Phonograph Monthly Review, Vol. 4, No. 6 (1930-03)

c MUSIC LOVERS’ Published by THE PHONOGRAPH PUBLISHING CO., Inc. General Offices and Studio: 47 Hampstead Road, Jamaica Plain, Boston, Mass. Telephone Jamaica: 5054 : Cable Address: “ Phono ” THE PHONOGRAPH MONTHLY REVIEW appears on the twenty-eighth of each month. All material is fully protected by copy- right and may be reproduced only by permission. Yearly subscription price $4.00 in the United States and $5.00 in Canada and other foreign countries, postage prepaid. Single copies 35 cents. All communications should be addressed to the Managing Editor at the Studio, 47 Hampstead Road, Jamaica Plain, Boston, Mass. All unsolicited contributions must be accompanied by a self-addressed, stamped envelope. All checks and money orders should be made out to THE PHONO- GRAPH PUBLISHING CO., Inc. General Review T HE new Columbia Masterworks sets in- clude the long-awaited Tchaikowsky Violin Concerto, in an intensely vigorous and effec- tive performance by Bronislaw Huberman with the Berlin State Orchestra under Steinberg, and Brahms' Quartet in B flat played by the Lener String Quartet. The latter set and the fifth re- lease in the operatic series, La Boheme, have not reached us in time for review in this issue. Of special interest is the electrical version of Les Preludes which we have so long expected from Mengelberg. Perhaps my expectations were un- duly high, for while the new disks give a bril- liant and vigorous recording of Mengelberg's justly celebrated reading, I cannot feel that his full powers are exhibited here as they are so brilliantly in Tchaikowsky's Fifth Symphony and the Oberon Overture. As an interpretation, the old acoustical recording of Les Preludes still re- mains incomparable. The Columbia standard and celebrity series in- clude the Coronation March from The Prophet and a Dance of the Waves from Loreley played by the Orchestra of La Scala Theatre under Mola- joli; a new record by that admirable pianist, My- ra Hess, heard in a Brahms Capriccio and two Mendelssohn Songs Without Words; Tchaikow- sky's Chanson Triste and Chant Sans Paroles in viola arrangements by Lionel Tertis; two novel 'cello pieces in Spanish idioms—Ravel's Piece en forme de Habanera and Nin's Granadina—played by Horace Britt, and Irish songs by William A. Kennedy. A later release, which has not yet reached the Studio as I write, lists the Miserere from II Trovatore and the Act Three Quartet from La Boheme, with Arangi-Lombardi, Pam- panini, Borgioli, etc; Mayerl's Sennen Cove play- ed by the Court Symphony Orchestra; two Car- men Entr'actes by the Band of the Garde Re- publicaine; Rolling Down to Rio and a Border Ballad sung by Fraser Gange; and 'cello solos by Felix Salmond. The February 25th Odeon release is not yet at hand, but its feature is Otto Klemperer's per- formance of Strauss' Till Eulenspiegel. Dajos Bela and his Orchestra are well represented by two light ballet pieces, Butterflies and Wedding of the Marionettes, a coupling of their inimitable tango performances, Ines and Mubeh, and again with a two-part recording of Komzak's Night- Life in Vienna. Cancato, Castagna, Ciniselli, and Righetti join forces in the Quartetto del Giardino from Boito's Mefistofele, conducted by Panizza (three parts) ; on the odd record side F. Autori, bass, sings Mephistopheles’ Serenade from Gou- nod's Faust. All three album sets on the Victor list have an especial seasonal interest. Stainer's famous ora- torio, The Crucifixion, is sung by Richard Crooks, Lawrence Tibbet, etc., with the Trinity Choir and Mark Andrews, organist. The third act of Par- sifal, recorded almost completely, is added to the See last page for Table of Contents Copyright, 1930, by the Phonograph Publishing Company, Inc.