never cheapens music." Having at­ tended the same concert, I heartily THE OTHER SIDE subscribe to the same opinion; it was a wonderful experience to hear Bee­ easaseasBBmeasaamssammmaassxsBammmiBmmwmmssemmmmmsgsssae!^ thoven's A major Symphony superbly realised as the composer wi-ote It, not (IMPORTED RECORDINGS) as in the opinion of Herr General-mu- sikdirektor X he ought to have writ­ ten it. The Franck Symphony can LONDON. list of EMI's March releases, the un­ so easily be cheapened, yet how dull HE long-awaited decision of RCA usually few sets of longer works com­ it often sounds in the hands of an un­ Victor to produce LP discs has pared with the large number of single imaginative hack! Galliera steers a Tbeen greeted here by a new discs caught my eye and gave rise to perfect middle course, that of the true wave of expectancy. The wealthier some wishful thinking. musician, and the result is easily the among us can now purchase an excel­ When EMI published their annual most satisfying recording of this com­ lent two-speed motor and a first-class deletions list last autumn, it included position I have yet heard. picliup with interchangeable heads for both the remaining versions (Stokow- I approached the new Mozart G 78 and LP. Unless, however, the own­ ski and Beecham) of Cesar Franck's minor Symphony, K. 550 (Furt- ers of such equipment have kind- D minor Symphony. From this it was wangler and the Vienna Philhar­ hearted friends in the States, they obvious that a new set would be with monic) with some apprehension, can so far only amuse themselves by us ere long and that, in the opinion of expecting tempo-rubato effects of the turning their favorite soprano into a its sponsors, it would be of sufficient kind with which Koussevitzky horri­ somewhat wobbly basso or in detect­ excellence to supplant those two old fied us years ago, but the very brisk ing glaring inaccuracies in some cele­ favorites. In this case I feel that the opening soon dispelled such fears, brated violinist's rapid passage-work. result has justified their faith, for the which, before very long, gave way to It is now said that the main performance by the Philharmonic Or­ considerable admiration for a very stumbling block is the Performing chestra under Alceo Galliera is really fine performance. In spite of the fact Rights Society, which is supposed to splendid, and the recording has a that the first movement is a wee bit be making extravagant demands on thrilling sonority. After a recent con­ too fast, the Andante just a trifle slow the recording companies. However cert in which Galliera made one of his and sentimental, and the iVIenuetto too that may be, there would appear to be all-too-rare appearances on a London four-square (perhaps triangular would plenty of music free from copyright podium, one of our leading music seem a less incongruous word for a jurisdiction on which a start could critics wrote, "He is an artist. Also he minuet), this is all in all the best be made. Meanwhile there are some is one of the handful of conductors to recording of this great symphony to hopeful signs—looking at the advance whom one listens willingly because he date. The Vienna Philharmonic plays with all its accustomed splendor, and HMV's recording is happily not as re­ verberant as some others from Vienna, »••- yet equally warm-toned. Another !N OUR MORE\THAN THIRTY Mozart set from HMV is the Oboe Con­ YEARS' EXPERIENCE, WE 0 It turns the record over certo in C, played by Evelyn Roth- for you well with the Halle Orchestra con­ HAVE NEVER SEEN A ^ ducted by Sir John Barbirolli. This RECORD-CHANGER TO EQUAL i*>' is more familiar as the D major Flute Concerto (so exquisitely recorded many years ago by that great French The Revolutionary '^ * flautist Marcel Moyse), but that ver­ sion was, in Einstein's view, an ar­ NEW S rangement by the composer of a lost C major Oboe Concerto. The present "LINCOLN" version is a reconstruction of the original by Paumgartner, but I must Automatic confess that it sounded very strange indeed to ears accustomed to the flute "TURNOVER" version. Nor are matters helped by the fact that Lady Barbirolli is here not in RECORD-CHANGER her best form. She has some difficulty FOR ALL RECORDS with the trickier passage work and her tone is a little thin. Technically 3373-78-45 r.p.m. the recording is good. Automatically plays 20 standard or 22 Long-Playing records-ONE SIDE or BOTH SIDES, in PROPER SEQUENCE. rl? i-ng p/f''.'"' ONTH after month Deeca con­ • Intermixes 7", 10" and 12" Records of same speed. M tinues to astound us with the lat­ • Plays through your present Radio, est samples of their recording engi­ Phonograph or Television. ^x,i^ neers' wizardry. Elgar's lusty "Cock­ EXCLUSIVELY AT aigne" Overture—a musical portrait of London—has not been recorded since Cd^^ Ae<^» .« the composer conducted it for HMV nearly twenty years ago. Now we have ^ .\o<* vAe ojt*" ypfuoii Van Beinum and the London Philhar­ monic, and the result is some of the ^>'S-< I 450 MADISON AVENUE • 795 MADISON AVENUE most exciting sound ever to come from NEW YORK 22. N. Y. ^*

62 "T/ie SaMrday Rcvieiij PRODUCED 2005 BY UNZ.ORG ELECTRONIC REPRODUCTION PROHIBITED lar, but just as fine from a tonal point formance which, however it may to be somewhat neglected these days, of view, is yet another "Forza del Des- shock the aforementioned purists, so it is good to see on a record ex­ tino" Overture. For the fourth time will make this music accessible to cerpts from "Fidelio" and "Der in as many years this music by Verdi many who might shrink from the aus­ Freischiitz." The songs in question has been recorded, never so faithfully terity of an unaccompanied violin. For are Rocco's little ditty about marital as here, though the performance by those who take their Bach neat there economics, and the villainous "Cas­ the London Philharmonic under is an intensely poetic and musical per­ par's Drinking Song." Ludwig Weber Georg Solti is not particularly dis­ formance of the Prelude and Fugue is an excellent Rocco, but for Caspar tinguished. No. 8, from Book One of "The Well- he sounds a little old and benign. The Other orchestral records worthy of Tempered Clavier"; Denis Matthews accompaniments could have been more mention are Brahms's "Tragic Over­ here gives the lie to those who hold distinguished; Columbia's recording ture," nobly played by the Philhar­ such works to be dry and academic. is good. monic under Kletzki and finely re­ Boris ChristofE has been singing If listening to her records were not corded by Columbia, and Saint-Saens' many Italian basso roles at La Scala such a unique experience, I would "Le Rouet d'Omphale," played by the and this month's record shows him in already be tired of praising Victoria Royal Philharmonic under Beecham. this medium for the first time. He sings de los Angeles. Each month, however, The latter is meticulously played as what is without question one of Verdi's she contrives to astound us with some might have been expected, but I still great gifts to the race of bassi, new facet of her unique talent. This prefer the record Miinch made for Philip's wonderful monologue from time she gives us two songs by Res- Dacca about two years ago. Act IV of "Don Carlos." The introduc­ pighi, "Stornellatrice" and "E se un In view of the shortage of Haydn tion to the recitative is one of Verdi's giorno tornasse," and she makes them quartets obtainable outside the So­ most beautiful inspirations and it is sound far greater than they really ciety volumes, it is a pity that Co­ well played and excellently recorded. are. Finally there are two examples of lumbia saw fit to duplicate the Decca- ChristofE sings expressively and his the art of John Dowland (1563-1626), Griller set of Opus 33, No. 3 ("The voice sounds magnificent, but his vocal one of the very greatest of English Bird") with a worthy but rather line lacks just enough of the trUe songwriters, "Fine Knacks for Ladies" pedestrian performance by the Koppel Italianate flow to make one long for and "In Darkness Let Me Dwell." Quartet, a Danish team new to us. Pinza in his prime. Ebe Stignani is This is the second record made by It is good to have a recording of heard in the arias "Stella del Marinar" the male alto (or counter-tenor) Al­ Bach's great D minor Chaconne from ("La Gioconda") and "O grandi occhi fred Deller, one of the real "finds" of the Second Violin Partita in Busoni's lucenti di fede" ("Fedora"), but the last few years; the original lute transcription for piano, even though though her contribution to this Co­ accompaniments are well played on purists may argue that it is a strange lumbia record is impressive, it suffers the guitar by Desmond Dupre. A note on which to open celebrations of from such poor accompaniments as to most lovely disc—may HMV give us Bach year. Michelangeli is the pianist detract seriously from its value. many more like it. here and he gives a monumental per­ Pre-Wagner German opera is apt —THOMAS HEINITZ.

UPA-2 — $17.85 — 3 12" long Playing Red label Records THE ART OF THE FUGUE-(Kunst Der Fuge) (ORCHESTRATED BY ROGER VUATAZ) Studio Orchestra, Bcromunster under HERMANN SCHERCHEN

LPS-86 — $4.95 — 10" Red label Record SYMPHONY No. 41, In C MAJOR "Jupiter" (Mozart) (K. 551)

London Symphony Orchestra under JOSEF KRIPS

WS-90 — $4 95—10" Red label Record VtOLIN CONCERTO In E MINOR (Mendelssohn) COpus 64) Al^S^AO CAMPOLI with London Philharmonic Orchestra under lOllAltP VAN BEINUM liPS-t7< «^ $4 95 - 10" Red Label Record $YMl»HONY No. 103, In E FLAT MAJOR "QnuriA Roll" (Haydn)

Vonitm Philharmonic Orchestra under GEORG SOLTI

trS,-')3S.«$4 95-lD" Red label Record 5<:iffiiOMO "Hebraic Rhapsody for Cello and Ordi^tra" (Ernest Bloch) ZfiUflk NBISOVA with London Philharmonic Orchestra under the com- p«K)l, mtUJ BIOCH H'S-»5!'>t-J4 95-10" Red Label Record VOCAi AIRS FROM ROBERT STOLZ 0|»CRKirTAS FAftefiiS EINEN KLEINEN SONNENSTRAHL . WENN DU UND ICH UNSJfl^SSEN WERDEN . AUf DER HEIDE BLUH'N DIE LETZTEN ROSEN . JSA-G NIGHT WARUM ICH GEHE JOH« flENDRIK and MARCEL WITTRISCH (Tenors) with the Zurich Tonholik Orchestra under the composer ORCHESTRAL AIRS FROM ROBERT STOLZ OPERETTAS DIE KINOKONIGINl-WALZER . DIE KEUSCHE SUSANNE-WALZER . SAIOME-FOX TROT . AUCH DU WIRST MICH EINMAL BETRUGEN ROBERT STOLZ conducting the Zurich Tonholle Orchestra

llP-158 - $5.95 - 12" Red label Record MUSIC OF RALPH BENATZKY-Vocal and Orchestral Airs MUTTERIEIN BLEIB IMMER BEl MIR • DREl MUSKETIERE . IM WEISSEM ROSSI AM W01GANG5EE . ZUSCHAU'N KANN ICH NICHT . DAS WEISSE RbSSl - Medley . ADIEU MIMI - Medley . HERZEN IM SCHNEE - Medley . DREl MUSKETIERE-Medley . MEINE SCHWESIER UND ICH - Medley MARCEL WITTRISCH (Tenor) with the Zurich Tonholle Orchestra under VICTOR REINSHAGEN FEBRUARY 25, 1950 63 PRODUCED 2005 BY UNZ.ORG ELECTRONIC REPRODUCTION PROHIBITED HITS AND MISSES

A MONG the trials of life in this else, for instance, would consider it A\ Republic is the fact that the important to (1) identify Bert Ralton, •^ -^ American melting pot, surely (2) recall the costume of Ray Miller's the most remarkable sociological de­ Black and White Melody Boys, (3) velopment in recorded history, pro­ know the composer of "Avalon," (4) duces the greatest welter of musical place Abe Lincoln, the contemporary junk, from commercial congas to of Cal Coolidge, (5) realize what in­ pecuniary polkas, that a disillusioned strument the composer of "Whisper­ mind could well conceive. The re­ ing" played in what famous dance wards of democracy are naturally ac­ band, (6) understand Pee Wee Rus- companied by its penalties. But let us sel's function at Atlantic City, (7) re­ LONG LIFE never forget the rewards. Sore beset member a highly successful "Make PHONOGRAPH NEEDLES as we may be by the wit of Milton Believe" written before Jerome Berle and the wisdom of Walter Kern's, (8) appreciate Harry Rader- Winchell, let us remember that the man, (9) detail the make-up of Leo great riches of the Library of Con­ Reisman's Egyptian Room orchestra, ^ N gress, an establishment not at all lim­ (10) distinguish between Arnold v^.w ited to marbles and gilded monuments, Johnson, Bus Johnson, and J. Rosa­ include any amount of recordings by mond Johnson? Ferdinand "Jelly Roll" Morton and A singular honor has been done this Huddie Ledbetter, better known as department, calling for nothing less Leadbelly. In the USA, it would than a blatant act of log-rolling. A have the seem, even the stiffest institutions may few months ago we suggested a few suddenly wink at you. Which reminds tunes we would like to hear the Dixie­ us that the trombonist Brad Gowans land cornetist Doc Evans play. His ^j^/bTO^ possesses a formal and perfectly newest album contains no less than 50c to $5.00 wherever records are sold genuine parchment reading: "The four of them—"Play That Barbershop President and Fellows of Harvard Uni­ Chord," "Milenberg Joys," "Walkin' PERMO, .!^>/^<2//r>>«yfc// versity thank you for your gift of the Dog," and "Memphis Blues," as one autographed photograph of the well as "Ostricli Walk," "Willie the CHICAGO 26 Original Dixieland Jazz Band." Weeper" and "Doctor Jazz." This The Congressional Library's archives pungent nosegay, as savory a collec­ now make possible a splendid me­ tion of . Americana as anyone could morial album of Leadbelly's singing wish, proceeds from that Northfield, Free Book on CUSTOM HIGH FIDELITY and twelve-string guitar playing: Minnesota institution whose fragrance by David Randolph— Contents: JInw to asKemble a connoxKscur's radio-phonos-raph for as little as "Take This Hammer" (Folkways al­ can only be guessed by an effete $111.05. How to select your componcntK. How to ^a^•e money by installing your system in cxistlns bum 4, $4.20, or LP 4, $3.85). The pow­ Easterner; it is called the Art-Floral- furniture. Glossary of lij-ti terms. lU-fi "packages"' Record Shop, and the album's title is rcioinmemled liy T>;ui(i Randolph and by a leadinj; erful folk master, subject of Fred product-ratins or,-;anization. For your FREE copy "Jazz Heritage—Doc Evans" (AFRS-2, o:' l>a\id Randolph's "Hij.di Fidelity Guide," write; Ramsey's fine elegy in these pages last LAFAYETTE RADIO, Dept NB-50 $5). A few program notes seem in iOO Sixth Avenue, New York 13. N. Y. month, is represented in groups of reels, blues, work songs, and spirituals; order. Changes in the band since the they are quintessential American stuff, previous album have, if anything, in­ illuminated by his own spoken com- creased its punchy authority. Where m.ents, a leaflet containing all the once three members of the five were words, and program notes by the called Doc, a man named Al Jenkins WATCH FOR erudite Alan Lomax. has been substituted for trombonist Hearing the recorded score of the Doc Thomson; this limits the difficulty Broadway smash "Gentlemen Prefer to a clear distinction between Doc RECORDS Blondes" without having seen the Evans and Doc Cenardo, the drummer. show, we found it busy, intelligent, The barrel house pianist Joyce Mc­ and amusing, but lacking anything that Donald, who is about to have a baby, OVER THE might be described as popular musical has been replaced by Carroll Lee, but magic; our version is the original Mr. McDonald is still on the clarinet. cast's LP waxing (Columbia ML 4290, A reflective looking string bassist, $4.85). Jule Styne's tunes are stylish Willie Sutton, has been added to the NATION without the chic of, say, Gershwin, original five. Judging from the photo­ and Leo Robin's lyrics are racy with­ graph of the new combination. Doc out the velocity of Cole Porter. The Evans is still admirably determined to orchestration is full of musical refer­ resist the current trend toward dress­ ences to the era when Anita Loos ing bandsmen in various sorts of gigo- The Saturday Review's wrote her wonderful novelette, includ­ lesque uniform. Monthly Dealer Survey of ing tenor banjo passages, do-wacka-do By way of a coda, note that George brass effects, and a parody of Henry Top - Selling Records in the Gershwin's famous "Do It Again" is Busse's trumpet style. Inevitably sung with the happiest effect by Rob­ Leading Stores of the Couutiy this led to reminiscing, until we felt ert Clary (Capitol 803, ISi), of whom we had perhaps carried our nostalgia we hope to hear more. for the musical Twenties too far. Who —WILDER HOBSON.

64 The Saturday R evteia PRODUCED 2005 BY UNZ.ORG ELECTRONIC REPRODUCTION PROHIBITED