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

28 The Phonograph Monthly Review Far transcending any of these in artistic interest and importance is the magnificent recording of “Aimer, Boire et Chanter” (Wine, Woman and Song) played by a Sym- phony Orhcestra under the direction of the great Bodanzky. It occupies both sides of a twelve-inch disk, and includes, of course, the beautiful Introduction. It is listed by the French Odeon Company (170079). This waltz is novel in its construction. There is an elaborate miniature overture—an “Introduction” of 137 measures. The waltz- section consists of four members, with the customary two melodies in each. The “coda” is brief, consisting of only eleven measures. A noteworthy addition to a Strauss collec- tion is the “Morgenblatter” (Morning Jour- nals) Waltz, op. 279. With the exception of a few bars from the Introduction (regrettable, but not especially noticeable in this case) the waltz is given complete, on two sides of a twelve inch record. The admirable coda (or Finale) is given without cuts: it is easily one of the most brilliant and beautiful in the en- tire Strauss repertoire. This fine waltz—one of his very best—is associated with his only Paris experience. Strauss had composed “Morgenblatter expressly for the famous “Concordia” Ball. For this same occasion Offenbach had also written a waltz, his dance being called “Abendblatter (Evening Papers). At that time, the Offenbach craze was at its height, and, as a result, his waltz was received with greater enthusiasm. Strauss, not accustomed to being overshad- owed by anybody, or anything, was reduced to despair and, finally, tears—one of the very few times in his life. It was in January, 1864. “This black night”, writes Strauss, “will remain long in my memory”. The “Morgenblatter” waltz has been played in perfect style by the inimitable Edith Lorand and her orchestra. It comes from the Parlophon Company (P 1705) and was im- ported for me by the Gramophone Shop. It is of the old acoustical recording. Strauss would have quickly dried his tears could he have looked into the future, for, to this day, his “Morgenblatter” is heard every- where on concert programmes, and the Offen- bach waltz has long ago been lost in the “even- ing” of oblivion. Some recent importations have interested me greatly: 01973 “Kunstlerleben”, (Ar- tists’ Life) waltz—; 01951 “Wiener Blut” (Vienna Temperament), and “Fruhlings- stimmen” (Voices of Spring), 01952. These three waltzes by Johann Strauss are listed by the Vox” Company. They each are recorded on two sides of a twelve inch record, and are played by the Tino Valeria Kunstler Orches- tra. The foreign firms would appear to have more consideration for the composers than we in the United States, for, where it is at all possible, they record the composition com- plete—or nearly so. They are acoustical re- cordings. The waltz “Fruhlingsstimmen”, originally composed for orchestra, was later provided with a German text, by Richard Genee, a favorite Viennese composer of operettas— notably the brilliant and captivating “Nanon” —and the author of many clever operetta librettos. The text was afterward translated into Italian. The words, which celebrate the coming of Spring, were written primarily to make the waltz possible of performance by vocalists, and are not essential to the appreci- ation of the music. The Odeon Company lists a piano solo version of this waltz, performed with notable technical perfection, by Karol Szreter (3216). Personally, I abominate these dis-arrangements, but they have many admirers, and it would be difficult to imagine a more favorable vehicle for the display of Mr. Szreter’s impeccable virtuosity. (To be continued in the next issue) An Excellent Business Opportunity Representatives and Advertis- ment and Subscription Agents for tke Phonograph. Monthly Review are wanted for cities where as yet there are no repre- sentatives. Write to the Busi- ness Office, for details. THE PHONOGRAPH PUBLISHING CO., Inc. 69 Marion Street MEDFORD MASS.