Radio Broadcast (May 1927-Apr 1928)

MARCH, 1928 NEW RECORDS 375 Interesting Record Albums Beelhoven: Symphony No. 0, in D minor (Choral) Beethoven: Concerto in D major. Violin Brahms: Symphony No. 1, in C minor Schubert: Symphony No. 8, in B minor (Unfinished) Tschaikowsky : Casse Noisette (Nutcracker Suite) Albert Coates and Symphony Orchestra Fritz Kreisler and State Opera Orchestra, Berlin Leopold Stokowski and Philadelphia Orchestra Leopold Stokowski and Philadelphia Orchestra Leopold Stokowski and Philadelphia Orchestra Chopin: Sonata in B minor, for Pianoforte, Opus 58 Percy Grainger Brahms: Sonata in A major. Opus 100, Violin and Toscha Seidel and Arthur Loesser Piano Ravel: Ma Mere I'Oye (Mother Goose) Suite for Walter Damrosch and New York Symphony Orchestra Orchestra Dvorak: Symphony No. 5, " Fromjhe New World" Sir Hamilton Hartyand Halle Orchestra Felix Weingartner and London Symphony Orchestra Wilhelm Furtwaengler and Philharmonic Orchestra, Berlin Richard Strauss and the Orchestra of the State Opera, Berlin Walter Fischer of the Berlin Cathedral with Orchestra Richard Strauss and Orchestra of the State Opera, Berlin Richard Strauss and the Orchestra of the State Opera, Berlin Berlioz: Symphonie Fantastique, Opus 14 Beethoven: Symphony No. 5, in C minor Beethoven: Symphony No. 7, in A major Handel: Concerto for Organ and Orchestra No. (Op. 4) Mozart: Jupiter Symphony, No. 41 Opus 557 Richard Strauss: Ein Heldenleben Victor Victor Victor Victor ■ Victor Columbia Columbia Columbia Columbia Columbia Brunswick Brunswick Brunswick Brunswick Brunswick The records in the above groups are to be had only in album form. The list is by no means complete but serves to indicate a few of the most interesting complete recordings which are available. The Rimsky-Korsakov Scheherazade Suite (Victor) is reviewed elsewhere on this page. by S. C. Lanin's Toothpaste Boys. On the reverse is Among My Souvenirs. Ben Selvin makes as good a dance record out of this as Whiteman did a set piece. A Shady Tree and There Ain't No Land Like Dixieland To Me by Ernie Golden and His Hotel McAlpin Orchestra (Brunswick). Two more hot numbers from the orchestra under the direction of the gent who has musical "it." Yep! 'Long About June and Blue Baby by Ray Miller and His Hotel Gibson Orchestra (Brunswick). The first is a lively down-east-barn-dance sort of number that will make your feet very restless; the second, only another dance tune. Both smoothly played by this excellent Cincinnati orchestra. Back Where the Daisies Grow and Lonely in a Crowd by the Park Lane Orchestra (Brunswick). After hearing these two numbers you will add the P. L. to your list of best orchestras. 06b! Maybe It's You and Shaking the Blues Away by Ben Selvin (Brunswick). Not quite up to the Selvin mark but you won't want to sit still to either number. Barbara and There's a Cradle in Caroline by Ben Bernie and H. R. Orchestra (Brunswick). Just another disappointment. Together We TwoznA What'll You Do by I sham Jones Orchestra (Brunswick). Isham has certainly been in seclusion long enough to have dug up better numbers than these for his return engagement. My Lady by Cass Hagan and His Park Central Orchestra. Simply swell! Two Loving Arms by the Cavaliers. A grand waltz. (Columbia). Are You Happy? and Kiss and Make Up by Vincent Lopez and His Casa Lopez Orchestra (Brunswick). Answering the question: No more so than if we'd never heard this record. Together We Two by Fred Rich and His Hotel Astor Orchestra. (Columbia). Only moderate. Baby Feet Go Fitter Patter by Harry Reser's Syncopators. Won't you give just a little something for a decent funeral? Where Is My Meyer? by Eddie Thomas' Collegians (Columbia). A good nonsense song from the Chauve Souris sung by Frank Harris with an orchestral background and a little yodeling for good measure. Clementine by Don Voorhees and His Orchestra is only fair. A Lane in Spain and There Must Be Somebody Else by Van and Schenck (Columbia). A very good vocal duet aided by guitar and piano. Watching the World Go By by Ford and Glenn (Columbia). Why shouldn't it? This isn't enough to stop for. Are You Thinking of Me To-night? by Elliott Shaw. Insomnia must be prevalent among song writers. There's a Cradle in Caroline and I'll Be Lonely by Frank Bessinger and Ed Smalle (Brunswick). Good sentimental singing. I'm Coming, Virginia and Just a Memory by the Singing Sophomores (Columbia). Leaves us cold. Twiddlin My Thumbs and The Pal You Left At Home by the Whispering Pianist (Columbia). Good rubber wasted on tripe. Liliue and Hanohano Hanalei by the South Sea Islanders (Columbia). Good Hawaiian music magnificently played. My Blue Heaven and The Song is Ended by Jesse Crawford (Victor). If you know anyone who wields a better movie organ than the organist at the Paramount Palace we would like to hear of him. Jesse Crawford is at his very best on these records. Are You Lonesome To-night? and Under the Moon by Lew White (Brunswick). But the Roxy organist isn't far behind. Estrellita and Mi Viejo Amor by Godfrey Ludlow (Brunswick). Good violin solos by the well-known staff artist of the National Broadcasting Company. A COMPLETE SYMPHONY Scheherazade — Symphonic Suite (Rimsky-Korsakow). By Leopold Stokowski and the Philadelphia Orchestra. Complete on five doublefaced Victor records. When the Russian composer Rimsky-Korsakov called this music the Scheherazade Suite he did not mean to imply that he was telling, musical word for spoken word, the story of the Sultan Schahriar, who so distrusted women that he vowed to put each of his wives to death after the first nuptial night; and of Scheherazade, the Sultana, who caused him to forsake his vow by entertaining him with fascinating tales for one thousand and one nights, at the end of which time it is to be presumed that he had regained his faith in women. Rimsky-Korsakov merely used the title as a hint to his listeners that the suite was "an Oriental narrative of some numer ous and varied fairy tale wonders," told by some one person to her stern husband. Take the hint of leave it. If you take it you can easily pick out the voice of the stern husband with which the first movement, The Sea and the Vessel of Sinbad, opens. It is a bold phrase played in unison by the trombone, the tuba, horns, woodwinds, and strings in their lower range. Then the sweet, timid voice of Scheherazade, in the high trembling notes of the violin, with the harp in the background. Then we hear the long roll of the sea translated into music by the violins. Now and then the lapping of the waves on the vessel. In the second movement, The Tale of the Prince Kalender, you can certainly identify the figure of the fakir prince in the now sad, now comic, notes of the bassoon; and there is no mistaking the wild violent dance of the Orient in which brasses, woodwinds, tuba, trombone, bassoon, and strings combine. The third movement tells a love story of The Young Prince and the Young Princess. The romance is plainly indicated in the simple tender melodies. And lastly there is The Festival at Bagdad, music full of the color and sinuous rhythm of the East. Queer minglings of sounds, seductive strains, call to mind beautiful veiled maidens, snakecharmers, swaying camels, spicy odors, perfumes of the Orient. Then suddenly we swing back again to the sea, this time not the calm, rolling sea of the first movement but a turbulent, treacherous sea, in which the vessel of Sinbad finally sinks, after a mighty crash on the rocks. And as the waters close over the ship the voice of the Sultan, now subdued, tells us that the tale is over and he is pleased, and the Sultana goes back to the opening theme of the strings for her finale. Beautiful music, rich, colorful, varied — dealing with weird and wonderful events but always essentially human. Played by a master orchestra directed by a master hand — a feast to suit the palate of the most discriminating of music lovers.