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

The Phonograph Monthly Review 183 March, 1930 Mendelssohn's Octet in E flat by the International String Octet. Instrumentals: Bach's Passacaglia and Fugue in C minor played by Marcel Dupre on the Queen's Hall Organ, Haydn's Sonata in D played on the harpsichord by Violet Gordon Woodhouse, Franck's Prelude Choral and Fugue played by Cortot, Liszt's tenth Hungarian Rhap- sody by Hambourg, Boellmann's Suite Gothique by Reginald Goss-Custard on the Queen's Hall organ, Chopin's A flat Waltz and Schubert's A flat Impromptu by Arthur Rubinstein, Mozart's Menuet in D and Paganini's Caprice No. 13 by Albert Catterall, making his debut under the H. M. V. label. Vocals: Dio! mi potevi scagliar and Deathscene from Otello sung by Zanelli with La Scala Or- chestra under Sabajno, the Wahn Monologue from Die Meistehsinger by Schorr with the Berlin State Orchestra under Blech, arias from Tosca by Inghilleri and Dua, the Pagliacci Prolugue by Arrnand Crabbe with an orchestra conducted by Coppola, Dargomwijsky's Old Corporal and Fleg- ier's Le Cor sung by Chaliapin, four sea shanties arranged by Terry sung by Percy Heming, Pur- cell's When I Am Laid in Earth and Mendels- sohns' Oh Rest in the Lord by Leila Megane. Four disks are devoted to recitations from Great English Poets (Shakespeare, Blake, Milton, Keats, etc.) by Basil Maine, Margaret Gowings, and Clifford Turner. Parlophone issues a new recording of Respig- hi's Fountains of Rome conducted by Dr. Weiss- mann, Brahms' Academic Festival Overture con- ducted by Dr. Fritz Stiedry, and the Beautiful Galathea Overture conducted by Bodanzky. Meta Seinemeyer and Sigismund Pilinsky are heard in a two-part version of the Meistersinger Prize Song, Louise Helletsgruber, sings familiar arias from La Boheme, Nino Piccaluga sings Otello's Deathscene and Manrico's aria from the third act of II Trovatore, and Raquel Meller sings two hits from the current Parisian success—Paris- Madrid. Miscellaneous British releases: five Brahms waltzes by Robertson and Bartlett—two pianos (Homocord) ; Midsummer Night's Dream Over- ture conducted by Furtwangler (Polydor) ; Vien- na Blood Waltz conducted by Melichar (Poly- dor) ; a movement from Mozart's Sonata in C for organ and string orchestra conducted by Paul von Kempen (Polydor) ; the Egmont Overture conducted by Clarence Raybould (Regal) ; El- gar's Second Wand of Youth Suite by the Dec- ca Military Band (Decca) ; Schubert's An die Musik and Am Meer sung by Schlusnus (Poly- dor) ; and abridged productions of Der Freis- ehiitz and Die Fledermaus (Polydor). From France comes an interesting report of Ravel’s Bolero, the orchestral sensation of the current season, being conducted for recording by Albert Wolff (for Polydor) with the compos- er himself present and taking active part in se- curing an authentic and effective performance. In connection with the promised comment on this month's Stokowski record, it will be of in- terest to re-print the following paragraphs that appeared in my General Review in the June, 1929, number. In speaking about a current Odeon record of the Guard of Honor and Bedouin marches played by the Grand Odeon Orchestra, I went on to say: “I am sorry that the last disk was not played by what Odeon terms its ‘Grosses Odeon Streichorchester,' which has made such fine records in the past. I wonder how many of our readers have paid attention to the excel- lent series of old country marches played by this organization. I should advise all who are inter- ested in hearing typical old country marches per- formed exactly as by the better class orchestras in Northern Europe to hear march records like Odeon 85195, Hoch und Deutschmeister; 85191, Alten Kamarden; and 85187, Das ist mein Oes- terreich. “Of course we have also excellent American march records played by symphony orchestras; for instance, the Queen of Sheba Cortege and Triumphal March of Grieg played by the Victor Symphony under Pasternack ( Victor 35763), and others. “Some time ago a member of our Staff came to me after he had attended a concert at the Boston Symphony “Pops" where Sousa's Stars and Stripes Forever March was played by the full or- chestra. He expressed his astonishment that a march originally written for band could sound so remarkably well when played by an orchestra. This associate knows when he has heard a good thing. I could inform him that abroad one of the well-known marches played by a full symphony orchestra is among the most popular offerings of the leading concert halls. “This again reminds me of last year when I at- tended a banquet given by the Victor Company at the Plaza Hotel in New York on the occasion of the announcement of their prize contests for the best American symphonic and concert jazz com- positions. Among those present was John Philip Sousa, famous composer of Stars and Stripes for- ever. A large symphony orchestra played at the banquet and when, ambng other arists, Sousa was called upon to speak, at the Toastmaster's request he went to the conductor's platform and led the orchestra in his most noted march. As many times as I have heard this composition played by Sousa himself and numerous others, I must admit that here was something that was never heard before. The orchestra was composed of the leading members of the Victor Symphony, and what a performance! I have never heard such applause before or since. Sousa barely es- caped being carried back to his seat on the should- ers of some of the younger artists present. “One of the leading members of the Victor Company's Repertory Department stated his be- lief to me that all Sousa's marches should be re- arranged and played by good orchestras, instead of the usual bands and inferior small organiza- tions. It has been a custom of the recording companies to have the major symphony orches-