Phonograph Monthly Review, Vol. 4, No. 2 (1929-11)

42 The Phonograph Monthly Review November, 1929 Budapest Philharmonic (50154-5-D), and the other by the J. H. Squire Octet (50079-D), but neither is in any sense adequate, although the octet performance is a rather striking tour de force of its kind. In similar vein, but lacking the almost magnifi- cent gusto and aplomb of Liszt’s pieces is Saint- Saens’ Danse Macabre, and its still paler com- panion, Le Rouet d’Omphale. The former is available in versions by Stokowski (Victor 6505), Sokoloff (Brunswick 50089), Sir Henry Wood (Columbia 7148-M), and Dr. Morike (Odeon 5134-5), with the first-named easily the most pre- ferable. The spinning wheel tone-poem is con- ducted by Gaubert (Columbia 6748-D), Mengel- berg (Victor 7006), and Cloez (Parlophone E- 10789-90). Mengelberg’s is a sound first choice, although Gaubert also does extremely well by the music. Tchaikowsky’s “1812” has been mentioned in the “first list”; his Italian Caprice, however, finds appropriate place here. There are two superbly virtuoso performances, a complete one on four record sides by Stokowski (Victor 6949-50), and the other on two by Dr. Blech (German H. M. V. EJ-294). The ever-popular Valse Triste has been recorded in performances by Sokoloff and the Cleveland Orchestra (Brunswick 50149), Stock and the Chicago Symphony (Victor 6579), Jarnefelt (Parlophone E-10774), et al (including Elman and other solo violinists.) Smetana’s Moldau is another excellent work for educative use. Both Bourdon’s (Victor 21748-9) and Morike’s (Parlophone E-10794-5) versions are good. There are probably other European re- cordings. Among the less familiar pieces that are charac- terized by extreme brilliance and vivacity are Rimsky-Korsakow’s Spanish Caprice, B a 1 a- kirew’ Islamey, Lalo’s Norwegian Rhapsody, De- bussy’s Fetes, and of course our own very Ameri- can Rhapsody in Blue and An American in Paris. All have been excellently recorded. The Spanish Caprice is played by Dr. Hertz and the San Fran- cisco Symphony on Victor 6603 and 1185, and more recently by Sir Hamilton Harty and the Halle Orchestra on English Columbia 9716-7. Islamey, orchestrated by Casella, is recorded by Eugene Goossens and the Hollywood Bowl Or- chestra on Victor 6870—in album M-40. Both pieces are good forerunners for that masterpiece of exotic coloring—Scheherazade. Lalo’s Rhap- sody is conducted by Chagnon on French Colum- bia D-11005. Fetes is available in versions by Stokowski (Victor 1309), Gaubert (Columbia 67477-D), Coppola (French H. M. V.) Klemperer (Polydor 66467), and probably others. The Gershwin pieces are done with the oarticipation or sanction of the composer on Victor 35822 (Rhapsody) and 35963-4 (American in Paris). There are also a number of European records of the rhapsody, led by Parlophone E-10645, where- on it is played by Mischa Spoliansky and a sym- phony orchestra conducted by Julian Fuhs. Some novices will prefer works of quieter, more romantic qualities than most of the pieces mentioned above. Good examples are Borodin’s “symphonic sketch”, On the Steppes of Central Asia, conducted by Gaubert (Columbia 67430-D), Pi erne and the Concerts Colonne (French Odeon 123576), and probably others; Debussy’s Nuages, played by Gaubert (Columbia 67467-D), Coppola (French H. M. V.), and Klemperer (Polydor 66464), and Rabaud’s Procession Nocturne, con- ducted by the composer on) French Columbia D-15078-9. The last-named is very felicitously adapted for educative work as it is a miniature tone-poem of the simplest possible nature, marked by real feeling and naive charm. In the newer concert repertory Honegger’s Pacific 231 has already become a stock favorite (Victor 9276, conducted by Coppola), and his Rugby (French H. M. V. W-1015, Coppola) bids fair to enjoy similar popularity. Both are in more modernistic idiom than any of the other works so far considered, but not all novices fight shy of anything smacking of contemporary writ- ing and if they do show a taste for it these pieces may be used, preferably preceded by La Valse and Salome’s Dance mentioned last month, the Debussy Nuages and Fetes, or—still less un- orthodox—Ravel’s Pavanne, recorded in orches- tral form by Coppola and the Continental Sym- phony (Victor 9306), Wolff and the Berlin Phil- harmonic (Polydor 66726), and Pierne and the Concerts Colonne (French Odeon 123612). Af- ter the Honegger pieces Strawinski’s Fireworks is the only short modernistic work that might be added with discretion; it is conducted by Pierne on French Odeon 123547 and by Stokowski on Victor 1112—the latter is an acoustical record- ing retained in the historical lists. However, ex- cerpts from Ravel’s Mother Goose Suite, Strawin- ski’s Fire Bird, and De Falla’s ballets would naturally be used before any of these last works. Recapitulation and Coda The subject of music appreciation has been written about seemingly inimitably. Fortunately (as one composer was fond of saying), Art talked to death will rise again! But if there is nothing really new to add, further studies are excusable only if they select and treat the old material in somewhat more novel manner. There are a thousand and one excellent general articles; this particular “ladder” is intended specifically for musical novices who by desire or necessity must hear most of their music on records. Even for that purpose the scope is almost infinite, and further restrictions were necessary. First, with some exceptions particularly in the list of “first” records, the disks mentioned have been orchestral performances, since orchestral listening makes for the most rapid and enjoyable musical progress. The educator should be careful not to inculcate or encourage any prejudice against specific types of music—piano, vocal, string quartet, or what not. Sparing use should be made of each and if the novice shows a special aptitude for one or the other he should be en- couraged to further study of that type. With