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106 The Phonograph Monthly Review —Serenade alone, Wendling Qt. (Polydor), Virtuoso Qt. (H. M. V.). C major (“Bird”) Op. 33, No. 3, Roth Quar- tet (Edison—needle cut). C major, Op. 54, No. 2, Musical Art Quartet (Columbia). D major (“Lark”), Op. 64, No. 5, Capet Qt. (French Columbia). —Menuetto only, Lener Qt. (Columbia—odd side Debussy quartet). —Vivace only, Musical Art Qt. (Columbia- odd side Haydn Quartet in C, Op. 54, No. 2). E flat major, Op. 64, No. 6, English String Qt. (*Columbia). C major, Op. 74, No. 1, Rondo only, Virtuoso String Qt. (H. M. V.) G minor (“Horseman”), Op. 74, No. 3, Bux- baum Qt. (Polydor). G major, Op. 76, No. 1, Budapest Qt. (H. M. V.), Poltronieri Qt. (Italian Colum- bia). D minor (“Quinten”), Op. 76, No. 2, Elman Qt. (Victor), Poltronieri Qt. (Italian Columbia). C major (“Emperor), Op. 76, No. 3, London String Qt. (*Columbia). —Theme and Variations only, Elman Qt. Victor), etc. B flat (“Sunrise”), Op. 76, No. 4, Inter- national String Qt. (N. G. S.), Baaxbaum Qt. (Polydor). D major (“Largo”), Op. 76, No. 5, Lener Qt. (N. G. S.). E flat, Op. 76, No. 6, International String Qt. (N. G. S.). Trio G major, No. 1, Cortot-Thibaud-Casals (Vic- tor). —Gypsy Rondo only, Victor Educational Lists, etc. Piano Sonata in C minor, Kathleen Long (N.G.S.) Sonata in C major, Gunther Homann (Poly- dor). Sonata in D major, Gunther Homann (Poly- dor) . Sonata in F major, 1st movement only, Jean Inglis (Eng. Columbia). Minuet in E flat, Charlotte Kaufman (played on the Mozart piano of 1790) (Polydor). Harpsichord Sonata in D major, Violet Gordon Wood- house (H. M. V.). Violin Minuet in D major (arr. Hartman), Renee Chemet (Victor). Cello See ’cello concerto under “Orchestral” Menuet, Cassado (French Columbia). Menuet (arr. Piatti), Casals (Sp. H. M. V.). Flute Adagio Cantabile, Noordewier (Belgian Co- lumbia). Oratorios: “The Seasons" “Komm, o holder Lenz,” Singakademie Chor, cond. Georg Schumann (Electrola), Berlin Volks-Chor (Homocord). “Hort das laute Oreton,” Berlin Volks-Chor. (Homocord). " The Creation " “The Heavens are Telling,” Sheffield Choir (Columbia), Temple Church Choir (H. M. V.), Basilica Choir (Polydor). “Stimmt an die Saiten,” State Opera Choir (Electrola), Basilica Choir (Polydor). “Vollendet ist das grosse Werk,” State Opera Choir (Electrola). “With Verdure Clad,” Elsie Suddaby (H. M. V.), John, Bonner (Eng. Columbia), Lotte Leonard (Polydor). Misc. Vocal My Mother Bids Me Bind My Hair, Anna Case (Columbia), Elsie Suddaby (H. M. V.). Del mio Core, Jenny Sonnenberg (Polydor). Giacomo Meyerbeer By JAMES HADLEY G IACOMO MEYERBEER has had a great- deep obeisances to Meyerbeer. Indeed, with- _ . er influence on the development of mod- out “Robert le Diable” there would never ern opera than any other composer except have been an “Aida” at all. Wagner modelled Wagner. He set the example in the arrange- his “Rienzi” slavishly upon the Meyerbeer ment of effective alternations of scenes and plan. situations. Massenet, Gounod, Reyer, Saint- At the time of his highest eminence Meyer- Saens, Puccini—even Verdi in “Aida”—made beer dominated all the stages of Europe with