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

182 The Phonograph Monthly Review March, 1930 rapidly growing Wagnerian series. Dr. Karl Muck is the conductor with the Berlin State Opera Orchestra and distinguished soloists of the Berlin State Opera. The third album, is devoted to the Gregorian Chant, with the entire Ordinary of the Mass recorded by the Pius X Choir, College of the Sacred Heart, directed by Justine B. Ward. The outstanding release from Victor, perhaps the outstanding record of the month, is that of two of Sousa’s best marches recorded by none other than Dr. Stokowski and the Philadelphia Symphony, on which I shall comment at the con- clusion of these usual summaries of the month’s records. The remaining Victor disks include a new Segovia release (arrangements of a Bach Prelude, Allemande, and Fugue for guitar), Al- beniz’ Tango and Schumann’s Aufschwung play- ed by Wilhelm Bachaus, the Passover Scene from La Juive sung in magnificent fashion by Mar- tinelli and the Metropolitan Chorus and Orches- tra, excerpts from Carmen and Der Freischiitz by the Metropolitan Chorus and Orchestra alone, two Faust arias sung by Elisabeth Rethberg, Schubert’s Erlking and Arditi’s Leggiero Invisi- bile sung by Schumann-Heink, two ten-inch disks of excerpts from the Rogue Song by Lawrence Tibbett, Beethoven’s Creation Hymn and Prothe- roe’s Laudamus sung by the Associated Glee Clubs of America at Madison Square Garden, Victor Herbert’s Irish Rhapsody in a spirited and sympathetic performance by Shilkret and the Victor Symphony, and waltzes from Sari and the Waltz dream by Shilkret and the International Novelty Orchestra. Brunswick continues its brilliant work with the second series of International Hall of Fame releases, announced last month and reviewed in this issue, topped by a splendid abridged ver- sion of Lohengrin. The third series currently announced is even more significant, containing the Polydor recording of Beethoven’s Missa Sol- emnis conducted by Bruno Kittel, Albert Wolff’s brilliant record of the Interlude and Dance from de Falla’s La Vida Breve, the Coronation Warch from The Prophet and Rubinstein’s Toreador et Andalouse conducted by Julius Priiwer, Liszt’s second Hungarian Rhapsody conducted by Julius Kopsch, and a fine disk of organ solos played by Alfred Sittard on the organ of St. Michael’s Church, Hamburg (reviewed sometime ago in these pages from the Polydor pressing). In the domestic series is a new record by the capable Australian pianist, Edward Goll (Juon’s Hum- oresque and Sauer’s Espenlaub Study), songs by Michael Bohen (Konigs Gebet from Lohengrin and Drinking Song from Der Freischiitz), an in- genious transcription of Handy’s St. Louis and Beale Street Blues conducted by Louis Katzman, and a march disk (King Cotton and Jolly Cop- persmith) by the Century of Progress Band— chosen the Official Band of the Chicago World Fair, 1933. The customarily extensive popular and dance lists are issued by all four leading companies. Turning to the supplements issued by the for- eign departments of the four companies, we have from Victor the following works of outstand- ing interest: Morning Noon and Night Overture conducted by Heger, Don Juan Overture conduct- ed by Schmalstich, the final scene of Andrea Chenier sung by Sheridan and Pertile with La Scala orchestra under Sabajno, Hubay’s Violin Maker of Cremona and Berceuse played by the composer, a four-part Pearl Fisher Selection by Creatore’s Band, tango records by Marek Weber’s Orchestra, stirring versions of La Marseillaise and Marche Lorraine sung by Willy Tubiana, Hungarian national anthems by a male chorus of one-hundred voices, marches by the Orchestre Francais and the Royal Italian Marine Band, and Spanish songs by Tirado. Of special note on the Columbia list are re-issues of the Espana and Estudiantina waltzes by Jacques Jacobs’ En- semble, and Mozart’s Ave Verum and Schu- mann’s Traumerei by the Catterall String Quar- tet—one of the best introductory chamber mu- sic disks for educational work. Also waltzes by the Colonial Orchestra, Boheme and Cavalleria Rusticana arias by Scacciati and Arangi-Lom- bardi, and the usual long Irish list. Brunswick issues many noteworthy disks in the Italian, Mexican, Porto-Rican, and Central American classifications, Odeon’s headliners are songs by Richard Tauber (Tosti’s Serenade and Leoncaval- lo’s Mattinata), ballads by Gerard Hiisch, piccolo- flute duets (in the German list), and marches by the Banda di Milano. The feature of the British releases is easily the English Columbia Company’s issue of Tchai- kowsky’s fourth symphony played by Mengel- berg and his Amsterdam Concertgebouw Orches- tra, who made so magnificent a recording of the fifth. The same company lists also the third Bach Suite (D major), played by Defauw and the Brussels Royal Conservatory Orchestra, and on the odd record side of the set, a Corelli Sara- bande by Arbos and the Madrid Symphony. Sir Dan Godfrey conducts the Bournemouth Munici- pal Orchestra in novelty pieces featuring marim- ba and xylophone solos; Prime Minister MacDon- ald speaks on Robert Burns, “A Man Amongst Men;” Albert Sammons plays Estrellita and from the Canebrake; Yelly D’Aranyi plays Drd- la’s Souvenir and the eighth Brahms Hungarian Dance; Irene Scharrer plays Liszt’s twelfth Hun- garian Rhapsody; Margaret Kennedy is heard on a new record of Songs from the Hebrides; Ivar Andresen sings a two-part version of Tom der Reimer; and Norman Allin sings two Purcell airs (Neptune’s Air and Ye Subterranean Winds.) The H. M. V. orchestrals include Arnold Bax’s Tintagel and Mediterranean conducted by Eu- gene Goossens, the overtures to Euryanthe and The Operaball conducted by Dr. Blech, the Fled- ermaus Waltz by Erich Klieber and the Vienna Philharmonic, Liszt’s Piano Concerto in E flat by Levitzki with Ronald and the London Symphony, Turkish Marches by Mozart and Beethoven con- ducted by Karl Alwin with the Vienna Philha,r- monic. For chamber music there are Dohnanyi’s Quartet in D flat played by the Flonzaleys and