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

150 The Phonograph Monthly Review February, 1930 The new concertos were Tchaikowsky’s for vio- lin by Hubermann for Parlophone and English Columbia, Mozart’s piano concerto in G with Dohnanyi conducting from the piano (Columbia), Haydn’s ’cello concerto in D by Suggia (H.M.V.), the Brahm’s double concerto for violin and ’cello by Thibaud and Casals* (H.M.V.), Gershwins piano concerto in F by Bargy and Whiteman s Orchestra, Elgar’s violin concerto by Sammons* (English Columbia), Bach’s G minor harpsichord concerto by Anna Linde (Parlophone), Renie s harp concerto by the composer (French Odeon), an d—in the quaisi-concerto class—de Falla s Nights in the Gardens of Spain by Mme. van Barentzen* (H. M. V.), Witkowski’s Mon Lac by Casadesus under the composer’s direction (French Columbia), Debussy’s Dances for chro- matic harp and orchestra by Lily Laskme (French H. M. V.), and Faure’s Ballade for piano and orchestra by Mme Tagliaferro (French H.M. V.). There were first re-recordings of Rachmani- noff’s second piano concerto by the composer with the Philadelphians’, Saint-Saens’ G minor by de Greef (H. M. V.), Mozart’s violin concerto No. 5 in A by Wolfsthal (Parlophone), Bach’s for two violins by the Witeks (English Columbia), Elgar’s for ’cello by Beatrice Harrison under the composer’s direction* (H. M. V.), and Dvoraks for ’cello by Feuermann (Parlophone). New ver- sions came out of Grieg’s piano concerto by Mau- rice Cole (Broadcast), Schumann’s by Fanny Davies (Columbia), and Brahms’ for violin by Szigeti*. Apart from the symphonies and concertos the principal orchestral album sets were Strawinski’s Sacre by the composer* (Columbia) and Mon- teux* (French H. M. V.)> Ein Heldenleben by Mengelberg* (with the N. Y. Philharmonic Sym- phony) , Stokowski’s Bach album*, Tod und Verk- larung by Coates, Petrouchka by the composer and by Coates (complete—H. M. V.), the Fire Bird by the composer, Dohnanyi’s suite in F by Stock, La Peri by Gaubert, . Le Cid ballet by Hertz, the Carmen and Arlesienne suites by Sto- kowski*, Handel’s Alcina suite by Mengelberg* (with the N. Y. Philharmonic-Symphony), El- gar’s Wand of Youth suite by the composer, the Pines of Rome by Molajoli (Italian Columbia) and Panizza (Fonotipia), Scheherazade by Fried (Polydor), Albeniz’s Iberia by Arbos (Colum- bia), de Falla’s El amor brujo by Morales (Col- umbia) and Bernard (Brunswick), Charpen- tier’s Impressions of Italy by the composer (French Clumbia and Pathe-Art), Respighis Trittico Botticelliano by Bernard (English Brunswick), Debussy’s La Mer by Coppola (French H. M. V.), and Ravel’s Mother Goose suite by Inghelbrecht (Pathe-Art). For convenience the remaining orchestral re- cordings will be grouped as overtures, miscellan- eous two-disk and miscellaneous single-disk works, by conductors instead of by composers. The over- ture list is very extensive, but the more important works were: Stokowski: Russian. Easter - Romeo and Juliet*; Weissmann: Freischutz—Se- miramide—Barber of Seville—Preciosa Mari- narella—Entfiihrung aus dem Serail; Dr. Blech: Euryanthe—Ballo in Maschera—Cosi fan tutte— Zar und Zimmermann— Masaniello—White Lady (some of which appeared only in the Victor “In- ternational” supplements) ; Mengelberg: Ober- on*; Max von Schillings: Manfred—Egmont— Die Meistersinger; Bodanzky: Tannhauser (Odeon) and Oberon (Parlophone) ; Muck Tann- hauser* (German H.M.V.) ; Bruno Walter: Par- sifal and Magic Flute*; Hertz: Leonora No. 3 and Phedre; Wood: Fingal’s Cave and William Tell; del Cupola: Gazza Ladra*—Sicilian Vespers (Victor) : Verbrugghen: Tannhauser and Roman Carnival Rosenstock: Roman Carnival (Odeon) and Leonora No. 3 (Parlophone) ; Molajoli: Tut- ti in Maschera—Semiramide—Matrimonio Se- greto (Italian Columbia), and Forza del Destino (American Columbia); Shilkret: Zampa Fledermaus*—Forza del Destino; Bourdon: If I Were King and Fra Diavolo; Guarneiri: Vestale (Odeon) and Daughter of the Regiment (Fono- tipia) ; Sargent: Patrie—Children’s Overture— Rosamunde; Toscanini: Traviata preludes*; Stock: Russian and Ludmilla; Weingartner: Freischutz (English Columbia); Gurlitt: Gazza Ladra; Pruwer: Les Huguenots (Poly- dor) ; Cloez: Patrie—Fingal’s Cave—Freischutz (French Odeon) ; Schalk: Leonora No. 3 (H. M. V.) ; Ruhlmann: Fingal’s Cave and Oberon (Pathe-Art) ; Pierne: Benvenuto Cellini (French Odeon). Miscellaneous two-disk releases: Stokowski: Capriccio Italien*, Koussevitzky: Daphnis et Chloe, Stock: Bach suite in B minor, Morike: Die Moldau*, Coates: Till Eulenspiegel and Les Preludes (the latter for H. M. V.), Rabaud: Ma- rouf ballet (Columbia) and La Procession Noc- turne (French Columbia), Arbos: Three Corner- ed Hat dances; Goossens: second Arlesienne suite and Granados’ Spanish dances; Blech; Liszt’s first Hungarian Rhapsody (H. M. V.), Oskar Fried; Mazeppa and Les Preludes (Polydor), Shilkret: An American in Paris* and New Years in New York; Weissmann: Popy’s Oriental suite* (Odeon) and Corelli’s Concerto Grosso No. 8 (Parlophone), Dohnanyi: Liszt’s 1st Hungarian Rhapsody (Columbia), Cloez: Romeo Alone and the Ball at the Capulets—Night on Bald Moun- tain—Capriccio Espagnole (French Odeon), De- fauw: Stenka Razin, Chagnon: L’Arlesienne suite (Columbia), Barbirolli: Eine kleine Nacht- musik (Victor) and Elgar’s Introduction and Allegro (H.M.V.), Klemperer: Till Eulenspiegel (Parlophone), Richard Strauss: Eulenspiegel and Don Juan (Polydor), Harty: Capriccio Espagnole (English Columbia), Wolff: Night on Bald Moun- tain and L’Apprenti sorcier (Polydor), Bourdon: Skilton’s Indian Dances (Victor Educational), Beecham: Brigg Fair* (English Columbia), Toye: In a Summer Garden (H. M. V.), Coppola: Ravel’s Spanish Rhapsody (French (H. M. V.), Bernard: Corelli’s Christmas Concerto (English Brunswick), Ruhlmann: La Peri (Pathe-Art). One-disk works: Stokowski: Shepherds’ Christ- mas Music, Koussevitzky: Fruhlingsstimmen and Wienerblut waltzes, Beecham: Summer Night on