Phonograph Monthly Review, Vol. 5, No. 8 (1931-05)

232 The Phonograph Monthly Review tell one Boris from the other ? Very few. Besides, the “authentic” Boris is not a new revelation. Mussorgsky’s score, without Rimsky-Korsakov’s emendations, was published while the composer was still living. But such is mob psychology that it is not enough to reinstate the unjustly neglected god, but it is necessary to drag down yesterday’s idol. . . . The imminent revival of Verdi is already announced by the dull boom of anti-Wagnerian guns. . . . Mussorgsky Recordings B ORIS GODUNOV is best represented of Mussorgsky’s works. The Rimsy-Korsakov version is of course used in all the recorded performances. Most important is the H. M. V.-Victor album of the principal choruses and arias, recorded at the Royal Opera, Covent Garden, London, with Chaliapin singing the role of Boris, and Bellezza con- ducting. The Polonaise and Coronation Scene are also re- corded by the Chorus and Orchestra of the Paris Opera for Columbia, and the Prologue, Girls’ Chorus, and Polonaise are also available by the Riga Opera Chorus and Orchestra for Odeon. The principal arias of Boris have been recorded by Chaliapin for Victor and H. M. V., also by Vanni-Marcoux for French H. M. V. Albert Coates conducts an early electri- cal recording of the Revolutionary Scene (with British solo- ists) for Victor. The Fair at Sorochinsk is most popularly known by the boys’ dance, Gopak, recorded orchestrally by the Lamoureux Orchestra under Wolff (Brunswick) and as a piano solo by Rachmaninoff (Victor), Valmalete (Polydor), Hambourg (H. M. V.), etc. The Introduction—A Hot Day in Little Russia— is conducted by Cloez for French Odeon, and Xenia Belmas sings the Chanson de Parassi for Polydor. The prelude to Khowantchina is conducted by Hamilton Harty for Columbia, and by Verbrugghen for Brunswick. Sto- kowski plays an Entr’acte on the odd side of his album set of the Firebird, and Coates conducts the Persian Dances for a recent H. M. V. release. Vocal excerpts: “The Time of Darkness Came” by V. Shushlin, bass; Martha’s Divination by A. A. Zelinskaya, soprano; and Shaklovitkoff’s aria by K. L. Knijnikoff, baritone (all in the Victor Russian catalogue). The Night on Bare Mountain is the only purely orches- tral work to be recorded; it is available in three competent versions conducted by Wolff (Brunswick), Gaubert (Colum- bia), and Cloez (French Odeon). Mussorgsky’s most import- ant piano work, Picture at an Exhibition, has been recorded only in the orchestral dress of Ravel, played by Koussevitsky and the Boston Symphony (Victor). The songs—beyond the Robbers’ Song sung by the Russian State Choir (Victor), and the Song of the Flea (Chaliapin, Montesane, and others) are practically non-existent on elec- trical records, but there was a very fine group recorded by Vladimir Rosing for Vocalian on the acoustical days; most of these have been withdrawn. It was rumored sometime ago that Nina Koshetz had recorded—or was about to record—a group of Mussorgsky songs, but there has never been any definite word of their release. NEW NEEDLES Burmese Color Needles H AVING given them exhaustive tests perhaps it would be an appropriate time to relate some of my findings about Burmese Color Needles and their indispensable Aladdinette, and the Meltrope Sharpener. When I first heard of the Burmese Color Needle I was immediately prejudiced against it and even more so when I found out that it was necessary to use a sharpener with it. This was before I had an electrical instrument and Alad- dinette. I was determined to do all I could to save my new records especially as some of my old ones had worn so badly. I felt it was well worth the experiment at least. The rieedles themselves are remarkably susceptible to electrical vibrations and the result is a tone of glowing beauty with surface scratch reduced to the point of non- existence and since this last named is amplified along with the music at hand you will certainly agree that this is defi- nitely something. Just before placing the needle in the pick-up (and it should not be screwed tightly into position) the little box of Alad- dinette gets trotted out and just a dash of the elusive sub- stance sprinkled onto the surface of the record through the small hole you have made in the box. Then rub it gently into the record with the felt surface provided in the box- bottom. You will find from experience how much to use. When you also discover that the use of this minimizes even further the surface noise, also makes it possible to play steel- worn records without ruining the Burmese point, you won’t want to be without it or the needles. As I have already mentioned I experienced some misgiv- ings when I heard that it was necessary to use a sharpener for the Burmese needles. But the Meltrope Sharpener is so simply constructed and easy to use that the perfect point it makes is well worth the effort. Personally I prefer to apply it after pa ah use of the needle. I prefer to sharpen the point each time but a slight turn of the needle to the right will ob- viate this for two or three playinsrs at least. The Meltrope Company has also provided a sound-box especially intended for use with the Burmese needle. T have tried it using both the old and new type of record. The old type especially are benefited by the lack of surface noise while the clarity of reproduction of the electrical records is very fine. Those who still have the old style acoustical tone-arm will do well to avail themselves of this sound-box. Richardson Brown Waltone Semi-Permanent Needles T HE Burmese Colour and Electrocolor needles’ latest ri- val is the Waltone Graphite” needle designed to play over 1000 records. The Waltone needle appears to be much like the fine-gauge needles known to many phonophiles, except that it is built into a shank that will fit directly into a pick-up or sound-box (obviating the special grip that is the annoying feature of the fine-gauge needles), and that the needle itself is encased in a cone of graphite. The re- production is as fine as that of the fine-gauge needle—which is very good indeed, as every experimenter knows—with the added value of the graphite’s lubricating power. The needle- point gets down to the very bottom of the needle grove, while the graphite (the best dry lubricant known) lubricates needle and record and reduces surface noise, vibration, and record wear. We have not yet had the opportunity to give the Waltone needle a thorough test, but first trials demonstrate it to be a promising claimant for semi-permanent needle honors. The onlv fault we find with it off-hand is that the shank is not quite long enough to be gripped securely in all makes of pick- ups, a fault which of course can be remedied easily by the makers’ extending the length of the shank another quarter of an inch. A new needle has the point completely covered by graphite which must be sanded away a bit before playing. The needle is fitted into the pick-up and rested on a rec- ord on the stationary turn-table. A small piece of fine sand- paper is placed under the needle and drawn back and forth a few times until the point itself scratches the paper, whereupon it will fit into the grove and is ready for use. No further adjustments are necessary and the needle may be left in the pick-up and used until it is completely worn away. T^o licencees for North and South America are Pierre Boehme & Cie, of Paris, and we understand that they are now arranging for American distribution. In England the needles are sold at retail for a shilling apiece.