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

216 The Phonograph Monthly Review Cassado's Debussy Sonata Debussy : Sonata jor Violoncello and, Piano, (Prologue- Serenade-Finale), played by Caspar Cassado and Mme. G. von Mendelssohn-Gordigiani. (On the fourth side Cassado plays an original Spanish Dance— Aragonesa.) Columbia 67895-6-D (2 D12s, $1.50 each). Columbia has been almost too generous with the first of Debussy’s three sonatas. Not content with one excellent ver- sion, that by Marechal and Casadesus for French Columbia, the American company now releases another, of equal if strongly contrasting merit. Marechal and Cassado have only their instrument and musicianship in common; their styles are as different as day from night. As noted in the review of the former’s version (page 169, February issue), it is played with tremendous bravura, even bravado,—a tremendously dynamic and impressive performance and recording. In com- parison Cassado and Mendelssohn-Gordigiani’s playing is con- servative, almost subdued. But it attains distinctive individ- uality of its own on re-hearing. Within its own definitely set scheme it is well planned and delicately poised. The recording itself is doubtlessly practically the same, but na- turally sounds much less sensational. Cassado’s tone is less plangent, more smoothly rounded, and less individual than Marechal’s. His conception of the music is the reverse of the athleticism the latter finds in it. Cassado’s Debussy is more the Debussy of the earlier and more famous works, more poetical, less exuberant. It is not as exciting, but quite possibly it will wear better. At all events between the two readings we gain a vastly keener insight into the later De- bussy than through either alone. Cassado is a pupil and compatriot of Casals, whose art his resembles in miniature. He has something of Casals’ refine- ment of execution, but as yet, hardly the latter’s breadth or firmness of grasp. His own piece makes an acceptable filler-in, not as amusing as Caplet’s vivacious Danse des petits negres on the odd side of the Marechal set, but a jaunty tune, not too assertively Iberian. R. D. D. Victor Herbert Victor Herbert: Favorite Melodies —Volume 2, played by the Victor Salon Orchestra and Salon Group under the direction of Nathaniel Shilkret. Victor Concert Album Set C-ll (D12s, Alb., $7.50). This second group of Victor Herbert melodies is arranged as follows: Side 1— Pan Americana. One of the familiar or- chestral numbers played with requisite gusto. Side 2—Selections from the operetta, Algeria, later known as the Rose of Algeria : Characteristic melodies from an operetta which has become better known by radio perform- ances. Side 3— Yester thoughts and Punchinello : Two shorter salon pieces which will be readily recognized. Side 4 —Selections from Hearts of Erin, renamed Eileen immediately after the opening. One of Herbert’s most suc- cessful operettas using Irish melodies. Side 5—Selections from the Only Girl : One of the finest scores the composer ever wrote. Wilda Bennett, Adele Row- land and Ernest Torrence were in this. Patsy’s dashing mili- tary song is omitted from the record unfortunately. You will search far and not find a more beautiful melody than “When You’re Away.” Side 6—Selections from Babette : Who remembers this one? The delightful music from this forgotten operetta makes one wonder if there aren’t others as charming. Side 7.— Fleurette and Under the Elms : Two more salon pieces. Side 8.—Selections from the Princess Pat : Eleanor Painter’s famous success—You’ll remember the Neapolitan Love Song. Side 9.—Land of My Own Romance from the Enchantress'. This was the operetta in which Kitty Gordon reminded the critics of Mary Garden and in which she wore her famous cloth of gold gown, the first in this country. The company, afterwards stranded, was one of the causes of the Equity strike. (b) Serenade from the ’Cello Suite, Movement 4: The composer remembers his career as a noted solo ’cellist to write a delightful number. (c) Absinthe Frappe from It Happened in Nordland: Lew Fields’ great success. Another number kept familiar by radio performances. Marie Cahill make her famous exit from the cast in the last New York performance. Side 10.—Selections from Natoma: Habanera-Vaquero’s song—Natoma’s Thejne—Dagger Dance-Finale: Interesting re- vival of some of the most viable music of this semi-successful opera. The melodies will all be recognized, if not already known by name. Mary Garden was the vivid heroine of the premiere, taking place in Philadelphia, February 28, 1911. The opera was handicapped by a static libretto and the two leading characters other than the title role, Barbara and Paul (John McCormack was the dashing young officer) were too conventionally light-operatic to be useful in the more serious field of grand opera. The present passages are taken however from moments where Herbert did not attempt to be too heavy-footed with his music and it is extremely effective as well as genuinely melodious. The appearance of the Natoma them brings to mind his use of the leit-motive which he employed with varying success. The vivid Dagger Dance, one of the best moments in the opera, was recorded in the acoustical days under Herbert’s own direction. The present set supplements ably a previous group of more familiar melodies which was a best-seller. In this case the better known are skillfully interspersed with those less well- known, but even if you don’t know what they’re from, you’ll recognize them. It is not necessary to comment here upon the ageless melo- dies of Victor Herbert which have gained a new and wholly deserved popularity since the composer’s death. Some of his almost forgotten operettas have gained a new lease of life with the advent of radio. His excursions into grand opera were never as successful as his other ventures because he took the form too seriously, but I am inclined to think that a revival of Natoma today might bring quite a few surprises. Of the performance there is nothing but praise. The or- chestral and vocal interludes are excellently distributed and contrasted and the musicianship and comprehensive under- standing of Nathaniel Shilkret dominate the entire pro- ceeding. Richardson Brown Dial System for Phono-Radios T HE engineering products division of the RCA-Victor Com- pany has not been content to rest long on the laurels of its invention of the musical speaker-pillow described on page 152 of the February P. M. R. Its latest brain-child is an ingenious application of the dialing system, rapidly be- ing put in use in telephone communication, to remote con- trol of combination phonograph-radios. This simple dial con- trol mounted on a small ornamental box with a pilot light, may be installed at desirable locations throughout a house, and is connected to a master phono-radio outfit located in the attic or basement. Complete operating control of both the radio and automatic phonograph is provided by each dial station. Up to eighteen broadcasting stations are pretuned and ad- justed to the master dial unit to respond to easy code num- ber combinations—conveniently listed in the lid of each con- trol box. The automatic phonograph is similarly adjusted for each of its functions. To bring in a radio program to one of the rooms, the dial is twirled to the proper code num- ber. Another code number is dialed to raise or lower the volume, start or stop the broadcast music, or to play records or reject them at will. The volume of each loudspeaker out- let may be separately regulated by any of the dial controls. For example, one dials 411 to start the automatic phonograph, then 34-1 to broadcast the music in the master’s bedroom. Or one may bring in station WEAF, say, by dialing 14, and broadcast the music in the library by dialing 36-1. The volume control is obtained by holding the digit 1 against the end-stop of the dial until the desired volume is reached, whereupon the dial is released and the music continues at that volume until again adjusted. Simple—in truth, but miraculously convenient, and an im- portant step in the radio-phonograph’s development as an in- herent musical instrument for the home or public building.