Phonograph Monthly Review, Vol. 5, No. 9 (1931-06)

272 1 he Phonograph Monthly Review Brahms: Academic Festival Overture, op. 80, (3 sides), played by the Philharmonic Orchestra, Berlin, conducted by Julius Pruewer, and Berlioz: The Damnation of Faust —Rdkoczy March, played by the Orchestre de l’Associa- tion des Concerts Lamoureux, conducted by Albert Wolff. Brunswick 90155-6. (2 D12s, $1.50 each). Just when we thought that we had the various Academic Festival Overtures classified, along comes this one which its merits will not permit one-to neglect. Priiiwer has always been a great favorite of mine and from his impressive read- ings of his other more or less hackneyed works, I was pre- pared for something unusual in this instance also. Although not so remarkable as his celebrated Egmont, it nevertheless increases the difficulty of a choice. The nature of the reading can, I think, best be conveyed by a reference to the two ver- sions of Mengelberg and Stiedry reviewed in the last issue. Priiwer combines many of the advantages of both. For those for whom the Stiedry record was too much lacking in dignity and orchestral brilliance, but who, on the other hand, desired more light-hearted vigour than was provided by Mengelberg, this will- prove an ideal compromise. While no one could accuse Priiwer of lack of vivacity, he at the same time places sufficient emphasis on the more serious moments in the mu- sic, so that either extremist, as well as those wishing an in be- tween reading, is likely to be satisfied. A further factor of importance is the excellent recording. Although the extend- ed pizzicatti in the ’cellos are not quite as clear as they might be, this lack of emphasis is more than atoned for by the wood winds and above all by the justly renowned brasses, which are reproduced with the greatest splendour. This fact coupled with the extreme breadth with which Priiwer takes the clos- ing peroration makes it a thrilling moment. Mention of the “March” might better be made with the following record, including two more selections from the same work. Berlioz: The Damnation of Faust, op. 24 ,—Minuet of the Will-o’-the-Wisps and Dance of the Sylphs, played by the Orchestra de l’Association des Concerts Lamoureux, con- ducted by Albert Wolff. Brunswick 90157. (D12, $1.50). The “March,” which is included on the fourth side of the Academic Festival Overture, is performed with the most ex- treme fervour and demoniac energy, but in spite of this and of a really phenomenal reproduction of the orchestral tumult, the effect of it all is to me at least, surely much less im- pressive and thrilling than it must once have been. Perhaps we have been spoiled by modern developments in the same direction. It is otherwise with the “Minuet” and more es- pecially with the “Dance of the Sylphs,” however. In the former, which extends to the second side, the chief interest is in the varied and piquant orchestration, and here, as might be expected, Wolff knows how to get the best effect. It is in the lace-like “Danse des Sylphes,” however, that the greatest marvel lies. Its sinuous motion and tenuous delicacy are magically captured. As we approach the end, the flutes seem scarcely to whisper, and the strings drop away until only one or two solo are left, and yet all remains beautifully distinct. Keler-Bela: Lustspiel Overture, played by the Berlin State Orchestra, conducted by Clemens Schmalstich. Victor (German list) V-69. (DIO, 75c). Albert von Keler (1820-82) an Hungarian contemporary of Strauss and Lanner (whose orchestra he took over after his death) is probably less known by name than it this oft-heard overture. If one had not heard it so often, he might very well find its alternating march and waltz rhythms very pleasant. If there be such they will no doubt enjoy it as much as do the conductor and band. Boieldieu: The Caliph of Bagdad — Overture', played by Dr. Weissmann and a Symphony Orchestra. Columbia G-50293-D (DH2, $1.25). The overture to this, the most important work of Boieldieu’s first style, is very slight material, but when played in such a sympathetic manner it can still be very agreeable. Dr. Weiss- mann wisely does not attempt to startle it into life by an exces of vigour, as he sometimes does. Robert H. S. Phillips Seen also the detailed reviefs of Sihelius’ “En Saga” {page 268), Dvorak's “New World” Symphony {page 269), Strauss’ “Bourgeois Gentilhomme” suite {page 269), De Falla’s “Nights in the Gardens of Spain” {page 270), and Goldmark’s “Rustic Wedding” Symphony {page 271). INSTRUMENTAL Piano Ibert: Le Petit Ane Blanc; MacDowell: Czardas; and Glazounow: Gavotte in D, played by Ignace Hilsberg. Brunswick 6103 (D10, 75c). A Hilsberg disc is always to be anticipated for its uncon- ventional choice of material, its discreetly competent play- ing, and its abundance of fascinating musical fare for a very small cost. Like all good things they are rare; this is the first for several months, but it is worth waiting for. The Ibert piece has been recorded several times in Europe, but the others are here set on wax for the first time. The Gavotte is one of the most pleasing of Glazounow’s smaller works, a cheerful little piece, deftly constructed, and played here with a nice rhythmical feeling and the proper restrained spirit. Ibert’s Little White Donkey is an amusing little creature that kicks up its pretty heels nervously, raises a little harmonic dust, and makes off at a sedate trot. The Czardas is out from the same cloth as the Hexentanz, but comes on records as a welcome relief from that much overworked war-horse. It is interesting to compare Hilsberg’s technique in the cool, de- tached, rapid notes of the vivacious Ibert piece, with that in fluent passage work of the MacDowell. I should like to hear him play more modern works—Bartok, for instance, whom he should do extremely well. Liszt: Hungarian Rhapsody No. 12, played by Irene Schar- rer. Columbia 50291-D (D12, $1.25). It is unfortunate to restrict Miss Sharrer’s American releas- es to music of the Lisztian vintage exclusively. Her Mozart and Scarlatti would be infinitely preferable. Granting the music, however, she plays with proper virtuosity and con- siderably more taste and lyrical feeling than most of her con- temporaries who venture into the field of the older pianistic generation. Yet conviction! is lacking, as it must be. This is music of another day, and its emptiness and grandiloquence are painfully apparent to 1931 ears. Mendelssohn: Spring Song, and Jensen (arr. Niemann). Murmuring Zephyrs, played by Rudolph Ganz. Victor 1508 (D10, $1.50). Ganz also chooses music more than a little old-fashioned. Niemann’s transcription of the familiar Jenson song is glibly enough tossed off, but both in it and the perennial Spring Song Ganz scarcely needs to further sugar the sentimentality. Such discs have their place, but it is not in the van of the phonograph movement. Violin Bach (arr. Siloti) : Adagio, and Pergolesi (arr. Fachiri) : Arietta , played by Yelly D’Aranyi, with piano accompani- ments by Arthur Bergh. Columbia 2443-D (D10, 75c). The Bach Adagio has already been made familiar by the incomparable performance by Casals. I believe it has also ben recorded by Tertia in his own arrangement for viola. Miss D’Aranyi’s thin violin tone, sensitive as it is, hardly becomes the eloquent melody as well as Casals’ ’cello, and she plays it with something less of the proper respose and broad flow. If I remember rightly the Arietta is none other than the popu- lar “Nina.” Is so the inaccurate attribution to Pergolesi is perpetuated on another record label. Grove tells us that noi only is the air not Pergolesi’s, but it was originally written for a comic opera, and the contemplative, melancholy style in which it is invariably played is as erroneous as the author- ship. Apart from all this, Miss D’Aranyi plays the piece ef- fectively enough in the conventional manner. Cello Ravel: Piece en forme de Habanera, and Faure (arr. Cas- ats) : Aprcs un R£ve, played by Maurice Marechal, with piano accompaniments. Columbia 2446-D (D10, 75c). Every disc Marechal turns out bears the imprint of his con- sistent musicianship and personality. Even in these brief pieces he reinforces the impression gained from his larger works that he is a ’cellist of vivid and yet well rounded at- tainments. Casals’ transcription of the popular Faure song is sung simply and with gracious tone qualities. The Ravel miniature, small as it is, reveals something of his more var- ied range of powers, but he keeps the performance well re- strained. (The piece is one of Ravel’s earliest; it served later as the basis of the Habanera movement of the Spanish Rhap- sody). The disc is very pleasingly recorded. O. C. O.