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

February, 1930 The Phonograph Monthly Review 175 I believe that this is the first release of Raisa and Rimini in duet since their praised recording of La Dove Prende from the Magic Flute. The Mascagni duet comes off well, although the high intense vocal line of the soprano, sung with fine ringing tone, overshadows Rimini’s singing, more than a trifle shaky for all its robustness. However, he shouts lustily enough in the Trovatore excerpt. The re- cording is good and the accompaniments unobtrusively com- petent. Columbia (Italian list) 43001-F (DIO, $1.00) Mignon—Non conosci II Bel Suol, and Carmen—Habanera, sung by Ebe Stignani with orchestral accompaniments. This is a re-pressing from Italy where Mme. Stignani enjoys considerable repute. Her voice is not overly- ample nor highly individual, but she employs it skillfully enough. The Habanera comes off effectively, rather more so than the more lyrical Mignon air. Columbia (Italian list) 43002-F (DIO, $1.00) Iris—Sere- nata, and Tosca— Recondite Armonie, sung by Alessandro Granda with orchestral accompaniments. Granda was represented in the special^ Columbia Italian operatic release reviewed in last November’s issue. He sings competently here, but again the fine orchestral playing steals the honors from the soloist. Columbia (Italian list) 3832-X (D10, 75c) Pagliacci—Pro- logo, sung by Enrico Molinari with orchestral accompani- ment. Molinari made some of the best of the special Columbia Italian records released last November, but here he shows to somewhat less advantage. He shows a tendency to force his own voice, without however achieving much real vigor to' the singing. The orchestra is more subdued than the effectivness of the music would call for. Brunswick 15213 (D10, 75c) Tosti: Ideale. and Buzzi- Peccia: Paquita, sung by Mario Chamlee with orchestral accompaniments. Puzzi-Peccia’s Spanish serenade is the sort of thing done so well by Tauber that other tenors labor under a severe handicap before they even begin. Chamlee over- sings somewhat, but not to excess. The Tosti song is more effective in frankly Italianate fashion. The recording is less vigorous than the average. Brunswick 15214 (D10, 75c) Grieg: Solvejg’s Song, and Rimsky-Korsakow: Song of India, sung by Florence Eas- ton with orchestral accompaniments. Miss Easton’s refreshingly unaffected performances are always worth hearing. She may not always bring fresh color and life to over-familiar material, but her singing is invariably too musicianly and graceful to be methodical. Both songs here are done in very quiet, subdued fashion to unobtrusive accompaniments. The tonal values are pleasing as is the simple directness of the performance^. ^ Light Orchestral Odeon 3278 (D12, $1.25) Maillart: “Chimes of *h e Her- mit Overture,” played by Lorand’s Orchestra, and Berceuse de Jocelyn, played by the Edith Lorand Trio. The berceuse is played very suavely indeed with promi- nent passages for organ and Miss Lorand’s own solo vio- lin. The Chimes of the Hermit turns out to be a quaisi- overture of conventional light cast. The recording is good on both sides; the playing is somewhat mannered. Odeon (German list) 85219 (D12, $1.25) Eilenberg: Die Muehle im Schwarzwald and Das erste Herzklopfen, by the Grosses Straichorchester mit Chor. Here again the pieces are unashamedly salon, but the performances are so smoothly turned without being over- luscious or languid that one is almost persuaded to accept the warbling nightingales and cuckops. The vocal parts are sung very deftly and the recording is first rate. All in all the disk presents a certain type of music at its best. Those who have a natural weakness for it will find this record unalloyed delight. Odeon 3281 (D12, $1.25) Kalman: The Czardas Princess- Selections, played by Dajos Bela’s Orchestra. The playing alternates in characteristic fashion between briskness and suavity. The music is pleasing but hardly distinctive. A disk typical of Dajos Bela’s routine perform- ance rather than his top-notch ones. Victor (International list) 35995 (D12, $1.25) I’m Forever Blowing Bubbles and My Buddy Waltz, played by Nat Shilkret and the International Orchestra. Mr. Shilkret unearths two hits of several years ago and dresses them up very lushly. The playing is of good warm tone and quite sonorous, but syrupy to an extreme. For further sweetness there are solos for the “musical saw” and “harmony whistling.” Victor (International list) V-50018 (D12, $1.25) Verdi: Masked Ball—Grand Fantasy, played by Marek Weber’s Orchestra. A good example of Weber’s easy skill with operatic pot- pourris. The playing is graceful and piquant throughout, refreshingly free from either bombast or over-ripeness. The recording does justice to the orchestra’s nice feeling for tonal values. Victor 35998 (D12, $1.25) Pagliacci—Fantasy (arr. Tav- an), played by Marek Weber’s Orchestra. Reviewed last month from the International pressing, Victor V-50017. The playing is more typical of the general run of potpourri performances than that in the Masked Ball Fantasy,—highly spirited tuttis alternate with bland violin or ’cello solos. Victor 22228 (D10, 75c) Tap Dance Medley, and S. R. Henry: By Heck—Tap Dance, played by the Victor Novel- ty Orchestra. Tap dancing is something of an excellent sport (and vigorous exercise) as well as a fad or business. I under- tand it is steadily growing in popularity among amateurs, and the present record is evidently intended to meet the demand for suitable music. It does so very ably. The medley is a fine one based on such tried and true favorites as Swanee River, Strolling Through the Park, Skirt Dance, and Cuddle Up a little Closer, played in very catchy fash- ion and with well-placed breaks. By Heck, as one night g. ther from the title, is in more vigorous back-country style embellished by rustic “effects” that are not unpleasant- ly obtrusive. A splendid disk for every tap dancer. Victor (International list) V-26 (D10, 75c) Hora—Rou- manian Fox Trot and You are Looking Beautiful Today, Madam— Tango, played by Dol. Dauber’s Jazz-Symphony and Dance Orchestra. Dauber’s resoundingly named band purveys a stimulating brand of European dance music, as good of its kind as I have come across. The instrumental tone is ^ erv pleasing and the various effects and solos are highly piquant,—the fiddling in Hora carrying off first honors. The pieces them- selves are gay and highly danceable. Victor (International 1st) V-28 (D10, 75c In a Little Cafe— Tango, and Your Red Lips—Fox Trot, played by Marek Weber’s Orchestra. Webers jazz is more Americanized than that of Dauber's. The tango is not overly striking, but the fox trot is at- tractive in a quiet way, and boasts some sparkling cornet work. Columbia (International list) G-12123-F (D10, 7oc) Su- bow: Two Russian Romances, and Bakalainikow: Have Pity On Me, nlayed by the Baka String Orchestra. “String Orchestra” is the literal translation of “Streich- orchester,” but it does not signify "that the ensemble is com- posed exclusively of strings. The term is applied to a band that has been augmented by string choirs; this particular group sounds more on the order of a novelty sa ^ 01 J °i*” chestra. There are bells and balalaikas and honeyed .fiddle solos, all on the accepted order, even to the introduction of a snatch from the Volga Boatmen’s Song. The pieces are pleasing after their kind and played with fairly good tone, including a genuine pianissimo which is more than can be said of most disks of this type.