Phonograph Monthly Review, Vol. 5, No. 7 (1931-04)

212 The Phonograph Monthly Review Mengelberg's Bolero Ravel: Bolero, played by the Concertgebouw Orchestra of Amsterdam, conducted by Willem Mengelberg. Colum- bia 67890-1-D (2 D12s, $2.00 each). Mengelberg’s Bolero, while the first recorded version to be issued in England, has been preceded in this country by those of Ravel and Koussevitzky, not to mention the fox trot arrangement conducted by Shilkret. There are two types of reading, one which gains the desired climactic effect by the maintenance of an absolutely steady beat throughout the piece, the other by utilization of a gradual accelerando to further heighten the growing intensity of ‘the scoring of each repetition of the theme. The composer follows in practice the method that is obviously indicated in the score- keeping the beat absolutely rigid, while Koussevitzky ex- emplifies the accelerando reading, obtaining a more frenetic climax, while losing to some extent the hypnotic effect of crescendo pounding of the bolero rhythm on the drums. Mengelberg follows Ravel in intention, but towards the end he cannot resist a slight quickening of the beat to further emphasize the gargantuan crescendo of both actual tone and tonal coloring. Three conductors; three readings. Faites vos jeux! The qualities of the Koussevitzky and Ravel records were dealt with at some length in the June, 1930 issue. Mengelberg’s combines some of the qualities of the other two: the*, less romanticized coloring and much of the steadiness of the composer’s version; some of the greater animation and wanner sonority of Koussevitsky’s. The Concertgebouw Orchestra’s soloists play well and are strongly but faithfully recorded. The final explosion is kept within musical limits—insofar as the scoring permits. All in all, a sound recorded perform- ance, well planned and capably transferred to the record- ing wax. It should be carefully considered with the other in making a definite choice, a choice which will rest finally upon individual taste and prejudice. In my "review of the other versions I prepared an outline of the orchestration of the various repetitions of the theme. I might repeal that this theme (which has distinct echoes of the pnce popular song, Valencia, by the way) is not a simple one, repeated ad infinitum, but a cleverly constructed musical sentence in two parts, each of which is repeated, making a unit of seventy-two measures which is the basis of further repetition. The basic unit is repeated four times, followed by an unrepeated statement of the bipartite theme, the last measures of which crash into the astounding modulation into E major and the disintegration of the bolero rhythm into the tumultuous coda. The “breaks” in Mengelberg’s version are the same as in that of the composer—that is part 2 begins with the first half of the theme played by the flute and trumpet in octaves; part 3 with the second half for trombone solo; part 4 with the second half for a combina- tion of wood wind, violins, violas, soprano saxophone. The high trumpet in D and the trombones are added later. Burger als Edelmann Strauss: Der Burger als Edelmann —suite for chamber or- chestra, played by the State Opera Orchestra, Berlin, con- ducted by Richard Strauss. Incidental solos by Wolfsthal (violin) and Meinardi (’cello). On the 10th record side the same orchestra, conducted by Alois Melichar, plays the Valse d’Amour from Reger’s Ballet Suite, Op. 130. Bruns- wick Album Set No. 28 (5 D12s, Alb., $7.50). The salient differences between this version by the com- poser and that conducted by Straram for Columbia last De- cember are accurately pointed in the use of the German and French titles respectively. Strauss’ performance is as essen- tially Teutonic as Straram’s is Gallic. Direct comparisons are unnecessary, except perhaps to say that in the Columbia set it was the orchestra and its suave performance that com- manded first attention, while in the composer’s version it is the music itself that occupies the center of the stage. Here, commendably, the suite is uncut. The various pieces occur in their proper order, and when two appear on a single record side they are conveniently separated by a tew blank grooves, as suggested in R. H. S. P’s. review of the other version. The performance is a graceful one, lacking some of the sweetness of Straram’s, but gaining by an in- cisiveness missing in the other. Label credit is given to the excellent soloists: the violinist whose dextrous fiddling is so marked a feature of the dance of the tailors’ appren- tices (side 3) and the courante (side 4), and the ’cellist who plays the sentimental episode in the Dinner section (side 8). The recording is exceedingly clean cut, reproducing in miniature the merits of Strauss’ own versions of Don Juan and Till issued here by Brunswick some time ago—and still a model of phonographic Straussiana. The writing for small orchestra is exceedingly adept, and the piquant play of timbres—especially in the ingeniously contrasting episodes of the Cleonte scene—come off beautifully. Only once does the recording director slip up: the over-forceful entrance of the first horn in the Intermezzo (side 6). I differ with R. H. S. P. on the merits of the music itself. Sentimental it is, but consciously so and charmingly old-fashioned, animated frequently with a deftness and gaiety that recall moments in Till Eulenspiegel. The final scene— the Dinner—is brilliantly conceived; the first and second are infectiously vivacious; the reminiscences of Lully properly stately and gracious. Not great music, and often a trifle heavy in the German style for all its lack of pretentious- ness. R. H. S. P. accusses it of not being like Gilbert and Sullivan or Johann Strauss, but why should it possess either British or Viennese qualities? If it partakes considerably of so-called German stolidity, it is far from lacking in honest German sentiment, ingenuity, and charm. The arrangement of the numbers is as follows: Overture (side 1), Menuet and Fencing Master (2)^ Entrance and Dance of the Tailors (3), Menuet of Lully and Courante (4), Entrance of Cleonte (after Lully) (5), Prelude the 2nd Act—Intermezzo (6), the Dinner (7, 8, and 9). The record- ing is complete according to the Philharmonia miniature score. The accompanying leaflet is concise, informative, and interesting—all that an album set annotation should be. The Valse d’Amour on the tenth record side is an addition to the slight list of Reger recordings and a strong proof of this pseudo-Beethoven’s inherent lack of genius. It ap- pears to date from the years when he had recognized the frigidity of the highly cerebral works of his earlier years, and was attempting to write more sensuously. The result is a lush moment musically interesting only for its rich or- chestration and fine recording. One turns from this honeyed echo of a Viennese waltz to the keener, less muscle-bound measures of Strauss’ sturdy, sensitive Burger. Quintessence of Sibelius' Lyricism Sibelius: The Swan of Tuonela, Op. 22, played by the Philadelphia Orchestra conducted by Leopold Stokowski. Victor 7380 (D12, $2.00). (This, like the Mousorgsky-Ravel Pictures at an Exhibition reviewed elsewhere in this issue, is a special Metropolitan release. It will be given National release in the regular Victor supplement of April 24th.)