Phonograph Monthly Review, Vol. 6, No. 6 (1932-03)

108 The Phonograph Monthly Review Robert, having gamed away his honor and wealth, is assured by Bertram that all shall be restored to him if he will visit the ruined Abbey of St. Rosalie, and secure a magic branch which grows there. In a superb in- vocation, “Ye slumbering nuns,” Bertram commands them to rise from their graves, and so tempt Robert that his soul will be forever lost. Victor, 6371, “Nonnes, Qui Reposez”— Plancon. (Records of historical and personal interest). Victor, 6710. Invocation (Ye slumb’ring Nuns—Ezio Pinza. Thus he summons from the nether world the nuns whose shameful lives profaned these altars dedicated to purity. The sepulchres open, and the nuns, wrapped in their cerements, come out and advance stealthily, while unearthly music of trump- ets, muffled strokes on the gong accompanies the resurrection. A gruesome touch is the low 3rds and 6ths on two bassoons, soli. Liszt’s apropos, but entirely unmentionable, joke need not be repeated here. This highly beautiful procession of nuns has always been one of the most famous pages of the score. V. E. H. 307 Robert der Teufel, March and Ballet music—Orchestra of the Berlin Staatsoper. Leo Blech. Part I and II. The march of the phantom nuns is fol- lowed by the second number of the ballet, “The Seduction of Gaming.” In an expres- sive dance-pantomime, Helene and the nuns lead Robert to where gold and dice are laid out. Mingled with the strains of a captivat- ing waltz is plainly heard the rattle of the dice in the orchestra. The second side of the disk begins with the third air de ballet, “The Seduction by Love.” In a spirited ensemble the coryphees endeavor to charm and entice the hero. At the 23rd measure Helene enters the magic circle and joins in with an independent pose —a pas sevl —in which she displays her ut- most graces and alluring gestures. Especial- ly beautiful is the voluptuous passage for the violoncello which accompanies the move- ments of the first dancer. This is an unusually fine example of what Meyerbeer could accomplish in the siren vein. This dance-poem of classic beauty occupies nearly all one side of the record. After it, however, as an appropriately brilliant finale, we hear certain phrases of the wild orgy of the resucitated nuns—the Bacchanale. It is no exaggeration to state that the pro- duction of “Robert le Diable” marks a most important date in the evolution of the lyrical drama. The impression it created was enormous. It rapidly conquered the world, and met with the same enthusiasm wherever it was performed. The work triumphed in spite of a series of mishaps which threatened to mar the suc- cess of the opening performance. One inci- dent occurred at the commencement of the celebrated scene of the resurrection of the nuns, a curtain of clouds becoming detached and almost falling upon Mile. Taglioni, the famous dancer, who, as the chief abbess, was about to rise from her tomb. Meyerbeer was greatly affected by the incident and so overcome was he that it required some time to fully persuade him that the falling scenery had not really caused Mile. Talioni’s death. There are many stories concerning his dread of death, and his horror of even having it mentioned in his presence. He seems to have been greatly afraid of being buried alive. In his pocketbook after his death was found a paper giving direc- tions that small bells should be attached to his hands and feet, and that his body should be carefully watched for four days, before its final disposition. To be continued PHONOGRAPHIC ECHOES Americans Lead in Music Listening New York, Feb. 27—Americans today are the most cultured music listeners in the world, in the opinion of Sir Thomas Beecham, English conductor. “Our English audiences take their music without giv- ing it much thought/’ he said. “They never discuss it with the intelligence the Americans display.” George Washington Anniversary Song Recorded by Columbia The feature record on the Columbia mid-February release carries the selection “Father of the Land We Love,” specially written by George M. Cohan in con- nection with the celebration of Washington’s two-hun- dredth birthday. This song has been chosen by the United States Washington Commission as the official song. It will be sung at all the countless ceremonies to be held in towns and cities throughout the United States. Robert Hood Bowers and His Orchestra play “Father of the Land We Love” in stirring fashion. On the reverse there is a medley of patriotic airs. Prosperity The sale of pianos and of sheet music is beginning to boom again, according to a publication of the music industry. The statement is made that one piano firm showed an increase of 22 Vi per cent in the number of pianos sold in the first 10 months of 1931 compared with the same period in 1930.