Phonograph Monthly Review, Vol. 4, No. 9 (1930-06)

June, 1930 The Phonograph Monthly Review 293 Bargain Counter By ROY GREGG A survey of the more important music available on black label records / / BSERVER” and Mr. Emil V. Benedict • • I I gave me the idea for this article,—the vy former with his trenchant advice on a carefully planned record purchase program, and the letter with his “tip” on the Victor black label records of Haydn’s “London” Symphony that ap- peared in the Correspondence Column of the May Phonograph Monthly Review. As my own record budget is rather limited (I am a fledgling lawyer, yet to make an income that permits in- ducement of all my desires in the way of new disks), I am building up my library with such works as the “London” Symphony. I am not in- terested in the purchase of ephemera. I want the best music, and whenever possible, as played by the best musicians. But—it is very often that such editions are entirely beyond my means, and I am forced to scout around for versions that are both inexpensive and musically and techni- cally adequate. I dare say that a good many of your readers are able to obtain the best in records regardless of price. I stand in awe before the elaborate libraries of the leading phonophiles, as often de- scribed in the Review. But there must also be may students and persons of moderate means who are in my position of wanting the best, but having to take the cost into very careful consid- eration. With the help of some of my friends’ collections and a careful study of the magazine since it first appeared, I have prepared a list of music by the important composers, available in black label releases from the various companies, —that is, releases that sell at the uniform rate of 75c and $1.25 for ten and twelve inch disks re- spectively. With the recent price fluctuations it may be that some of the works I will mention have altered in price, but I think not, as I have taken pains to eliminate all that are no longer in this so-called popular price class. I am not a music critic, so my random notes on the records represent only a layman’s opin- ion, but as I have actually heard all the records at least once, and most of them many, many times, and as my favorites among them have won praise from the magazine’s reviewers and from all my musical friends who have heard them, 1 think that no sincere music lover will take seri- ous issue with my findings. Be it understood that I am not decrying celeb- rity recordings. When I can afford them I get them, and as every record connoisseur will be aware, some of the works I cite are available in better versions in the higher price classifications. But I believe that the inexpensive black label re- pertory is much more extensive and of a much higher standard than it usually is given credit for. For the less affluent record buyer it repres- ents the ideal field in which to begin. Solo instrumental disks provide the most fer- tile ground, but even among the orchestral there is a wide variety of first rate material. The Haydn “London” Symphony conducted by John Barbirolli (3 Victor 12s) has already been men- tioned, and as Mr. Benedict says, no gramophile can afford to overlook it. Incidentally it is the only electrical version of this fine symphony now available. At the same time that it came out the Victor Company issued two twelve inch disks devoted to the three best known Spanish Dances by the Spanish Composer, Granados, with Al- beniz’ Triana thrown in for good measure. They are all conducted by Eugene Goossens in incisive and flexible style, and if you like brightly colored, attractively rhythmed music with Spanish flavor, you will be delighted with this. There are other excellent recordings of ideal- ized national dances treated by important com- posers. First, the little Odeon disk of Dvorak’s 8th and 16th Slavonic Dances, played in most vivacious fashion by the Grand Odeon Orches- tra—conductor unspecified, but self-evidently better equipped than many celebrated batonists to read this healthy music. Then, the familiar fifth and sixth Hungarian Dances by Brahms, also available for 75c, in the Halle Orchestra’s performance for Columbia. Sir Hamilton Har- ty’s versions please me much more than any of the other and higher priced ones I have heard, for he understands better than the other conduc- tors how to whip the essential Gypsy fire to ir- resistible frenzy. The vivid handling of the ru- batos is especially effective. Finally, are the two Victor tens that contain the dances from De Falla’s Three Cornered Hat Ballet, conducted with great energy by Dr. Malcolm Sargent, and very brilliantly recorded. All of these works de- serve a place in every library. The Viennese Waltz offers a field of countless possibilities, for the many popular priced records by European concert orchestras like those of Marek Weber, Dajos Bela, Edith Lorand, etc., are a paradise of good things for penurious phonophiles (and they should not be ignored by the wealthy ones). However, that repertory de- serves an article of its own. Outside it there are several Strauss waltz disks that are excellent buys, beginning with the Blue Danube in Dr. Weingartner’s beautifully planned and executed version (Columbia 12), or for greater novelty, in the choral-orchestral performance by the Vien- na Philharmonic Orchestra and Chorus (Victor 12—German list). The same Victor German