Phonograph Monthly Review, Vol. 4, No. 5 (1930-02)

February, 1930 The Phonograph Monthly Review 147 phony conducted by Sargent. There is a new series (1929) of Aldershot Command Search- light Tattoo records; Mark Hamibourg plays waltzes by Chopin and Cyril Scott, and five etudes of Chopin; and Lamond plays Liszt’s Tar- antelle de Bravura. For vocals there are: arias from Goldmark’s Queen of Sheba sung by Maria Nemeth with the Vienna State Opera Orchestra and from Gounod’s opera of the same name sung by Walter Widdop; the Meistersinger Prize Song and Lohengrin’s Narrative sung in English by Joseph Hislop; arias from Don Carlos and La Favorita by Sigrid Onegin; Strauss’ Die heili- gen drei Konige and an aria from Handel’s Josua sung by Elisabeth Schumann with the Vienna State Opera Orchestra; the Love Duet from Tristan sung by Frieda Leida and Lauritz Mel- chior under the direction of Coates; Geschich- ten aus dem Wiener Wald and a Fledermaus air sung by Lotte Schoene under the direction of Leo Blech; arias from Madame Butterfly and L’Africana by Alessandro Valente with La Scala Orchestra; Rachmaninoff’s To the Children and Messager’s Grey House by Joseph Hislop; More “Very Young” songs sung by George Baker; aries from the Messiah and Acis and Galatea by Elsi Suddaby; Parry’s Jerusalem, Elgar’s I Sing the Birth, Gibbons’ Hosanna to the Son of David, and Webber’s Now Once Again, sung by the Royal Choral Society. Of special interest is al- bum set of records in French by Sacha Guitry and Yvonne Printemps, songs and recitations from “Mozart,” “Deburau,” etc., and an album of Talks on Melody by Sir Walford Davies. The English Columbia Company’s list is top- ped by the long awaited performance of Les Pre- ludes by Mengelberg and his Amsterdam Con- certgebouw orchestra. The other orchestral disks include re-recordings of the Khowantchina Pre- lude and Flight of the Bumble Bee by Sir Hamil- ton Harty; the overture to Mignon conducted by Molajoli; the Pastoral Symphony from the Mes- siah, and the Larghetto and Polonaise from Han- del’s Concerto Grosso No. 14, conducted by Sir Thomas Beecham; Elgar’s Violin Concerto played by Albert Sammons with the New Queen’s Hall Orchestra under Sir Henry Wood; and the Gyp- sy Baron Overture conducted by Bruno Walter. Instrumental: Hadyn’s Quartet in G, Op. 76, No. 1, by the Poltronieri String Quartet; Brahms’ Quartet in B flat, Op. 67, by the Leners: the Han- del-Halvorsen Passacaglia played by Albert Sam- mons and Lionel Tertis; Beethoven’s “Les Adieux” Sonata, Op. 81a played by Godowsky; Cyril Scott’s Water-Wagtail and Valse played by the composer; Chopin’s B flat Polonaise played by Friedman; and Chopin’s Funeral March transcribed for organ and played by Edouard Commette. Vocal: Dame Clara Butt re-records He Shall Feed His Flock and Beethoven’s Crea- tion Hymn; Miriam Licette sings arias from Don Giovanni; Emanuele Salazar Otello’s Monologue and death scene; the Manchester Children’s Choir, with the Halle Orchestra under Harty, sing the Dance Duet from Hansel und Gretel and Purcell’s Nymphs and Shepherds; the St. George Singers are heard in six old English Car- ols and Byrd’s Agnus Dei' and Justorum animae; the Sheffield Choir sings Parry’s Jerusalem and Davies’ Commemoration Anthem; the Barclay Bank Male-Voice Choir is heard in Hughes’ Studies in Imitation and Vaughn William’s set- ting of Loch Lomond; Allin and Williams sing Purcell’s Awake Ye Dead and Sound the Trum- pet; and Gertrude Johnson, accompanied by the composer, sings Cyril Scott’s Lullaby and Black- bird Song. The International Education Society list comprises two lectures on Twentieth Century English Poetry by Prof. B. Ilfor Evans, Chopin by Dr. Markham Lee, How to Listen to Music by Dr. Percy Buck, Jane Austen by Miss S. E. Dim- sey, etc. The Parlophone Company issues the first elec- trical version of Mozart’s Violin Concerto No. 5 in A, played by Josef Wolfsthal with the Berlin State Opera Orchestra under Dr. Weissmann. Otto Klemperer conducts the same orchestra in Till Eulenspiegel and La Belle Helene Overture; Issai Dobrowen conducts it in Dvorak’s Slavonic Dances Nos. 1 and 2; and Dr. Weissmann in an Aida Selection, Invitation to the Dance, and the Barber of Seville Overture. Seinemeyer, Pilin- sky, Burg, Jung, and Duttbernd join forces in the Procession to the Minister scene from Lohen- grin, conducted by Weissmann. Lotte Lehmann sings Wagner’s Schmerzen and Traume; Michael Szekely sings excerpts from the Magic Flute and Tannhauser; the Sieber Choir is heard in a choral version of the Wine Woman and Song Waltz; and Louise Helletsgruber sings arias from Gou- nod’s Faust. The Decca Company is the first to undertake a major release of Handel’s Grand Concertos or Concerti Grossi. Thirteen records are an- nounced, representing excerpts or complete ver- sions from the following concertos: No. 2 in F, No. 3 in E minor, No. 4 in A minor, No. 6 in G minor, No. 10 in D minor, and No. 12 in B minor. Ernest Ansermet is the conductor. Decca also issues Walton’s robust Portsmouth Point Over- ture conducted by Anthony Bernard; Glinka’s Kamarinskaya conducted by Leslie Howard; Frank Titterton sings English versions of the two popular tenor aries from Tosca; Valentina Aksarvo sings Massenet’s Pleurez mes yeux and Tchaikowsky’s All for You; Richard Watson is heard in English versions of arias from the Bar- ber of Seville and II Seraglio; Steuart Wilson, with the Maria Wilson String Quartet and Regi- nald Paul, pianist, sings Vaughn Williams’ Song Cycle, On Wenlock Edge (three records) ; Sidonie Goossens plays versions of the Volga Boatmen’s Song and the Largo. Miscellaneous British releases: Bach’s Sonata in E flat and Handel’s Sonata No. 3 in G for flute and piano, played by Rene le Roy (N. G. S.) ; and Tchaikowsky’s B flat minor Piano Concerto played by Maurice Cole (Broadcast Twelve). In; France, the Columbia Company issues a complete Scheherazade by the Paris Conservatory Orchestra conducted by Gaubert; a series of children’s disks, “Le Theatre du Petit Monde”