Phonograph Monthly Review, Vol. 5, No. 4 (1931-01)

126 ORCHESTRA Mozart: Six German Dances (three parts), and Idomeno Overture, one part, played by the Philharmonic Orches- tra, Berlin, conducted by Erich Kleiber. Brunswick 90106- 7 (2 D12s, $1.50 each). Mozart composed, in all, forty-nine so-called “Deutsche Tanze,” of which six are here presented; namely K. 600, No. 3, and 571, No. 6; 571, No. 4, and 509, No. 6; 600, No. 4 and 605, No. 2 (wrongly labelled 504, No. 2). Kleiber, in one of his broadcast concerts with the Philharmonic-Symphony this fall, played four charming ones, none of which is represented here, I believe. If all forty-nine are anywhere near on a par with the ten which I have heard, they will form a mine in- exhaustible for some time to come. In connection with these six, I feel strongly inclined to second the opinion of a friend of mine, who on first hearing the records, termed them “the most exquisite dances he had ever heard.” Although it may sound like overstatement, I venture to assert that they exhibit Mozart at his purest and best. The tenuous delicacy of the trio of the K. 571, No. 6, for instance, following on the vigorous first section, is so en- trancing that no matter how often one hears it one cannot restrain some exclamation or other physical expression of ap- preciation. The others are only slightly less perfect. Kleib- er’s conducting is still strongly marked by traces of heaviness —perhaps justified by the expression “German.” In fact, from the way he plays them, one could not but be sure that they were German dances. But, although I am certain that they would benefit by a lighter and more vivacious treatment, it must be admitted that, in other respects, he plays them beautifully—the string tone is narrowed to the veriest thread on occasion. The long gaps between numbers on the same side are unfortunate as they tend to be annoying and make one nervous. I still maintain that where practicable there should always be a blank groove between such selections. Iclomeno, Mozart’s first important serious opera, was com- posed in 1780, when its author was twenty-five. The Over- ture (on the opposite side of the first pair of dances), like- wise exhibits a certain stolidity in the conducting, but is nevertheless well worth-while. The recording, while not sensational, is uniformly pure and excellent. If only everyone can be got to hear these records, it will, I think, be a foregone conclusion that he will want to buy them. Gluck: Iphigenia in Aulis —Overture, two parts, played by the Philharmonic Orchestra, Berlin, conducted by Rich- ard Strauss. Brunswick 90110 (1D12, $1.50). This issue, following so directly on last month’s charming ballet selections from the same opera by Victor, makes one almost begin to hope that more justice will be done to Gluck, whose importance is certainly not merely historical and ar- chaeological. Even if it were only that, it would be a fair reason for giving us one of his works in more extended form. Whereas the so frequently recorded operas of Puccini and Verdi are to be heard in performance with relative frequency, it is only with the greatest rarity that the masterpieces of the classical lyric stage are mounted. What a great service, not only to those far from an opera house but likewise to those able frequently to attend one, would a recording com- pany be performing in issuing a complete opera by Gluck or Mozart. This music seems to me to be a particularly effective me- dium for the expression of Strauss’ talents as a conductor. Al- though as usual in all the art expressions of the classic period of the middle of the eighteenth century we are presented with a mixture which is more than half baroque, it never- theless certainly comes closer to a certain aspect of the Greek spirit than any nineteenth century operatic composer could have done. The music does not demand the vivacity and crispness of touch which I consider necessary for so much of Mozart, while on the other hand there is plenty of op- portunity for the display of the restrained delicacy and re- finement of sensibility which Strauss demonstrated so beauti- fully in his version of the “Jupiter” Symphony. Not for a moment is the calm, but never ponderous dignity disturbed —a fact which might have happened in the grave staccato The Phonograph Monthly Review motive which reoccurs so frequently. The violin and wood- winds are disciplined to the utmost delicacy and purity of tone. One is made to sense the presence of a truly classic spirit. I should be tempted to call this in many respects the most successful of Strauss’ releases that I have heard. In the score there' is no formal ending to the Overture. The extended, and it must be added extremely effective one played here is probably that of Wagner (generally considered the best, although various other composers have appended their own). Mozart: Fine kleine Nachtmusik , four parts, played by Dr. Weissmann with large symphony orchestra. Columbia Gr-55227-8-F (2 R12s, $1.25 each). The Same, four parts played by the Bach-Orchester of the Deutsches Musikverband conducted by Dr. Herbert Die Neue Truppe, Electro 91-94 (Available from the Amer- ican importers.) These two sets make four versions of this delectable music now available, I believe. If this fact will make it any better known, it is certainly one to rejoice at. In the matter of comparative excellence, however, I still find the Barbirolli in- terpretation definitive and unsurpassed. Dr. Weissmann ap- proaches the music in somewhat the same vein, but is not so successful in expressing it. In the first movement, there is perhaps over much of contrast, and the general effect is spoiled for me by the excessive starkness and hardness with which the gay first subject is played wherever it occurs. A tempering of grace and lightness who have made all the dif- ference here. The second movement is a little fast and lacks the delicate purity and certainty of phrasing and accentua- tion which can make it such a delight. There is gentle senti- ment here, but it is of such a kind as benefits by restraint and balance. Th other set is the product of what is evidently a very new German company. Technically the records are excellent specimens, perhaps better than either the Columbia or Vic- tor versions—a slightly inappropriate accentuation of the bass is to be censured only in relation to this particular music. My objection to Dr. Herbert’s reading arises from my preference for more animation and vivacity in the playing of Mozart. If I forget previous experiences, I can see that he produces a conception of the fii^t movement which will undoubtedly be attractive to many people. The second move- ment is less successful tending toward dullness and heaviness. In the fleeting Finale, again, I do not feel that all is got from it that can be, yet there is a certain gentleness and lack of hurry which are agreeable. (I am not sure of the speed at which “Neue Truppe” discs should revolve. Played somewhat fast, they give a better effect.) Saint-Saens: Suite Algerienne — No. 4— March Militaire Francaise, 2 parts, played by a symphony orchestra, con- ducted by G. Cloez. Columbia G23274D. (1D10, $.75). This number contains strong reminiscences of the “Anvil Chorus” alternating with Tchaikowsky in his more fervidly nationalistic moments. Cloez certainly brings to it all the enthusiasm and seeming sincerity which one could wish, al- though the result is sometimes blurred by an excess of these emotions. The playing is not perfect, and the recording, particularly of the trumpets, often unsatisfactory. Bizet: Carmen Overture, played by the Philharmonic Orchestra, Berlin, conducted by Albert Wolff (1 side), with Carmen Preludes (to Acts 2, 3 and 4) and Carmen Ballet Music (from Acts 2 and 4), (3 sides) played by the State Opera Orchestra, Berlin, conducted by. Hermann Weigert. Brunswick 90097-8 (2 D12s, $1.50 each). (These records supplement the Brunswick Carmen Album No. 21, space being provided for them in the album.) These orchestral interludes round out the splendid abridged version of Carmen which Brunswick issued a short time ago and reviewed in the October issue. The ballet music is not included in the vocal score as a rule, in fact Bizet did not actually compose a ballet for the opera. What is called the ballet is merely a collection of his other compositions. For instance, on the third side of this set we have “ballet music from Act 2” which is really the end of the Farandole from the second Arlesienne Suite. The first dance on the fourth side is a portion of the Pastorale of the same suite.