Phonograph Monthly Review, Vol. 4, No. 7 (1930-04)

April, 1930. The Phonograph Monthly Review 219 Kartun; Schubert’s Serenade and Grieg’s Ich Liebe Dich sung by Emmy Bettendorf; a choral version of Roses from the South Waltz by the Sieber Choir; and arias from Don Juan and the Barber of Seville sung by Julian Guiliani. Miscellaneous British releases of special note: Walton’s Facade by Edith Sitwell, Constant Lam- bert, and orchestra (Decca) ; Liszt’s Thirteenth Hungarian Rhapsody played by Newman’s Sym- phony Orchestra (Winner); Infante’s Gracia and a Spanish folk dance played by Rae Robertson and Ethel Bartlett—two pianos (Homocord). In France the Columbia Company issues the first recording of Chopin’s Piano Concerto in F minor, played by Marguerite Long,—a recording that is acclaimed as the most successful yet made of that difficult combination, piano and orchestra. Miss Long also plays Chopin’s great Fantasie in F minor for solo piano. Miguel Cadilla plays Saint-Saen’s Third Violin Concerto with the or- chestra of the Paris Conservatory. Ricardo Vines, pianist, pays Albeniz’ Torre Bermeja and Debussy’s Soiree dans Grenade. Miscellaneous French releases: Schmitt’s Tragedy of Salome conducted by Piero Coppola (French H. M. V.) ; Ravel’s Bolero, the Introduc- tion and from the Coq d’Or Suite conducted by Albert Wolff (Polydor) : Chabrier’s Espana con- ducted by Pierne (French Odeon) ; a series of piano pieces, ipany of them original composi- tions, played by Emil von Sauer (Pathe-Art); the Overture to Bach’s 8th Cantata and the last movement of the second Bach Concerto for two pianos, played by Wiener and Doucet (French Columbia). The splendid publicity that the phonograph and records have been given lately in the news- papers and magazines is now augmented by a little monthly magazine, “Disques”, published by the H. Royer Smith Co., of Philadelphia. Mr. Smith, one of our most energetic and able dealers and importers, and one of the first of the large dealers to support The Phonograph Monthly Review, has for some time been issuing descrip- tive record bulletins of more than ordinary in- terest. They have proved so popular that Mr. Smith has decided to elaborate them into a regu- lar monthly publication devoted to reviews and comment on current domestic and imported rec- ords, and short articles on phonographic and musical subjects. The first number, March 1930, is distinguished by its exceedingly attractive printing and make-up, as well as by the informa- tive value and brilliance of its contents. It is a pleasure to welcome so brilliant a contemporary. We congratulate Mr. Smith, and advise our read- ers make an acquaintance with “Disques.” Our own editorial efforts have recently been extended by the inauguration of a series of broad- casts of recorded music, given every Sunday af- ternoon over Station W H D H of Boston and Gloucester. Our first program! was devoted en- tirely to disks by Dr. Stokowski, but all the lead- ing recording companies and artists will of course be represented impartially in future con- certs. At first, our programs will consist largely of lighter concert works, and semi-classical music, but if the response warrants, more elaborate works will be introduced. Station WHDH is giving us splendid co-operation and we are con- fident that these broadcasts will do much to pro- mote the phonograph movement and the sale of fine records. We trust that our New England readers will “listen in” and let us know how the concerts come over the air. Some Representative French Records By ROBERT DONALDSON DARRELL A RRIVING in France after our phono-musi- Z\ cal journeys through Russia and Spain it i V promptly became evident that no survey of recorded French music could approach even the comparative comprehensiveness of the earl- ier studies and still remain within the practi- cable bounds of a magazine article. French musical literature is so extensive and the phono- graph companies—particularly those in France —have been so energetic in recording it that an obese book could scarcely encompass more than a mere listing of their available releases. Consequently this brief survey is constructed on a plan quite different from that of its prede- cessors. There are so many important com- posers that there will be barely space to call the roll, indicating beside each name the general ex- tent of his recorded works, and giving only one or a few of the most representative disks. Composed music only is considered, for the phonographic repertory of French popular and folk music requires an independent study, and the material for such an article is not easily come by. Except for a few of the better known carols and folk songs the golden store of older miusic seems almost untouched. The French cata- logues contain a few examples and the catalogue of the Victor Educational Department a few more—I might cite the two old noels arranged by Gavaert (Les Anges dans nos campagnes and