Phonograph Monthly Review, Vol. 5, No. 6 (1931-03)

March, 1931, Vol. V. No. b 191 ORCHESTRA Tchaikowsky: Capriccio Italian, op. 45 (three sides), and Eugen Onegin — Polonaise, played by the State Opera Or- chestra, Berlin, conducted by Alois Melichar. Brunswick 90126-7. (2 D12s, $1.50 each). Although some may find it shocking, I must confess that I find such of Tchaikowsky’s music which like this is very ob- viously aimed at display—and display only—infinitely more agreeable than his usually revolting attempts at seriousness. Such things it is almost impossible to accept in the spirit in which they were meant, but this undoubtedly and unashamed- ly cheap music is so stuffed with everything that is “sure fire,” especially in the way of the uttermost in the orches- tral brilliance of which its composer is such a past master, that it is quite easy to give oneself up to a noisy good time. Best of all, it is unmarred even by a breath of the frenetic nationalism with which so many of the shorter orchestral works are concerned. Melichar presents a splendidly planned and executed per- formance, seeming to take into consideration almost every requirement which tends to make toward a good phonograph- ic effect. In the matter of dynamics, for instance, never is a pp too soft to be audible, and yet the fif are all that could be asked, considered both absolutely and relatively. A slight hastening of the tempo above what would be normal in con- cert likewise shows this care for effect. The recording di- rector proves a great help in the general impression. The opening trumpet call is made quite electrifying in brilliance. But never, even in moments of greatest racket, does it be- come impossible to distinguish the various instruments. The familiar Polonaise, although played with the greatest vigor, is not quite so generally effective as the above. The two records, however, will make an excellent buy for those who delight occasionally (or frequently) to revel in un- curbed show music. Gounod: Funeral March of a Marionette, and Pierne: March of the Little Tin Soldiers, played by the Orchestre de l’Association des Concerts Lamoureux, conducted by Al- bert Wolff. Brunswick 90128. (1 D12, $1.50). Even in such trivialities as these it is surprising what Wolff can do with a morsel like the introduction to the Funeral March; the rest of it is, however, rather unpromising ma- terial, which he contrives to impress with a certain mordant tang. The Pierne is a typical French sugar-plum, possessing a slight piquancy of orchestration but little more. The re- cording, it goes without saying, is of the very finest. Wagner: Die Meistersinger —Prelude to Act I (three sides); and Prelude to Act III, played by a symphony or- chestra conducted by Dr. Max von Schillings. Columbia G-50275-6 D (2 Dil2s, $1.25 each). (These records are un- doubtedly from the same masters as the Odeon discs men- tioned on page 350 of the July, 1929 issue). The field for Meistersinger Preludes seems about filled, now that both Victor and Columbia have two each in their domestic catalogues. I think that the final choice must lie between the version of Bodanzky and the one of Schilling, however. As has already been said, it is a different prob- lem. There can be no doubt that the Bodanzky triumphs in the matter of pure weight of tone, although this superiority diminishes near the end; but on the first side it is tremen- dously effective. Schilling’s elects a slower and more even pace throughout, and it seems to me that in the last part, at any rate, the broadness gained by this, combined with the great clarity of parts, must force one to admit it most ideal. Two additional facts are also in the favour of the set as a whole: it is fifty cents cheaper, and the fourth side is filled by the beautiful Prelude to the Third Act, of which recordings are very scarce. The performance and recording of this version may be termed models in every respect. The keynotes are clarity and tenderness. Beethoven: Egmont — Overture, op. 84, played by the New York Philharmonic Symphony Orchestra conducted by Willem Mengelberg. Victor 7291 (D12, $2.00). Although this is the sort of thing in which one would ex- pect Mengelberg to be at his best, I was a little disappointed in his performance. Probably this was due chiefly to the superlative quality of Priiwer’s recent version. Mengelberg's SALE ! SALE ! SALE l GENUINE VICTOR RECORD ALBUMS Brand New and Perfect The same albums that are part of the equipment of genuine Victor Ortho- phonic Victrolas. Each album holds 10 records Reg. Sale Price Price $1.50 10 inch Victor Albums 55<t eac ^ $1.75 12 inch Victor Albums 65$ eac ^ On orders for 12 or more albums (as- sorted sizes if desired) we will prepay all delivery charges in U.S.A. On or- ders for less than 12 please add 50c to your remittance. H. ROYER SMITH CO. “The World’s Record Shop” 10th & Walnut Streets Philadelphia, Pa*, U*S*A. pace is quicker throughout and though the effect is more bril- liant, it does not seem to me to be nearly as impressive nor as convincing an interpretation. The recording is much more sweet and mellow, and correspondingly lacking in realism. R. H. S. P. Light Orchestral Leopold: Hung aria, played by Bela Szigeti’s Concert Or- chestra. Columbia 2372-D (D10, 75c). One of the better Hungarian medley discs; characteristic- ally languorous and deftly fleet playing in Gypsy style, marked by good tone qualities and expert execution. Elgar: Salut d!Amour, played by the Victor Concert Or- chestra, conducted by Nathaniel Shilkret; and Pierne: Serenade, played by the Victor String Ensemble, conducted by Rosario Bourdon. Victor 22599 (D10, 75c). A lush performance of Elgars familiar sweet-meat and adroit arrangement of Pierne’s Serenade for strings alone make a good salon or “dinner music” disc. Oscar Strauss (arr. Dostal) : Potpourri, played by Marek W'eber’s Orchestra. Victor (International list) V-50030 (D12, $1.25). Schirman . (arr. Ralf) : Saschinka (Potpourri of Gypsy Songs), played by Marek Weber’s Orchestra. Victor (In- ternational list) V-50031 (D12, $1.25). Waltz and Gypsy potpourris done in Webster’s customary suave style. The Strauss performance occasionally waxes over-honeyed, but the Gypsy airs embody some contrasts of more dynamic playing. N. Lambert: Serenade D’Arlequin a Columbia, and Cham- inade : Air de Ballet, played by the Septeto Passos Freitas, conducted by Fernando Clairouin. Columbia (Portuguese list) 1119-X (D10, 75c). A mandoline-guitar ensemble disc considerably above the average of its type. The playing is pointed and energetic, done with eclat and vivacity, and forcefully recorded.