Phonograph Monthly Review, Vol. 6, No. 2 (1931-11)

November 1931, Vol. VI, No. 2 27 a Spanish Empress, and Sweden a French king and a German queen.” The epoch of the Strauss master waltzes be- gan with the Blue Danube, op. 314, “the waltz of all waltzes, which has been aptly called a second Austrian national hymn, by the side of Haydn’s “Gott Erhalte Franz der Kaiser”. “On the Beautiful Blue Danube” was orig- inally written as a male chorus, and when first heard in Vienna in 1866, was received with indifference. Strauss was finally prevailed upon to re-write the “Blue Danube” as an in- strumental waltz. When it was played in this revised form, by the Strauss orchestra, it met with enormous success and since that time it has been universally recognized as the great- est waltz ever composed. But the “Blue Danube” commands addi- tional and espgcial interest because it is the first vocal waltz written by Strauss, the first, that is to say, with parts for chorus as well as for instruments, thus making in the Waltz King’s career the point of transition from his earlier work in the field of pure dance-music to his later triumphs, after 1870, as a com- poser of light opera. Brahms was an admirer and intimate friend of the Waltz King, and when he was asked to place his name upon the autograph fan of Madame Strauss, he wrote the opening measures of the “Blue Danube”, and added:— Alas! not by me,— Johannes Brahms Strauss himself had no especial regard for the waltz; he estimated it simply as one of many. He could never comprehend its subse- quent popularity. His publisher, Spina of Vienna, became rich from its phenomenal sale, though the composer benefited but little. The title of Strauss’ famous waltz contains an assertion that is evidently considerably removed from the reality. A scientist has taken observations during the year 1898 on the different colors presented by the cele- brated river. He has shown that on eleven days the waters of the Danube were brown; on forty-six days yellow; on fifty-nine days muddy green; on forty-five days clear green; on sixty-four days yellowish green; on sixty- nine days steely green; on forty-six days emerald green—but blue . . . never once! There are two recordings of this famous waltz that occupy a place of honor in my re- gard. The first is from the “Vox” Company, of Germany. It will require to be specially imported, as I am quite sure that it is not possible to obtain it in the 'United States. This masterpiece is presented upon both sides of two twelve-inch disks, without any cuts; Nos. *01896G and *01897G. This is easily my first favorite. It was ordered through the H. Royer Smith Co., of Philadelphia. If any- one desires to hear the “Blue Danube” for once played as the composer intended, let him listen to this complete recording, by the or- chestra of the Berlin Staatsoper, under the magic baton of Erich Kleiber. Another interpretation — an extremely “personal” reading, and of an intensely in- dividual character—is the version of the “Blue Danube” as played by the Philadelphia Symphony Orchestra under the leadership of the inimitable Stokowski, (Victor 6584). Its “different” quality intrigues me greatly, but its departure from certain accepted tradi- tions has evoked a storm of protest in many quarters. Considerably more complete—though much cutting was unavoidable, since it is impossible to give the waltz in its entirety upon even two sides of a 12-inch disk—is the recording by Felix Weingartner and Royal Philhar- monic Orchestra (Columbia 50084-D). It is a memorable and electrifying reading of the immortal Strauss waltz, and, even in its ab- breviated condition, is a gem of the first water. And now comes an interesting question: Is there a single Strauss waltz that has ever been recorded, complete, in America? By “com- plete”, I mean recorded with the Introduc- tion, Waltz-section and coda. I doubt it great- ly, and unless a Strauss Waltz is heard in its entirety, it is safe to say that it has practic- ally never been heard at all. What a loss it is to the many—I might truthfully say the most —music-lovers who have no idea of the beauty of these Introductions — veritable tone-poems. Of all those who love the superb “Wine, Woman and Song” waltz, how many are there who could play, hum or whistle even half a dozen bars of the Introduction? Yet this little overture, if played with the re- quisite grace and sincerity can be as polished and romantic as Mozart. There are many recordings of this waltz- classic. Columbia offers a version by the Jacques Ensemble (C-50058-D). The Victor Company lists two interpretations; one pair- ed with the “Blue Danube”, both beautifully sung by that past-mistress of bel canto, Madame Frieda Hempel, (6162) ; the second being played by Frederick Stock and the Chicago Symphony Orchestra (6647). These records possess qualities of striking merit and may be regarded as valuable addi- tions to the library of recorded music if one finds it possible to ignore the fact that only half the waltz is given—to me, this is the un- pardonable sin.