Phonograph Monthly Review, Vol. 5, No. 1 (1930-10)

October, 1930, Vol. V. No. I HANDEL: 2IESSIAH. He Shall Feed His Flock. Sung by the Boys of Salisbury Cathedral Choir, Dr. W. G. Alcock, conducting. H. M. V. B2814. One side, 10 in. HANDEL: JUDAS MACCABEUS (1746). O Father Whose Almighty Power, We Come in Bright Array, See the Con- quering Hero Comes, and Sing Unto God. Sung by the Sheffield Choir, Sir Henry Coward, conducting. English Columbia 9724. Two sides, 12 in. SULLIVAN: THE GOLDEN LEGEND (1886). The Night Is Calm. Sung by Florence Austral, Soprano, and the Royal Opera Chorus, John Barbirolli, conducting. H. M. V. D1506. One side, 12 in. SULLIVAN: THE EIGHT OF THE WORLD. Yea Though I Walk Through the Valley. Sung by the Choir of Salis- bury Cathedral, Dr. W. G. Alcock, conducting. H. M. V. B2814. One side, 10 in. STAINER: THE CRUCIFIXION (1887). Complete (except Hymns). Sung by the British Broadcasting Co.’s Choir, with Francis Russell, Tenor, Robert Easton, Baritone, Stanford Robinson, conducting. English Columbia 9675-80. Twelve sides, 12 in., in album. STAINER: THE CRUCIFIXION (1887). Complete. Sung by Trinity Choir, with Richard Crooks, Tenor, and Lawrence Tibbett, Baritone. Victor 9424-9. Twelve sides, 12 in., in album M-64. STAINER: THE CRUCIFIXION (1887). Processional to Cal- vary, And As Moses Lifted Up the Serpent, God So Eoved the World, Is It Nothing to You, The Appeal of the Cruci- fied, and Hymn—“All For Jesus” (Last verse). Sung by the Choir of the Church of St. Marylebone, London, Ronald G. Tomblin, conducting. English Columbia 9315-17. Six sides, 12 in. STAINER: THE CRUCIFIXION (1887). Fling Wide the Gates, Hymn— “Cross of Jesus”, Hymn— “Holy Jesus By Thy Passion”, The Appeal of the Crucified, Hymn— “I Adore Thee”, and Hymn— “All For Jesus.” Sung by the Choir of the City Temple, London, Vincent Thomas, conducting. Broadcast Twelve 5043-4. Four sides, 10 in BANTOCK: PILGRIM’S PROGRESS (1928). In Praise of Famous Men, and The Pilgrim Now Hath Found His Eord, Sung by the National Choir, Stanford Robinson, conduct- ing. German H. M. V. EH258. One side, 12 in. 2* German School BACH: ST. MATTHEW PASSION (1729). Duet and Chorus— “So 1st Mein Jesus Nun Gefangen” (No. 33—Behold My Saviour Now Is Taken), Chorales— “Wer Hat Dich So Geschlagen” (No. 46—O Lord Who Dares to Smite Thee), and “O Haupt Voll Blut und Wunden” (No. 63—O Thou With Hate Surrounded). Sung by the Bruno Kittel Choir, Berlin, with Lotte Leonard, Soprano, and Emmi Leisner, Contralto. Polydor 66721. Two sides, 12 in. HA T£ N: DIE JAHRESZEITEN (THE SEASONS) (1801). Chorus— “Komm O Holder Lenz”. Sung by the Chblr of the Singakadamie, Berlin, Dr. Georg Schumann, conduct- ing. German H. M. V. EH258. One side, 12 in. BEETHOVEN: THE MOUNT OF OEIVES (1803). Chorus— “Hallelujah”. Sung by the Choir of the Temple Church, London. H. M. V. C1878. One side, 12 in. MENDEESSOHN: ELIJAH (1845). Complete (with a few cuts). Sung by the British Broadcasting Co.’s National Chorus, with soloists, Stanford Robinson, conducting. English Columbia DB49-63. Thirty sides, 10 in. MENDEESSOHN: ELIJAH (1845). Help Eord, Yet Doth the Eord See It Not, Blessed Are the Men, Baal We Cry to Thee, Thanks Be to God, Be Not Afraid, Behold God the Lord, And Then Shall Your Eight Break Forth. Sung by the Royal Choral Society, Dr. Malcolm Sargent, con- ducting. H. M. V. C1668-71. Eight sides, 12 in. MENDELSSOHN: ELIJAH (1845). Trio— “Lift Thine Eyes”. Sung by the Boys of Hoffnung Chapel Choir, Vienna. Parlo- phone R20080. One side, 12 in. MENDEESSOHN: ELIJAH (1845). Baal We Cry to Thee, and Thanks Be to God. Sung by the Sheffield Choir, Sir Henry Coward, conducting. English Columbia DX16. Two sides, 12 in. BRUCKNER: TE DEUM (1885). Opening Chorus and Tu Rex Gloriae. Sung by the Bruckner Choir. Parlophone E10710. Two sides, 12 in. BRAHMS: EIN DEUTSCHES REQUIEM (1867). I. Selig Sind die Da Eeid Tragen (Blessed Are They That Mourn). Sung by the Choir of the Singakadamie, Berlin, Dr. Georg Schu- mann, conducting. German H. M. V. EH257-8. Three sides, 12 in. BRAHMS: EIN DEUTSCHES REQUIEM (1867). II. Denn Alles Fleisch Es 1st Wle Gras (Behold All Flesh Is As the Grass). Sung by the Choir of the Singakadamie, Berlin, Dr. Georg Schumann, conducting. German H. M* V. EH265-6. Four sides, 12 in. BRAHMS: EIN DEUTSCHES REQUIEM (1867). IV. Wie Eieb- lich Sind Deine Wohnungen (How Lovely Is Thy Dwelling Place). Sung by the Choir of the Singakadamie, Berlin, Dr. Georg Schumann, conducting. German H. M. V. EG939. Two sides, 10 in. BRAHMS: EIN DEUTSCHES REQUIEM (1867). V. Ye That Now Are Sorrowful. Sung by Florence Austral, Soprano, and the Royal Opera Chorus. Victor 9395. Two sides, 12 in. 3. Italian School ROSSINI: STABAT MATER (1832). Inflammatus. Sung by Florence Austral, Soprano, and the Royal Opera Chorus. H. M. V. D1506. One side, 12 in. Phonographic Echoes Official Japanese Anthem Recording The recent Columbia recording of the Japanese National Anthem, “Kimigayo,” is receiving probably more official backing than any other record known, according to reports from the Nipponophone Company, a Columbia Japanese sub- sidiary. This disc (Columbia 41030-F) contains the Imperial National Anthem of Japan sung in Japanese by a mixed chorus of 230 voices, accompanied by the Imperial Academy of Music Orchestra, and was made by special request of the Japanese government. It was designed for the purpose of demonstrating the correct rendition of the anthem. The Department of Education, in its effort to establish a proper tradition for the singing of the anthem, has enlisted all schools and colleges in Japan to ask every family in the empire to have one of the records. All theatres in Japan have agreed to play the anthem before or after their pro- grams. Copies of the disc have been sent to each of the fifty-one Japanese ambassadors and ministers in the foreign capitals of the world. In four months of concerts of the record, given throughout Japan by Columbia branches, over 513,800 people were .in attendance. The Cramophi'le Another indication of phonographic interest and progress in Japan is the establishment of a publication devoted ex- clusively to the phonograph and recorded music of all coun- tries. The magazine is called The Gramophile and the first number was issued last February. It was founded by a group of phonographically-minded Japanese, several of whom are familiar contributors to the Correspondence Columns of The Phonograph Monthly Review and The Gramophone : Hajime Fukaya, Junzaburo Mori, F. Fujita, Z. Nakamura, S. Aoki, T. Nonomura, and others. Mr. Fujita is sending us copies of the magazine and prom- ises to contribute an article on current phonographic condi- tions in Japan. A list of translated titles in the first five issues of the Gramophile which Mr. Fujita has sent us gives a good idea of the attractive and informative nature of the articles: “How to Start a Collection of Records,” “Reminis- cence of Records,” “News from Abroad,” “Death of Emmy Destinn,” studies of Thibaud, Sir Henry Wood, Menuhin, etc., in addition to reviews of current releases. Our Japanese friends have always pioneered in phono- graphy, even at a time when the better recordings were avail- able only by importation at an excessive cost. Now that Columbia, Victor, and Polydor affiliations have established Japanese factories, the cream of the world’s recording is made easily available there, and should lead to an acceler- ated musical progress. Messrs. Fukaya, Fujita, Mori, et al, surely have the best wishes of every record collector. Golden Pyrimid Needles Continuing about phonograph needles, we have at hand a box of Golden Pyramid needles made by the British Needle Company, Limited, Redditch, England. The package con- sists of an all metal pyramid, beautifully lacquered in gold, with a hole through the apex, from which the needles are delivered one at a time when the pyramid is tilted. Obvious- ly this type of container has many advantages over the old fashioned tin in that the needles cannot spill when the pyra- mid is tipped over; there are no sharp lids to hurt the fin- gers and being totaly enclosed the needles are not liable to rust. The needles themselves give excellent reproduction and a minimum of surface noise. They are made in four tones, Soft, Medium, Loud and Extra Loud.