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

February, 1930 The Phonograph Monthly Review 153 (English Columbia), Schumann’s G minor and Chopin’s B flat minor by Grainger (Columbia), and Chopin’s B flat minor by Lortat (French Col- umbia). Other major piano works: Chopin’s Nocturnes by Godowsky* (Columbia) and Pre- ludes by Lortat (Columbia), nine Bach Preludes and Fugues by Harriet Cohen* (Columbia) and minor English Suite by Samuel (Victor), De- bussy’s Children’s Corner by Cortot* (Victor), Schumann’s Etudes Symphoniques by Grainger (Columbia) and Casadesus (French Columbia) —Kinderscenen by Fanny Davies (English Col- umbia)—Carnaval by Cortot (H. M. V.), two Mozart’s Fantasias and Liszt’s Funerailles by Hirt (Polydor), a series of Debussy preludes by Ciampi and a series of Chopin, Schumann, etc., pieces by Francis Plante (both from French Columbia). Single disks arranged by pianists: Bachaus: Bohemian Dance and Caprice Espagnole*—Schu- bert Impromptu and Moment Musicale; Bauer: Clair de Lune and Novellette*—Bach Chorale and Chopin A flat Impromptu*—Brahmis Capriccio and Grieg Albumblatt; Brailowsky: Fire Dance and Scriabin pieces (Polydor); Gieseking: De- bussy Arabesques* (Hoimocord); Godowsky: Rondo Capriccioso and Rigoletto Paraphrase (Brunswick); Goll: Bach suite* (Brunswick); Gruen: Fountain of the Acqua Pola and Beauty and the Beast (Roycroft); Myra Hess: Bach Toccata Allegro and Prelude and Fugue in C sharp minor*—Fire Dances and The White Pea- cock; Hilsberg: Scriabin etude and Chasins Pre- lude and Rush Hour in Hong Kong* (Bruns- wick) ; Kentner; Brahms-Paganini Variations*— Chopin in A flat Impromptu and Fantasie—Im- promptu*—Dohnanyi March and Kodaly Dance —'Debussy Minstrels and General La vine (Edi- son Bell); Muriel Kerr: two Scriabin etudes (Victor) ; Levitzki: Bach-Liszt Prelude and Fu- gue in A minor* (Victor); Miinz: Piece en forme de Habanera and Scriabin etude* (Homocord); Paderewski: Schumann’s Prophet Bird; de Pach- mann: Chopin Nocturne and two Mazurkas*; Pouishnoff: Polka and Rosamunde ballet music (Columbia); Rosenthal: four Chopin preludes and two etudes* (Edison); Wilhelm Schwartz: Schumann’s Papillons (Homocord) ; Isabelle Yal- kowsky: Alt-Wien and Debussy Prelude (Vic- tor) ; Richard Zollner: Scriabin Waltz and Boc- quet Souvenir (Homocord). Miscellaneous instrumental disks: Viola: Bax Phantasy for viola and harp by Jermy and Kor- chiuska* (N. G. S.); Delius’ Sonata No. 2* (Eng- lish Columbia), Mozart Sonata excerpts and smaller pieces played by Lionel Tertis (Colum- bia). Flute: Handel’s Sonata No. 3 and Bach’s Sonata in E flat by le Roy and Long (N. G. S.); Carnival of Venice by Emil Prill with orchestra (Odeon). Cornet: Carnival of Venice and Napoli by Del Staigers with Goldman’s Band (Victor). Organ: Introduction and Fugue fronr Liszt’s fantasia on “Ad Nos Salutem” by Fernando Ger- mani (Victor); Franck’s Pastorale and Toccatas by Boellmann and Gigout by Edouard Commette (Columbia); Air from Bach’s Suite in D and the finale of Mendelssohn’s first organ sonata by Dupre (Victor). These were the only American releases to be singled out, but of course many notable organ recordings continued to find re- lease in England and on the continent. The leading band records were Moussorgsky’s Persian Dances and Franck’s Offertory by the Royal Belgian Guards* (Victor), Dance of the Tumblers and Goliwogg’s Cake Walk by the B. B. C. Band* (Columbia), Golden Jubilee and Riders of the Flag marches by Sousa* (Victor), Colonel Bogey and Field Artillery marches by Katzman* (Brunswick), American Patrol and Semper Fidelis by the Victor Band, Mefistofele Prologue and Selections by Creatore (Victor), Variations on a Swiss Theme by the Garde Re- publicaine (Columbia), and the series of “Mo- tivi” from Italian operas played by the Royal Italian Marine Band for Victor. In the light orchestral series Dajos Bela and Marek Weber retained their old positions of su- premacy, but Edith Lorand played a less conspicu- ous part. Dr. Becce’s Terra-Symphony and Ed. Levitow’s Concert Orchestra were newcomers of genuine talents. Dajos Bela; Rapsodia Portuge- sa—Fantasy on I Kiss Your Hand Madame*— Medley of Famous Waltzes—Tango de Amor and Carmencita Tango* ,(Odeon) ; Marek Weber: Merry Widow Fantasy*—Bouquet of the Season’s Hits—St. Petersburgh Sleigh Ride (Victor); Dr. Becce: Merry Widow Selections*—Divorcee Selections* (Odeon); Paul Whiteman: Tchaikow- skiana (Columbia; Orquesta International de Concierto: La Leyenda del Besco* (Victor) ; Plaza Theatre Orchestra; Bal Masque and Busy Bee (Columbia); Le Maire Orchestra: Memory of Chopin (Columbia); Victor International Orchestra: Chocolate Soldier and Dollar Princess Medleys (Victor); Hungarian Rhapsody Orches- tra: Life in Hungary* (Victor); Ed. Levitow’s Concert Orchestra: Softly as in a Morning Sun- rise and Blue Hawaii* (Edison); Brunswick Concert Orchestra: Dance of the Hours and Lust- piel Overture (Brunswick). In the popular operetta series the Victor Light Opera Company was heard in medleys from New Moon, Follow Thru, Hold Everything, and Whoo- pee; Shilkret and the Victor Salon Group con- tinued ' their salon album series with Schubert and Ethelbert Nevin miscellanies; A1 Goodman’s Orchestra and the Colonial Club recorded medleys from Hold Everything, Follow thru, On With the Show, Hollywood Revue, etc., for Brunswick. The leading dance and popular vocal and in- strumental records are dealt with elsewhere in this issue by “Rufus.” Finally, these elaborate lists may be concluded with references to the notable series of lecture records, led by those from the International Edu- cational Society released through the examples of Columbia Company, and followed by examples of American Speech (Victor Educational), Talks on Melody by Sir Walford Davies (H. M. V.),