admirable effect of these transcriptions is due. The playing is sonorous with broad pleasing tone, the conducting is musicianly, and the re- cording is excellent. A rare combination of virtues in a disk of this type. May we have many more on this model! Columbia G-50169-D (D12, $1.25) Johann Strauss: Ar- tist’s Life and Wiener Bonbons Waltzes, played by Dajos Bela’s Symphony Orchestra. Here we are back in the light symphonic classification again, but we do not find Dajos Bela at his best or indeed very near it. The performances are over-forcible and coarse and the recording heavily amplified. Odeon 3265 (D12, $1.25) Hall: Wedding of the Winds Waltz, and Waldteufel: Goldshower Waltz, played by Edith Lorand’s Orchestra. Miss Lorand, however, is close to her usual standard of smooth, competent waltz playing. Not a particularly impressive disk, but a pleasing one. Odeon 3539 (D10, 75c) Fall: The Divorcee—Medley, played by Dr. Giuseppe Becce with his Terra-Symphony Orchestra. Becce’s releases are all too rare. He has a light and lively hand for Viennese operettas and a skillful orchestra. Leo Fall’s Divorcee provides stimulating material here, not unworthy of Viennese traditions. The medley is cleverly arranged and the performances free from affec- tation. Victor 22051 (D10, 75c) Molloy: Love’s Old Sweet Song, and de Koven: Oh, Promise Me, played by the Victor Salon Group. The Victor Salon Group is described as a “little brother” to the Victor Salon Orchestra. Trombone, steel guitar, and cornet take the principal melodies here. The readings are ultra-emotional. Victor (International list) V-50012 (D12, $1.25) Tales of Hoffman—Potpourri, played by Marek Weber’s Orchestra. A very competent potpourri recording well up to Marek Weber’s usual high standard. Victor (International list) V-50013 (D12, $1.25) Lehar: Eva Waltz, and Ivanovici: Carmen Sylva Waltz, played by Nat Shilkret and the International Orchestra. Mr. Shilkret adds to his waltz series rather infrequently of late. These are good energetic waltzes, effectively if rather inflexibly played.