Record Reviews
Identifieur interne : 000693 ( Istex/Corpus ); précédent : 000692; suivant : 000694Record Reviews
Auteurs : Paul J. WeaverSource :
- Music educators journal [ 0027-4321 ] ; 1934-02.
English descriptors
- Teeft :
- Adrian boult, Aggerated accentation, Agnes davis, Albert roussel, Albert stoessel, Alexander koshetz, Alexander matthews, Allegro movement, American record makers, Ancient german easter carol, Anton dvorak, Arkansaw traveler, Artur schnabel, Auld lang syne, Bach, Bach branden, Bach chorale, Bach student, Baile kibalchich, Beautiful dreamer, Best bands, Best gilbert, Best type, Better recording, Brilliant list, Brilliant work, Budapest quartet, Budapest speed, Burg concern, Cantata phoebus, Cappella choruses, Carl fischer, Carte forces, Catalonian christmas songs, Catholic church, Chamber music, Chamber music quartet opus, Charles wood, Charming juxta, Cherubim song, Chestral accompaniment, Child jesus, Choral octavo, Chorals lullaby, Chorus master, Christmas oratorio, Clarinetist gaston hamelin, Clay birds, Clifford page, College marches, Columbia lotte, Columbia tauber, Columbia uber nacht, Considerable charm, Dajos bela orchestra, Daniel protheroe, Delicious opera, Dimitri bortniansky, Dith latton, Dulci jubilo, Dumb error, Early german carol, Early recording, Echo song, Ecole normale cham, English translations, Ensemble series, Entire collection, Estelle merrymon clark, Eugene goossens, Evening song, Excellent arrangements, Fessional bands, Final move, Fine account, Fine advantage, Fine arrangement, Fine book, Fine collection, Fine sample, Fine songs, Fine voice, First movement, First number, Flowering orchards, Foremost exponent, Fourth movement, Fourth movements, Franz song, Fred gurlitt, French soprano, French suite number, Good library, Gorgeous andante, Grand march, Great artis, Great artists, Great beethoven piano concertos, Great effectiveness, Great import, Great singers, Great works, Greatest contributions, Gypsy john, Harmonic interest, Harold geer, Harvey gaul, Henry purcell love, High school, High school bands, Highest caliber, Hilaire poet, Horn parts, Hsssss wwwjsfoi, Hugh ross, Humorous paraphrase, Inimitable cast, Insipid serenata siciliana, Instrument parts, Instrumental part, Interesting item, Irish folk, Italian choirs, Jacques pillois, Jane kenley, Jingle bells, John charles thomas, John smailman, Juilliard faculty, Kerry dance, Last symphony, Latest release, Laurel octavo material, Lener quartet, Less degree, Lieber malzel, Light caliber, Lilian vandevere, Little town, Liturgical music, London symphony, Long piano solo, Lotte lehmann, Lovely voice, Major violin sonata, Malcolm sargent, Male chorus, Male voices, Maria mari, Master choruses, Matthew passion, Meister singer, Melrose bros, Merry company, Mezzo soprano, Michael praetorius, Miliar minuet, More brahms songs, Much dialogue, Music publishing corp, Music supervisors journal music supervisors journal, Naive spirit, Neyed russian songs, Ninon vallin, Nunc dimittis, Octavo numbers, Oliver ditson, Operatic performance, Orchestra suite, Original form, Orlando gibbons, Otter ddmmerung, Palmer john clark, Patter song, Paul tschesnokov, Perfect trio, Perosi numbers, Piano part, Piero coppola, Pleasing performance, Rachmaninoff prelude, Rastlose liebe, Real spanish quality, Reger song, Rhine journey, Rhythm band, Richard tauber, Rior recordings, Russian folksong mother, Russian settings, Sacred chor, Sage publications, Saint saens, School boys, Score reading stage, Second group, Second movement, Second period, Sentimental songs, Several chor, Similar interpretations, Sistine chapel choir, Sleepers wake, Small ones, Sole agents, Song version, Songs sound, Soprano melody, Southern california, Special prayers, Special word, Splendid interpreta, Splendid singers, Sterling artists, Strange procedure, Strict waltz rhythm, String orches, Strong points, Stunning music, Such music, Tango rhythm, Teaching piece, Teenth century, Ters folio, Teschemacher leoncavallo mattinata, Third movements, Third voiceline, Thomas beecham, Thomas tallis, Thoughtful listener, Tistic style, Tito schipa, Ukrain church melody, Unison carol, Victor album, Victor clerk, Vittoria tenebrae factae music, Vocal ability, Vocal virtuosity, Voice recordings, Wagner exponents, William arms fisher, Year book press series, Young bands, Young players.
Url:
DOI: 10.1177/002743213402000337
Links to Exploration step
ISTEX:E420BE3967583CE1457314B6FC3B26F0D3C6F1C0Le document en format XML
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Weaver</name></json:item></author><articleId><json:string>10.1177_002743213402000337</json:string></articleId><arkIstex>ark:/67375/M70-L7PJHFDD-Z</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>review-article</json:string></originalGenre><qualityIndicators><score>4.867</score><pdfWordCount>2855</pdfWordCount><pdfCharCount>16063</pdfCharCount><pdfVersion>1.4</pdfVersion><pdfPageCount>2</pdfPageCount><pdfPageSize>648 x 900 pts</pdfPageSize><refBibsNative>false</refBibsNative><abstractWordCount>1</abstractWordCount><abstractCharCount>0</abstractCharCount><keywordCount>0</keywordCount></qualityIndicators><title>Record Reviews</title><genre><json:string>review-article</json:string></genre><host><title>Music educators journal</title><language><json:string>unknown</json:string></language><issn><json:string>0027-4321</json:string></issn><eissn><json:string>1945-0087</json:string></eissn><publisherId><json:string>MEJ</json:string></publisherId><volume>20</volume><issue>3</issue><pages><first>48</first><last>50</last></pages><genre><json:string>journal</json:string></genre></host><namedEntities><unitex><date><json:string>1934</json:string></date><geogName></geogName><orgName><json:string>I Sage Publications Ltd.</json:string><json:string>Elkan-Vogel Co.</json:string><json:string>D K A Y MUSIC PUBLISHING CORP.</json:string><json:string>MUSIC CO.</json:string><json:string>Oliver Ditson Co.</json:string></orgName><orgName_funder></orgName_funder><orgName_provider></orgName_provider><persName><json:string>Arthur F. Kelloff</json:string><json:string>Goos</json:string><json:string>Ye People</json:string><json:string>R. B. Fitzgerald</json:string><json:string>Brahms</json:string><json:string>Maria Mari</json:string><json:string>Arthur H. Egerton</json:string><json:string>Davis</json:string><json:string>Piero Coppola</json:string><json:string>R. E. Hildreth</json:string><json:string>Lotte Lehmann</json:string><json:string>Violin</json:string><json:string>Thomas Tallis</json:string><json:string>Henry Purcell</json:string><json:string>John Smailman</json:string><json:string>Harvey Gaul</json:string><json:string>Orlando di Lasso</json:string><json:string>Max T. Krone</json:string><json:string>Archibald T. Davison</json:string><json:string>Don Pasquale</json:string><json:string>Paul Tschesnokov</json:string><json:string>George J. Trinkaus</json:string><json:string>Babe Divine</json:string><json:string>Malcolm Sar</json:string><json:string>Jacques Pillois</json:string><json:string>Albert Roussel</json:string><json:string>Louis J. Panella</json:string><json:string>E. Paladihle</json:string><json:string>La Bos</json:string><json:string>Vittoria Tenebrae</json:string><json:string>London Symphony</json:string><json:string>James M. Fulton</json:string><json:string>Thome</json:string><json:string>F. Camp</json:string><json:string>Michael Praetorius</json:string><json:string>Adrian Boult</json:string><json:string>Echo Song</json:string><json:string>Artur Schnabel</json:string><json:string>Chiaffarelli</json:string><json:string>Merry Company</json:string><json:string>La Bas</json:string><json:string>J. Lilian</json:string><json:string>Eugene Goossens</json:string><json:string>Orlando Gibbons</json:string><json:string>Max Reger</json:string><json:string>B. C. Symphony</json:string><json:string>N. P. Afonsky</json:string><json:string>Alexander Koshetz</json:string><json:string>Frank Panella</json:string><json:string>M. Viard</json:string><json:string>London Sym</json:string><json:string>H. Fox</json:string><json:string>Tito Schipa</json:string><json:string>Hugh Ross</json:string><json:string>Charles J. Rob</json:string><json:string>La Scala</json:string><json:string>Richard Tauber</json:string><json:string>Lotte Leh</json:string><json:string>Malcolm Sargent</json:string><json:string>Charles Wood</json:string><json:string>Anton Dvorak</json:string><json:string>Stephen Foster</json:string><json:string>Albert Stoessel</json:string><json:string>Thomas Beecham</json:string><json:string>J. Westbrook</json:string><json:string>Dimitri Bortniansky</json:string><json:string>Hilaire Belloc</json:string><json:string>Cyr de Brant</json:string><json:string>Kerry Dance</json:string></persName><placeName><json:string>Paris</json:string><json:string>Columbia</json:string><json:string>St. Matthew</json:string><json:string>Hamelin</json:string><json:string>Bethlehem</json:string><json:string>Oldham</json:string><json:string>Glinka</json:string><json:string>Saint Saens</json:string><json:string>Budapest</json:string><json:string>Palestrina</json:string></placeName><ref_url></ref_url><ref_bibl><json:string>Victor 11433</json:string><json:string>Victor 11426</json:string></ref_bibl><bibl></bibl></unitex></namedEntities><ark><json:string>ark:/67375/M70-L7PJHFDD-Z</json:string></ark><publicationDate>1934</publicationDate><copyrightDate>1934</copyrightDate><doi><json:string>10.1177/002743213402000337</json:string></doi><id>E420BE3967583CE1457314B6FC3B26F0D3C6F1C0</id><score>1</score><fulltext><json:item><extension>pdf</extension><original>true</original><mimetype>application/pdf</mimetype><uri>https://api.istex.fr/document/E420BE3967583CE1457314B6FC3B26F0D3C6F1C0/fulltext/pdf</uri></json:item><json:item><extension>zip</extension><original>false</original><mimetype>application/zip</mimetype><uri>https://api.istex.fr/document/E420BE3967583CE1457314B6FC3B26F0D3C6F1C0/fulltext/zip</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/document/E420BE3967583CE1457314B6FC3B26F0D3C6F1C0/fulltext/tei"><teiHeader><fileDesc><titleStmt><title level="a" type="main" xml:lang="en">Record Reviews</title><respStmt><resp>Références bibliographiques récupérées via GROBID</resp><name resp="ISTEX-API">ISTEX-API (INIST-CNRS)</name></respStmt></titleStmt><publicationStmt><authority>ISTEX</authority><publisher scheme="https://publisher-list.data.istex.fr">SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><availability><licence><p>sage</p></licence></availability><p scheme="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B"></p><date>1934</date></publicationStmt><notesStmt><note type="review-article" scheme="https://content-type.data.istex.fr/ark:/67375/XTP-L5L7X3NF-P">review-article</note><note type="journal" scheme="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</note></notesStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a" type="main" xml:lang="en">Record Reviews</title><author xml:id="author-0000"><persName><forename type="first">Paul J.</forename><surname>Weaver</surname></persName></author><idno type="istex">E420BE3967583CE1457314B6FC3B26F0D3C6F1C0</idno><idno type="ark">ark:/67375/M70-L7PJHFDD-Z</idno><idno type="DOI">10.1177/002743213402000337</idno><idno type="article-id">10.1177_002743213402000337</idno></analytic><monogr><title level="j">Music educators journal</title><idno type="pISSN">0027-4321</idno><idno type="eISSN">1945-0087</idno><idno type="publisher-id">MEJ</idno><idno type="PublisherID-hwp">spmej</idno><imprint><publisher>SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><date type="published" when="1934-02"></date><biblScope unit="volume">20</biblScope><biblScope unit="issue">3</biblScope><biblScope unit="page" from="48">48</biblScope><biblScope unit="page" to="50">50</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>1934</date></creation><langUsage><language ident="en">en</language></langUsage></profileDesc><revisionDesc><change when="1934-02">Published</change><change xml:id="refBibs-istex" who="#ISTEX-API" when="2017-10-17">References added</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/document/E420BE3967583CE1457314B6FC3B26F0D3C6F1C0/fulltext/txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="corpus sage not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="UTF-8"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.3 20070202//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="review-article" dtd-version="2.3" xml:lang="EN"><front><journal-meta><journal-id journal-id-type="hwp">spmej</journal-id><journal-id journal-id-type="publisher-id">MEJ</journal-id><journal-title>Music Educators Journal</journal-title><issn pub-type="ppub">0027-4321</issn><publisher>
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</publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1177/002743213402000337</article-id><article-id pub-id-type="publisher-id">10.1177_002743213402000337</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>Record Reviews</article-title></title-group><contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Weaver</surname><given-names>Paul J.</given-names></name></contrib></contrib-group>
<pub-date pub-type="ppub"><month>02</month><year>1934</year></pub-date><volume>20</volume><issue>3</issue><fpage>48</fpage><lpage>50</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Reviews</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> ing parts required a r e: I Soprano, I Mezzo Soprano, I Alto, I Tenor, I Bari tone, I Bass, while parts f o r Maids of H o n o r and for Y o u n g Mandarins may be sung as solo or chorus at the discretion of the producer. There is one speaking part. Eight of the Sixteen numbers are choral at least in part, two being scored f o r male chorus, one f o r treble, and five f o r mixed voices. The range is good. With care in production “T h e Nightingale” may be a pleasing performance. SUSAN T. CANFIELD Other Operettas Received AN O L D S P A N I S H CUSTOM. Book and lyrics by Estelle Merrymon Clark, music by Palmer John Clark. [The Raymond A. Hoffman Co.] A story of Southern California with music of real Spanish quality, for High School. Much dialogue, considerable charm. A Merry Company (1886 and 1914 copyrights) and A Garden of Singing Flowers (1889 and 1917 copyrights). Both from Oliver Ditson Co., Inc. Master Choruses and Snow; Presents for the Child Jesus. There is also a Michael Praetorius (1571-1621) arrange ment, for soprano and alto, of the old four teenth century In Dulci Jubilo. J. FISCHER & B R O.: A Clifford Page ar rangement of Saint Saens' The Swan for soprano and alto. Two arrangements by Cyr de Brant of Sibelius' Finlandia–one for S.A.T.B., one for T.T.B.B. or S.A.A.B. T. F I T Z S I M O N S C O M P A N Y: Little Town of Bethlehem, three-part chorus for wo men's voices by Daniel Protheroe. M. W I T M A R K & S O N S: The Witmark Choral Library for mixed voices: (1) Beautiful Dreamer, Stephen Foster, arranged by R. B. Fitzgerald, with a hummed accompaniment be neath the soprano melody; (2) Hallelujah, from Bach's Christ lay in Bonds of Death; (3) In Dulci Jubilo, early German carol, first arranged by Pearsall, then by W. J. Westbrook and, finally, by Max T. Krone; (4) The Angel's Song, Paul Tschesnokov, edited by Max T. Krone; (5) Glory to God (Christmas), Dimitri Bortniansky, edited by Max T. Krone. All are un accompanied except the Bach. Also for mixed voices, unaccompanied, are the old Ukrain church melody, Praise the Lord, arranged by Alexander Koshetz and the Russian folksong Mother and Son (Christmas) arranged by Baile Kibalchich. Male voices: Psyche, E. Paladihle, transcribed by F. Campbell-Watson for T.T.B.B., accom panied by piano; Heart of Mine, Beloved One, a minnelied by Max Reger, edited by F. Camp bell-Watson. While the last named is beyond the vocal ability of even exceptional high school boys the possibility of finding a Max Reger song for men's voices should be noted.–HULDAH JANE KENLEY. are well arranged and useful for the training of young players. Score and parts available. G. SCHIRMER, I N C.: For String Orches tra. (1) By the Waters of Babylon, Bach; (2) Prelude from Major Violin Sonata, Bach; Fantasia in G Major, Bach; Pastorale in C Minor, Bach; Fugue in G Major, Bach. Albert Stoessel of the Juilliard faculty contributes these excellent arrangements. Score and parts are available. Toy Orchestra A L L OVER T H E M A P. J. Lilian Vandevere. [Oliver Ditson Co., Inc.] The first number from the second group of The Children's Ensemble Series for Rhythm Band, designed for groups at the score reading stage. The set of seven instrument parts are obtainable complete or separately.–SUSAN T. CANFIELD. Band O L I V E R DITSON C O M P A N Y: (1) Mys tic Knights–Overture, R. E. Hildreth. Good junior high school bands could play this over ture. Its publication adds one more to the list of overtures that are often thought necessary in the teaching of young bands. It is as good as, perhaps a bit better than, most of them. (2) Regimental Review–March, Frank Panella. (3) Gobi‘ Home–from the Largo of the “New World” Symphony, Anton Dvorak. This pub lication is based on the song version of William Arms Fisher, and is arranged for band by James M. Fulton. It lends itself well to the flowing quality of the band and should be acceptable as a teaching piece. DURAND A N D COMPANY, Paris. (Sole Agents for U. S. A. Elkan-Vogel Co., Inc.): A Glorious Day, Albert Roussel. Fairly diffi cult, but interesting and worth playing.– LEE M. LOCKHART. Selected by Hugh Ross, John Smailman and H. Alexander Matthews. [Oliver Ditson Co., Inc.] Published in two editions: (a) V o i c e parts o n l y; in boards, $1.00; (b) C o m plete with accompaniment, in cloth, $3.00. A compilation of some fifty Dit son octavo numbers, the superiority of which is assured by the editorial per sonnel. Bach is represented by choruses from The Christmas Oratorio, the Mass in minor, St. Matthew Passion and Sleepers, Wake, as well as several chor ales. Choruses from Handel, Mozart, Tschaikowsky, Pergolesi, Palestrina and many more complete the excellent vol ume. A t least ten are a cappella. HULDA J A N E KENLEY Choral Octavo K A Y A N D K A Y MUSIC PUBLISHING CORP.: For Two-Part Chorals: Lullaby (Ber ceuse from Jocelyn) Godard; Gypsy John, Clay; Serenade, Schubert; Kerry Dance, Molloy. Three-Part Male Voices: Blow, Ye Horns (March from Aida), Verdi; Arkansaw Traveler (Humorous Paraphrase), 'Hare. Chamber Music K A Y A N D K A Y MUSIC PUBLISHING CORP.: For flute, oboe, clarinet, horn and bassoon; transcribed by George J. Trinkaus. (1) Salut d' Amour, Op. 12, Elgar; (2) Humoresque, Op. 10, No. 7, Dvorak; (3) Rigaudon (from Hoberg's Suite), Op. 40, Grieg; (4) April, Op. 37, No. 4, Tschaikowsky; (5) Sarabande and Courante, Corelli; (6) Arioso (E minor) and Evening Song, Tartini, for oboe or flute, clarinet, horn and bassoon; transcribed by George J. Trinkaus; (7) Minuet in G, Beethoven. All CARL FISCHER, I N C.: (1) Jingle Bells–a march including Merrily W e Roll Along and Auld Lang Syne, arranged by Charles J. Rob erts. (2) Sleepers Wake, Bach. Mr. Chiaffarelli has made a fine arrangement of this well known Bach chorale. This publication should be a wel come addition to the libraries of school and pro fessional bands. (3) Flight of the Bumble Bee, Rimsky-Korsakow. Only the best bands will find the playing of this number possible. The lightness necessary for proper playing of it will be difficult to develop. MELROSE BROS. MUSIC CO.: Bandmas ters Folio of College Marches. A very fine book of marches for football work.–LEE M. LOCKHART. V O L K W E I N BROS.: Knights of Chivalry, Louis J. Panella. Satisfactory for use when a grand march is necessary. F ROM C. C. BIRCHARD & C O M P A N Y: The most interesting item of the Laurel Octavo material at hand is Flowering Orchards by Jacques Pillois, arranged for T.T.B.B. by Archibald T. Davison. This should meet the need of competent male choruses for works of some length and distinction. Its twenty pages are full of fluid melodic lines, charming juxta position of parts and harmonic interest. The Year Book Press Series includes three fine songs for men's voices: ! Breathe Not His Name and I' ve a Secret to Tell Thee, Irish folk songs arranged by Charles Wood; The Babe Divine (lis est ne, le divin enfant), arranged by. H. Fox Strangways. There is also a unison carol, The Birds, in which Hilaire Belloc's poet ical telling of the story of the Christ-child's making of the clay birds is set to music by J. Mere dith Latton. Legend, poem and music are one in the naive spirit of childhood. Children will love to sing it. O L I V E R DITSON C O M P A N Y: Four very fine a cappella choruses for mixed voices: (1) Cherubim Song, Tschaikowsky; (2) Echo Song, Orlando di Lasso, one of the most enchanting choral bits ever written; (3) Built on a Rock, Lindeman-Lundquist; (4) Ancient German Easter Carol, arranged by Harvey Gaul. CARL FISCHER: From their sacred chor uses for women's voices at least a dozen fine arrangements, by Arthur H. Egerton and E. Harold Geer, of excellent choral works, old and new. Nunc Dimittis, Thomas Tallis (15051585); I Did Lay Me Down to Take Rest, Henry Purcell (1658-1695); Love of the Father, Orlando Gibbons (1583-1625); All Ye People, Give Ear, Michael Praetorius (1571-1621). Three Catalonian Christmas songs: On the Twenty-fifth of December; Lo, December's Ice Page 48 RECORD REVIEWS By P A U L J. WEAVER O Choral N E of the finest choral recordings ever made has just been released by Victor–Number 7715. It contains two Russian settings of The Creed, one by Archangelsky and the other by Gretchaninoff. Chaliapin sings with great ef fectiveness, and is ably supported by the choir of the Russian Metropolitan Church in Paris under N. P. Afonsky. The music is great, and the performance worthy of it. A fine collection of Liturgical Music of the Catholic Church is issued by V i c tor as set M-182. It contains two pieces by Perosi, three by Palestrina, and one each by Arcadelt, Vittoria and Anerio. Of the last six, the finest is the Vittoria Tenebrae factae sunt–great music very effectively sung. Of the two Perosi numbers, the second is really fine. The entire collection is sung by the Sistine Chapel Choir under the direction of Msgr. Perosi and under the conducting of Msgr. Rella. T h e attacks are clean, especially in the Arcadelt and in Pales- trina's Improperia. There is some e x aggerated accentation. The intonation is much better than in some of the record ings by this c h o i r; and the quality of the boys' voices seems much closer to our ideals than is the case with many of the Italian choirs. Opera One of the finest of all operatic re cordings is newly released by Victor as set M-187, Donizetti's Don Pasquale. The cast is headed by Tito Schipa, which means that one hopes for just what he gets–a uniformly fine perform ance by splendid singers. Badini sings with great dramatic effectiveness; Poll's more lyric type of baritone is shown to fine advantage; Saraceni is very splen did. Chorus and orchestra, both from La Scala, are uniformly satisfying un der Sabaj no as conductor and V e n e ziani as chorus master. The recording itself is superior. The best Gilbert and Sullivan so far recorded is Ruddigore, or The Witch's Music Supervisors Journal Music Supervisors Journal is collaborating with JSTOR to digitize, preserve, and extend access to I Sage Publications Ltd. hSSSSS wwwjsfoi J Curse, issued by Victor as set C-19. Again the D' Oyly Carte forces are con ducted by Dr. Malcolm Sargent, and the inimitable Baker-Oldham-Granville-Fancourt-Dickson-Briercliff cast gives fine account of itself. It's a delicious opera, strangely not so well known in this country, as are some of those which do not seem quite so fine. Stokowski and the Philadelphia O r chestra play a series of Excerpts from Die G otter ddmmerung, with Agnes Davis singing Brunnhilde, Victor album M-188. The parts used are Siegfried's Rhine Journey, Siegfried's Death, Brunnhilde's Immolation and the closing scene of the opera. From every standpoint it is a fine set of records. Miss Davis, who is relatively not well known, deserves a special word of praise for her fine voice and singing. The duet Gut‘ Abend, Meister from the second act of Die Meister singer is done with great effectiveness on Victor 7680 by two great singers and Wagner exponents, Schorr and Ljungberg; the instrumental part is by the London Sym phony under Collingwood. Voice Recordings of three more Brahms songs have just been released. Ria Ginster, whose lovely voice and great artis try are not well known in this coun try, sings Die Mainacht on Victor 7821, which also contains Schubert's Seligkeit and Rastlose Liebe. Lotte Lehmann, one of the few great operatic singers who also really knows how to sing Lieder, sang Sandmannchen and Der Schmeid, on Columbia G-4087-M. This record also contains Mendelssohn's Gruss. Fine singing and vocal virtuosity characterize Chaliapin's latest release, which contains two distinctly unhack neyed Russian songs: Glinka's Rondo of Farlaf (Patter Song) from Russian and Ludmila, and Dargomwizhsky's Aria of the Miller, from Roussalka. The record is Victor 7704. Ninon Vallin, the French soprano re cently come to this country, sings Schu mann's Au Loin and Schubert's La Bos on Columbia G-4080-M. Her Schumann is well done, as is her Schubert to a slightly less degree. Her voice is clear, but a bit “edgy” for the best type of Lied singing. The songs sound very strange in French–you probably haven' t recognized “La Bas” as “W o h i n ?” the French seems to distort the songs even more than English translations do. Tito Schipa sings two tangos on V i c tor 1633, with orchestra of course. The singing is beautiful; the tango rhythm and style are fascinating; the record is worth repeated hearings. On Columbia G-9060-M, Lotte Leh mann with her lovely voice and her ar tistic style, gives a splendid interpretation of Weber's Wie nahte mir der Schlummer, from Der Freischutz. Man fred Gurlitt conducts the excellent or chestral accompaniment. Richard Tauber, whose singing of Lieder has often been recorded, adds two more on Columbia G-4081-M: Wolf's Uber Nacht, and Franz* Im Herbst. Both are fine songs. Espe cially commendable is Tauber's re strained but effective dramatic treat ment of the Franz song. On Columbia G-4088-M Tauber sings two songs of a much lighter vein: di Capua's Maria Mari and Thome's Sim ple Aveu. He makes them sound really better than they a r e ! Page 50 On Victor 1632 John Charles Thomas sings two sentimental songs of light caliber: Arthur F. Kelloff's Sheila and the Teschemacher - Leoncavallo Mattinata. Orchestra Bach's Suite in G, arranged for or chestra by Eugene Goossens, and played by the London Symphony under the ar ranger's direction, is recorded on Victor 11427. It contains five of the seven movements of the French Suite number 5 in G, plus the Minuet from the third French Suite in minor; Mr. Goos sens apparently has not given a reason for this strange procedure. He neces sarily has changed the music greatly in orchestrating it; which leads to two questions. W h y should such music be arranged for orchestra at all? And, if one can' t resist the arranging impulse, why must he make such a violent alter ation as the addition of a third voiceline in a minuet which was about per fect in its original two-voice form? Possibly the answers lie in the fact that Sir Thomas Beecham wanted something for his operatic performance of Bach's cantata Phoebus and Pan. But that makes one wonder why a cantata should be made into an opera! One of the poorest orchestral records seen in many a day is played by the Dajos Bela orchestra (Columbia G50372-D). It contains a rather insipid Serenata Siciliana and a terrible ar rangement of the Rachmaninoff Prelude in C minor. It distinctly mars Colum bia's brilliant list. At last we have a really fine domestic release of the Beethoven 8th Symphony, F major. It is played by the. B. C. Symphony conducted by Adrian Boult, and is issued by Victor as set M-181. Although this is the last symphony in the composer's second period, the music is not so “advanced” as some of the earlier works in the same g r o u p; the usual slow movement is replaced by the Scherzo, which is followed by the fa miliar minuet on the “Ta ta, lieber Malzel” theme. The work is beauti fully played here, and excellently re corded. Victor 11458 contains the Scherzo and Minuet from Brahms' Serenade for Or chestra, Opus 11, two of the seven move ments from his first orchestral compo sition. The Scherzo is somewhat of a surprise, written in strict waltz rhythm and speed; the horn parts in the recording of this movement do not come off well. The Minuet, a charming little piece, is beautifully done. Concerto Praises b e ! It is reported that Cortot is to record all o f the Bach Branden burg Concern, works of great import ance which have been strangely neglect ed Dy American record makers. V i c tor has just released Concerto No. 5, in D major, which is stunningly played. Cortot does the piano part, Thibaud the violin and Cortet the flute–an almost perfect trio; the Ecole Normale Cham ber Orchestra (P a r i s) gives an almost perfect orchestral background for the trio. Cortot's own work is brilliant–especially in the long piano solo which opens the allegro movement, a passage which is one of the finest in all of Bach's instrumental writing, in a vein which seems quite modern and which is very powerful. One o f the greatest contributions to the literature of recorded music has t just been made by Victor in the issuing of three of the great Beethoven Piano Concertos: Numbers 1, 4 and 5 (“Em peror”), sets 158, 156 and 155 respectively. All three sets are played by Artur Schnabel with the London Sym phony directed by Dr. Malcolm Sar gent. Schnabel is probably the foremost exponent of Beethoven of the day; in these sets he does brilliant work char acterized by the highest caliber of mu sicianship. Sargent and his orchestra leave almost nothing to be desired. All in all, these are about as fine as any recorded music in existence, and no good library can ignore them. It would be idle to compare them with each other; but if you want a fine sample play through the gorgeous andante of the 4th Concerto. Debussy's Rhapsody for Clarinet and Orchestra (Victor 11433) and Rhapsody for Orchestra and Saxophone (Victor 11426) are really stunning music which we rarely have a chance to hear. Both are excellently performed here; the con ductor is Piero Coppola, the saxophon ist M. Viard, and the clarinetist Gaston Hamelin. Chamber Music Beethoven's Quartet Opus 130, Hat major, played by the Budapest Quartet, is issued as Victor set M-157. This is considerably better recording than the Lener Quartet's rather early recording for Columbia; and the new set has a somewhat more spirited, more live, reading. But, inexplicably, the final move ment is entirely omitted in the new version. One can forgive some overworked Victor clerk for labelling the second movement, the Presto, as a part of the first movement, which results in the misnumbering of the third and fourth movements. This is just a dumb error, the kind we all make at times. But the omission of the Finale is something much worse than that; and it surely is not the fault of the sterling artists who do the playing. The Budapest Quartet has also re corded the Brahms' Quartet in Hat Major, Opus 67, for Victor (album M-183). This work was recently re leased by Columbia, played by the Lener Quartet, also of Budapest. On the whole, the new Victor set is the better, although each version has its strong points. The first movement is played vivace, as written, by the Budapesters; the Leners take it at about an allegro. The Budapest speed is considerably fast er, too, in the fourth movement. In both of these movements the Leners are at times more intense, but the Budapest ers are more vivid and more in the spirit in which Brahms wrote the music. The second and third movements have rather similar interpretations, the dif ferences being small ones, largely mat ters of taste. Violin Three of Bach's Sonatas for violin alone have recently been issued, and all three deserve the highest possible praise. Szigeti plays the Sonata in A minor on Columbia 68152 and 68153-D; Menuhin the Sonata in C major in Victor set M-148; and Busch the Sonata in D minor (Victor set M-133). Three great artists, three great works, really supe rior recordings from every standpoint! The Bach student, the teacher and the thoughtful listener have reason for three special prayers of thanksgiving here. Music Supervisors Journal </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Record Reviews</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Record Reviews</title></titleInfo><name type="personal"><namePart type="given">Paul J.</namePart><namePart type="family">Weaver</namePart></name><typeOfResource>text</typeOfResource><genre type="review-article" displayLabel="review-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-L5L7X3NF-P">review-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1934-02</dateIssued><copyrightDate encoding="w3cdtf">1934</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><relatedItem type="host"><titleInfo><title>Music educators journal</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0027-4321</identifier><identifier type="eISSN">1945-0087</identifier><identifier type="PublisherID">MEJ</identifier><identifier type="PublisherID-hwp">spmej</identifier><part><date>1934</date><detail type="volume"><caption>vol.</caption><number>20</number></detail><detail type="issue"><caption>no.</caption><number>3</number></detail><extent unit="pages"><start>48</start><end>50</end></extent></part></relatedItem><identifier type="istex">E420BE3967583CE1457314B6FC3B26F0D3C6F1C0</identifier><identifier type="ark">ark:/67375/M70-L7PJHFDD-Z</identifier><identifier type="DOI">10.1177/002743213402000337</identifier><identifier type="ArticleID">10.1177_002743213402000337</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/E420BE3967583CE1457314B6FC3B26F0D3C6F1C0/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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