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

February, 1930 The Phonograph Monthly Review va EL-i — l --- 1 1 1 . - the River*, Coates: Prince Igor ballet music— Czar Saltan suite—Handel-Elgar Overture* (odd side of Tod und Verklarung)—and Bach-Elgar Fantasy and Fugue in C minor* (H. M. V. only), Bourdon: Evolution of Dixie*—Jewels of the Ma- donna intermezzos—Turkey in the Straw and Irish Washerwoman—Juba Dance and From the Canebrake, Coppola: Espana*—Rugby—Albora- do del Gracioso, Harty: Hungarian Dances Nos. 5 and 6, Arbos: Procession del Rocio and Noche de Arabia, Mengelberg (and N. Y. Philharmonic Symphony) : Rouet d’Omphale, Coronation March and War March of the Priests, Shilkret: Ameri- can Sketches* and Song of the Bayou—Skyward (see also Nevin and Schubert albums), Toscani- ni: L’Apprenti sorcier, Klemperer: Salome’s Dance* (German H. M. V.), and Invitation to the Dance (Parlophone), Weingartner: Invitation to the Dance, Collingwood: Shepherd’s Hey and Mol- ly on the Shore (Victor), Wood: Finlandia, Blech: Liszt Polonaise (German H. M. V.), Ver- brugghen: Fledermaus Csardas, Weissmann: Hurrah! Here Comes the Music and Rendezvous at Lehar’s, C 1 o e z : Strawinski’s Fireworks (French Odeon), Strawinski: Pulcinella excerpts, Ansell: Lord Berner’s Fugue (Decca), Maddy: Cripple Creek and Heart Wounds (Victor Educa- tional), Inghelbrecht: La Nurserie* (Pathe- Art). Busch: Egyptian Helen excerpts (Odeon). Recorded operas, complete or nearly so: Aida and Carmen from both Victor and Columbia, the American releases of Tristan and Isolde (Colum- bia), Madame Butterfly (Columbia), Traviata, (Columbia and Italian H. M. V.), Rheingold and Siegfried excerpts (H. M. V.), Gotterdamme- rung (Victor), Parsifal Act III (H. M. V.), Die Meistersinger excerpts (German H. M. V.), La Boheme (English Columbia), Manon (French Columbia), Tosca, Barber of Seville (Italian Columbia), L’Heure Espagnole (French Colum- bia), Pirates of Penzance (Victor), Trial by Jury (Victor), Yoemen of the Guard (H. M. V.). Men- tion should also be made of the German H.M.V. series of “abridged operas”—Hansel und Gretel, Die Freischiitz, Merry Wives of Windsor, etc. Choral works: Bach Mass in B minor* (H.M. V.), Semana Santa en Sevilla (Spanish H. M. V.), Brahms Requiem excerpts (German H. M. V.), Sea Drift (Decca), Gregorian Church Mu- sic album by the Anthem Choir of Dortmund, Monteverde’s Lagrime dell’ Amante al Sepolcro (Italian Columbia), Missa Papae Marcelli* (Vic- tor Educational), Boris Godounow Prologue and Polonaise* (French Columbia), Boris Godounow excerpts* (Victor and H. M. V.), choruses from Honegger’s King David (French Odeon), Elijah excerpts (H. M. V.), the Metropolitan Opera House Choral series—particularly the Soldier’s choruses from Norma and Trovatore (Victor), the madrigal series by the St. George Singers* (English Columbia), Dudley Buck’s Festival Te Deum (Victor), two Russian folksongs by the Kedroff Quartet (Columbia), de Lassus’Matona mia cara by the Motet and Madrigal Group* (Victor Educational). Larger vocal works: In a Persian Garden (English Columbia), Stainer’s Crucifixion (Eng- 151 ==I<3V lish Columbia), Schumann’s Frauenliebe by Lotte Lehmann (Parlophone), Schumann’s Dichterliebe by Thomas Denjs (Dutch H. M. V.), Georg Hen- schel’s lieder album (English Columbia), Ra- vel’s Scheherazade by Mme. Gerar (French H.M. V.), Schubert’s Winterreise and Schwanenge- sang cycles by Hans Duhan (Czecho-Slovakian H. M. V.). Duets, ensembles, etc.; Gypsy Baron and Fled- ermaus finales* by Tauber-Lehmann—Branzell— Seinemeyer, et al (Odeon), Mira 0 Norma by Rosa Ponselle and Marian Telva* (Victor). Tem- ple Scene from Aida by Pinza—Martinelli, et al (Victor), Church Scene from Faust by Beaujon and Bourdon (Columbia), Garden Scene from Faust by Easton and Chamlee (Brunswick),Pag- liacci—Nedda Silva! by Belmas and Fassbander (Brunswick), Negro Exaltations by Kerby and Niles* (Roycroft). As it is practicable to consider only American releases among the luxuriance of vocal record- ings, many European disks of unusual distinc- tion are perforce excluded. But I cannot forbear making at least passing reference to the splendid H. M. V. series by Anday, Ljunberg, Jokl, and other soloists with the Berlin State Opera Or- chestra or Vienna Philharmonic. Also the H. M. V. disk of four Ayres (Dowland, etc.) sung to the original lute accompaniments by John Goss. Outstanding American vocal disks, arranged by artists, alphabetically: Elsa Alsen: Du Ring and Seit ich ihn gesehen (Columbia) ; Ivar An- dresen: Heil Konig Heinrich* (Odeon) ; Florence Austral: Brahms Requiem excerpt*—Senta’s Ballad (Victor) ; Emmy Bettendorf: Senta’s Bal- lad (Columbia); Lucrezia Bori: Connais tu le pays and Mignon Gavotte*—Malaguenas and Clavelitos* (Victor) ; Sophia del Campo: L’Eclat de Rire and Gentile di cuore—El Majo Discrete and Yo Ya Sabia* (Victor) ; Caruso: Bois Epais and Premiere Caresse*—Addio and Deh ch’io ritorni (Victor— acoustically recorded) ; Anna Case: Angels Ever Bright and Fair and Non so piu cosa son (Columbia) ; Chaliapin: Leporel- lo’s aria*—two Schubert songs (Victor) ; Rich- ard Crooks: Preislied and Lohengrin’s Narra- tive (Victor) ; Margarite D’Alvarez: Tus Ojillos Negros and Zagalina* (Victor) ; Jessica Drago- nette: operetta and popular songs series* (Bruns- wick) ; Clair Dux: Little Star (Brunswick) ; Florence Easton: By the Waters of Minnetonka (Brunswick); Yvonne Gall: La Priere and 0 doux nid (Columbia) ; Gigli: 0 Paradiso and M’Appari (Victor); Kipnis: Konigs Gebet— Brahms lieder (Columbia) ; Kisselburgh: When Dull Care and Some Rival—By a Lonely Forest Pathway (Columbia); Nina Koshetz; three Gretchaninow songs* (Victor) ; Hulda Lashan- ska: Komm siisser Tod—Morgen and Widmung and Auf Fliigeln des Gesanges* (Victor) ; Lotte Lehmann: An die Musik and Sei mir gegrixsst (Columbia) ; Frida Leider: Leonora’s aria (Vic- tor) ; Martinelli: Celeste Aida* (Edison); 01- czewska: Ombre mai fu and Che faro senza Eu- ridice* (Victor) ; Onegin: Du bist die Ruh’ and Lorelei*—Allelujah and Brindisi*—arias from Les Huguenots and Le Prophete* (Victor) and