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

278 The Phonograph Monthly Review Harpsichord Concerto Bach: Concerto No. VII, in G minor, for harpsichord and strings, played by Anna Linde and a string orchestra. Parlo- ’phone 10879-80, (2 D12s). The position of these records as embodying the only con- certo of Bach’s which is so far as I know available played on the original instrument, entitles it to a respect and promin- ence which under any ordinary competition its actual merits would not justify. But since we are so restricted, we must take what we can get and be thankful—I confess that I much prefer this version to a much better one played on the piano- forte. In fact, after hearing the brilliance and clarity of the harpsichord in this music, and the beautiful way in which it combines with the strings, it is difficult to conceive of substi- tuting a paino, with its heavy rich tone. Like almost every one of the other Clavier concerts, this is a transcription of a concerto in A minor for violin and orchestra. As here divided the first movement is on part one, the second occupies part two and half of three, and the finale the rest. Unfortunately, although selected for such an unique honour, the music is not the best of the works in this form, but it is nevertheless very good: the slow movement has a richness and nobility which is not easily surpassed, and the final Allegro assai is of much interest. The chief criticism which can be made of the whole is the heaviness and lack of resilience which is very noticeable in the fast movements. In the first, the solo instrument does not seem to be well-placed and has a rather different and poorer tone than in the rest of the work. In the last, which is obviously intended as somewhat of a show piece, the harpsi- chordist would have done well to exhibit somewhat more brilliance and rhythmic variety and elasticity. Although there also heaviness is not absent, the Andante is from every point of view the most successful—the instrument makes the parts stand out perfectly, and its coolness of tone imparts a singu- lar 4 purity to the mood. The dynamic changes used are in general those of the Bachgesellschaft edition, but there is oc- casionally a tendency to emphasize the solo instrument almost too much. The whole interpretation gives an impression of solidity and workman-likeness, which, though not extremely exciting, I find decidedly preferable to a flashy exploitation. Would that one could hope for more such treasures. Robert H. S. Phillips German language course Siepmann: German Language Course, first two lessons, (based on Siepmann’s “Primary German Course”). H. M. V. C-2108-12 (5 D12s, Textbook). An electrically recorded course of German lessons has been needed for a long time; Otto Siepmann’s comes very oppor- tunely. It is based on his own “Primary Course,” published by Macmillan—a standard text book for many years in Brit- ish schools. His recent broadcasts of German lessons elicited so eager a response from the British radio public that H. M. V. has begun to issue the lessons in recorded form. At pres- ent only the first five discs are available from the American importers, but new additions to the series are appearing per- iodically in England. I have not yet had a chance to examine the course very carefully, but at first glance the textbook appears to be an admirable one. It is perfectly simple, designed indeed for children in the primary grades, and concentrates attention on building up the proper foundation of correct pronunciation. Selfstudy in German is notoriously difficult, and even in schools the opportunities for limited repetition of the ground work of sound production are limited. Here the text can be followed carefijly while the records with their examples of the proper vowel, diphthong, and consonant sounds are be- ing played. The possibilities of repetition are unlimited, so even the slowest student may—by dint of a little perserver- ance—obtain command over the sounds that come so awk- wardly to American tongues The application of the records as a supplement of school work or as a basis for self-study is obvious, and it" is hard to see how they might be bettered for their purpose No one interested in obtaining a solid foun- dation in the German language should overlook them. Orchestral Dvorak: Scherzo Capriccioso, Op. 66, played by the Ber- lin Philharmonic Orchestra conducted by Erich Kleiber. Ultraphon E-655 (D12). I cannot find much in this work to admire greatly. Its principal theme has a good tumultuous energy, but the con- trasting theme is blandly sentimental and quite destroys the music’s acquired momentum. Kleiber plays it in his custom- ary vigorous, sure-handed manner, but scarcely succeeds in charging it with any genuine life for all its bombast and fury. The recording favors the wood winds and horns; the strings are inclined to shrillness* and the basses are practically inau- dible. Grainger: Mock Morris, and McEwen: Tempo di Valse {Lento) (from “The Jocund Dance”), played by the Phil- harmonic Chamber Orchestra conducted by Charles Kresh- over. Edison Bell Winner 5144 (DIO). Knowing McEwen’s “Solway” symphony, recorded in the acoustical days by Vocalion, I expected more of the Tempo di Valse played here. It is expressive, simple, and avoids banality and the saccharine, but more can hardly be said for it. The Mock Morris is another matter. One of Grainger’s best tunes, it is tossed off here with just the right esprit and snap. Kreshover made his recording debut in the N.G.S. set of Juon’s Chamber symphony. He is a promising man and should be given the opportunity to do some work in the little tilled chamber orchestral field. I imagine Edison Bell will keep him to comparative trifles like these, but his abilities are revealed even here. The recording gives a good idea of the orchestra’s well-balanced playing. Ira Instrumentals Weber: Invitation to the Waltz, two parts, played by the Band of H. M. Life Guards, conducted by Lieut. W. J. Gib- son. Broadcast Twelve 5132 (D 10). This is a rather stiff and uninspired performance of Weber’s off-played “Invitation.” It has not sufficient life and resili- ency to be satisfying. The recording is rather good at the be- ginning but seems to decline as the sound-box approaches the center. Florodora— Selection, two parts, played by the Band of H. M. Welsh Guards, conducted by Captain Andrew Harris. Broadcast Twelve 5132 (D 10). Played with a rather cheap vivacity, this music does not make much impression. Either “Florodora” is dead, or this is not a very good selection. The well-known Sextet is the only number here that attracts. Costa: A Frangesa, march, and Cole: La Grive (The Thrush) played by the Band of H. M. Life Guards. Broad- cast Twelve 577 (D 10). The march, which is only a moderately good one, is played very well, with a vocal refrain. La Grive’s chief interest evi- dently lies in a piccolo solo (played by S. McBride)—at any rate, it cannot be said to have any other. Orchestrola The diminutive Orchestrola record No. 4104 carries two un- familiar operatic numbers by one Cesare Palagi, bass, whose name I have not heard before. They are “Als Bublein Klein” from Nicolai’s opera, the Merry Wives of Windsor, and an aria from Der Waffenschmied by Lortzing, the author of the semi-forgotten Zar und Zimmerman and the almost un- known Undine. Nicolai’s opera still retains its vogue in Ger- many and excerpts from Lortzing’s operas occur from time to time on records; Polydor has issued an aria from Undine (73086) and from Zar und Zimmerman (66608) both by Heinrich Schlusnus, and there is a recording by the Berlin Philharmonic of the Overture to Der Waffenschmied (19901). The orchestrola numbers are sung excellently by Palagi and should be an excellent collector’s item since the composers are important figures in any comprehensive review of modern German opera of the last century. The size of this record, small as it is, does not seem to limit the playing time and the recording is quite clear and free from surface noise. R. B.