Phonograph Monthly Review, Vol. 5, No. 5 (1931-02)

February, 1931, Vol. V. No. 5 163 ORCHESTRAL (from a caricature by Dr. Ricardo M. Aleman) Wagner: The Flying Dutchman — Overture, played by the Philharmonic Orchestra, Berlin, conducted by Richard Strauss. Brunswick 90120 (D12, $1.50). Richard Strauss, is, I imagine, scarcely the man whom most people would here choose to make a new version of the Overture to the Fliegender Hollander, Yet I must confess that I was quite unprepared for the energy and vigor which he has been able to put into it. Unfortunately, however, for a definitive interpretation of this overture, more is neces- sary: the impression of the terrifying and irresitible sweep of the sea, which alone keeps many passages from sounding like mere noise is absent. Strauss seems to lack the proper epic touch. Thus, regretfully, we are forced to turn again to the very early Mengelberg record which—although on its mechanical side often unsatisfactory—has yet to be equalled. As far as I can see the best thing to do would be to have him do it again himself under improved conditions, instead of trying to find others who can do it as well. Since this is eo, however, those who are in search of a more modern ver- sion, the recording of which, at least, very often gives a very fine effect, would do well to look into this record. Rimsky-Korsakow : Le Coq d 9 Or Introduction and Bridal Cortige, played by the Orchestre de l* Association des Con- certs Lamoureux, conducted by Albert Wolff. Brunswick 90122. (D12, $1.50), (Some notes on these selections are given on page 388 of the August, 1930 issue.) In some ways this music would seem of scarcely sufficient importance for recordings of it to be multiplied, but for those who did not take advantage of a previous opportunity, an- other one is here offered to obtain it. Wolff is naturally good in such music, but for no definite reason—except perhaps that inherent in the work itself—this disc does not seem to take place with his greatest triumphs. The Cortege is played with the desired brilliance, but the recording does not quite succeed in presenting the ending clearly. Saint-Saens: Romance in F Minor , for French horn and orchestra, (solo played by M. Deverny), and (a) Moussorg- sky: The Fair at Sorotchinsk — Gopak,, (b) Rimsky-Kor- sakow: Czar Saltzn—The light of the Bumble-be.e, Scher- zo played by the Orchestre de ^Association des Concerts Lamoureux, conducted by Albert Wolff. Brunswick 90121 (D12, $1.50), This is a rather odd coupling of various pieces, which are evidently considered to have a popular appeal. The Saint- Saens is just what its name implies, and while scarcely in- teresting, is not disagreeable. The horn is well to the fore- front, but its tone and playing are not always impeccable. Although the two pieces on the reverse side belong in the cate- gory of overplayed encore numbers, they are here com- pletely revitalized. Wolff infuses both the Gopak and more especially the Flight of the Bumble-bee with a compelling and fascinating rhythmic zest which quite renews their at- traction. No detail of the brilliant orchestration is allowed to pass unnoticed, and in the latter, as is his custom, the woodwinds are given a startling fullness. The recording en- gineer is an able second, and in this respect also the disc is remarkable—notice, for example, the splendid recapturing of the strings in the second selection. I remark with ap- probation that the two pieces are separated by a blank groove. R. H. S. P. INSTRUMENTAL Piano Rameau: Minuet in G major, and Bartok: Allegro Barbaro, played by Gil Marchex. Columbia 2354-D (D10, 75c)). This pianist’s name is usually given in Europe as Henri Gil-Marchex, and he is favorably spoken of for his chamber music playing. I had the impression that he had made a num- ber of releases for French Odeon, but an investigation reveals no listings at all in the new Gramophone Shop Encyclopedia, and only one disc in the British Columbia lists: Couperin’s Le bavolet flottant and Debussy’s Golliwogg’s Cake-Walk. I have not noticed any mention of the present record being released abroad, but probably it has been. At any rate it is very welcome here, both for its happy coupling of an old and new composer who thoroughly understand the peculiar demands of the piano. The Rameau minuet is characteristically charm- ing and I like the way it is played here, rather more incisively than most pianists would play it, but losing nothing in point or delicacy for that. The logic and masculinity of Gil-Marchex’s playing is still more strongly marked in the Bartok piece (re- cently recorded by the composer himself for French H. M. V.) Gil-Marchex rips it off with keen gusto—sturdily muscular music played with stimulating verve and well-restrained force. Chopin : Waltz in G flat, and Schubert (arr. Godowsky) : Wiegenlied, played by Jose Echaniz. Columbia 2358-D (D10, 75c). The Cuban pianist’s present release does not seek to emulate the interest or significance of his recent coupling of H’alffter’s Dance of the Shepherdess and De Falla’s Fire Dance (reviewed in the December P. M. R.), but it is not lacking in more modest attractiveness. The popular G flat waltz with its piquant first theme and haunting second is played dapperly, with perhaps a touch of undue lusciousness on the already lush melody. The Schubert cradle-song is less familiar fare. In one of Godow- sky’s excellent transcriptions it makes an appealing little piano lyric. In both pieces the piano tone is recorded without much roundness, but there is considerable warmth in the Schubert lied. Holbrooke: Wasps and Roumanian, played by Joseph Hol- brook. Piccadilly 5050 (D10). Available through the American importers. Holbrooke is a voluminous British composer little known outside his native isle, and none too well there. For years he has been a staunch advocate of contemporary English com- posers and the authors of some splendidly caustic Phillipics on the apathy of the public towards new music. His own pro- ductions have occasioned mixed praise. Without a familiarity with his more important works one must hesitate to form an opinion, but from the few works I have heard I find it difficult to consider his writing of such significance. Recently the phonograph has begun to give him a hearing (there was an acoustical recording of his Variations on Three Blind Mice) with excerpts from his largest work—a trilogy of operas, the last of which is Bronwen. The present recording, by a minor British firm, gives the composer himself an opportunity to present two slight pieces for piano. Wasps is a skillful little scherzo, with mild hints of the influence of jazz; Roumanian is a pleasantly active little piece working up to more ambitious climaxes than its material would seem to warrant. The com- poser plays adroitly; the recording is fair. Every Number is a Record Number (Efa (Hramnpltoue Edited by (Cmttptmt i0ark2»2te Annual Subscription $3.50—post free Send for a free specimen copy THE GRAMOPHONE 10A Soho Square : : London, W1