56

Recordings in Review Polish Rhythm

OGINSKI: Polonaise in A minor, etc. Wanda Landowska, harpsi­ part in this result, and an important chord. (RCA Victor LM 1186, Enter Rossi-Lemeni one it is, too. There remains, however, $5.72.) MUSSORGSKY: "Boris Godunoff" a slight feeling that the Gieseking per­ ("Monologue"), etc. Nicola Rossi- sonality obtrudes more than a little, UST last month Mr. Stan Free­ Lemeni, bass-, with orches­ in a certain softening of outline, a re­ J man, in an album entitled tra conducted by Arturo Basile. finement of detail in a way not wholly "Come On-a Stan's House," gave (Cetra-Soria LP 50076, $5.95.) Grieg's. That this could be an attitude us his conception of the harpsi­ based on a preconceived idea of how chord as a rhythm instrument. But Gieseking plays this work, I freely as our wily Wilder pointed out IRST there was Tajo, then there admit; those not disturbed by such an [HITS AND MISSES, SRL Oct. 27], were Arie, Christoff, and Siepi. F attitude could, conceivably, have a Wanda Landowska had long be­ Now, Rossi-Lemeni. All postwar bass- very good time with this issue. fore demonstrated the harpsi­ from , all good. Which chord's vigorous rhythmic poten­ better, which best? One can safely tialities. Nowhere are they better skirt that point—lacking further evi­ in evidence than in this collection dence for fuller judgment—with the With and Without Words of Polish and Polish-inspired mu­ statement that Rossi-Lemeni (in Italy, sic, a treasury of engaging rhyth- we are informed, the accents go Rossi- MAHLER: Symphony No. 2 in C minor rtiic conceits performed with a dash Lemeni, thQugh American custom has ("Resurrection"). Otto KUtnperer that would be remarkable in a already dubbed him Rossi-Lemeni) is the , player half Mme. Landowska's age. as good as any, and none is better. with the Akademie Kammerchor, Ilona Steingruber, soprano, and Hilde Not all this music will sustain To judge'-from this array of formid­ Rdssl-Majdan, alto. (Vox LP 7070, repeated acquaintance. The eight­ able challenges—the "Soliloquy" from $5.95.) eenth-century Polonaise by Mi­ "Don Carlo," "Veau d'Or" from chael Oginski begins with some "Fau.st," and "I have Attained the HATEVER the personal valua­ admirable fldurishes, but flags in Highest Power" from "Boris," plus invention before the piece has run songs by Beethoven, Brahms, Schu­ Wtion of this score, it must be conceded at once that it is Otto Klem- its course. However, the collection mann, and Mussorgsky — Rossi- contains more than a sufficiency of Lemeni has a spacious bass-baritone, perer's major pronouncement for the phonograph, even in a month which enduring nuggets, such as the six­ solid and well-produced up to a top F. teenth-century Gagliarda or Lan­ Siepi and Christoff match him in this, finds him credited with distinguished efforts in the Beethoven literature (see dowska's arrangement of "The though he seems to have a keener Hop," with its brilliantly hued feeling for the word than either, plus page 66). For a rarity, his exceptional abilities as a musical mentality and registration. As always, she makes a thoroughly uninhibited dramatic the instrument "sound" as no one personality. interpreter of insight are coupled with recordings of appropriate tang and else. An oddity in this Polish gar­ Bearing out his Italo-Russo parent­ realism. land is a Chopin Mazurka harpsi- age is his equal flair for cantate and As in the recent "Kindertotenlieder" chordized. —R- G- dramatic singing, especially in the made in Vienna, one senses a deeply "Boris" excerpt and "Song of the personal participation of the players Flea." These are splendid, whether or in each turn of phrase and stormy pro­ instrumental movements, but it is only not they remind you of Chaliapin, gression to a climax, a richer warmth the last two, with their settings of Kipnis, Vanni-Marcoux, or merely in horns and strings, a clearer vibra­ "Knaben Wunderhorn" and Klopstock Georges Baklanoff. Should Rossi-Le­ tion in the reeds than Mahler is ac­ texts, which move without tiresome meni, on further inspection, prove to corded elsewhere. This may be mere digression to their climaxes. The re­ be even as good as the last and lesser illusion, but so, after all, is a record­ cording has uncommon realism in bal­ of these, he would be a welcome ing. What contributes to furthering ance and prominence of appropriate phenomenon. the illusion cannot be minimized. • instruments. For some who have been following Grieg via Gieseking the recent accumulation of recorded Scherchen Reverts to Type . Mahler, there has been a pattern of GRIEG: Concerto in A minor. Walter mounting esteem for those which are PROKOFIEV: "ht. Kije" and "Scythian Gieseking, piano, with Philharmonia settings of texts, a typically jagged Suite." and the Orchestra conducted by Herbert von graph for the purely orchestral works. Vienna Symphony Orchestra. (West­ Karajan. (Columbia ML 4431, $5.45.) In. this work, which contains both minster WL 5091, $5.95.) types of expression, it is almost in­ ECOLLECTIONS of Gieseking's escapably apparent that Mahler needed S THOSE acquainted with Her­ R flair for this work as evidenced the discipline of a written text to di­ A mann Scherchen's prewar repu­ in the famous old Columbia album rect his thoughts and restrain him tation are aware, he is a formidable 313 are more than borne out by this from excess. I say "almost inescapably" exponent of the most complex contem­ new performance. In fact, with Her­ because the Mahler enthusiasts will porary scores as well as a masterly bert von Karajan a more assertive col­ argue anything concerning their en­ hand at such things as Haydn and laborator than Hans Rosbaud was of thusiasm, and even this palpable fact Beethoven, which have, up till now, yore, the total quality is substantially will be denied. Bursts of color, fan­ occupied him in the record making higher than before. Needless to say, tastic touches of imagination, inven­ that has reached us. But even those the improved reproduction plays its tive harmonic devices abound in the (Continued on page 65)

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FAVOR;TES J 271 Death Valley Suite 258 Arthur Murray Favorites — 270 Grand Canyon Suite Fox Trots (Rav Anthony) VJ^SC 272 Death Valley Suite & 281 Arthur Murray Favorites —Dance Set Grand Canyon Suite 259 Arthur Murray Favorites —Rhumbas (Chuy Reyes) 260 Arthur Murray Favorites —Sambas (Enric Madriguera) 261 Arthur Minray Favorites —Mambos (Rico Mambo Orch.) 262 Arthur Murray Favorites—Waltzes (Francis Scott) gri^iTTTTfnimiTiTiTminiiiiiiiiiiniiinimnTnimMiiiMmm c^cjrgiiiH'TTinriEoa-.] 1.] ii {.|.! ii mir.rTn'rmTT!ma: 263 Arthur Murray Favorites-Tangos (Les Baxter) 267 Sweet And Lovely (Jan Garber) Symphonic Portraits 199 Dance Time (Jan Garber & Ray Anthopy) 176 Manhattan Moods (Eddie LeMar) of Famous 201 Stardusting (Billy Butterfield)

American Composers ilOOitM Mil By 155 Stan Kenton Encores 276 A Symphonic Portrait of Irving 248 Stan Kenton Presents 277 A Symphonic Portrait of Richard Rodgers 190 Milestones 159 A Symphonic Portrait of Cole Porter 1 89 Innovations In Modern Music 249 A Symphonic Portrait of Jimmy McHugh 172 A Concert In Progressive 278 A Symphonic Portrait of Ijerlin & Rodgers 167 254 A Symphonic Portrait of Gershwin & McHugh

^t^3IBII!OXI^'JEyiI^E':EZIJIIIITnrirsixij.TriiTrp:CTIjTrT.T7iTrririiTinrT,TrB^ ^iiiiniiiiiniiiiiiiiiiiiuimiininiiiniiiEiiiiiiiiMiiiiiisiiiijimiiiamiimmiii^ mmmmmM SPJ 1 Jl 273 The Romantic Music of |pATiP«AWIiRPCAil MUSIC Fritz Kreisler ' 250 Music by Max Steiner 238 Hawaii (Harry Owens) 268 Songs Of Hawaii (Flarry Owens) 251 Familiar Themes from Tchaikovsky 169 Floliday In Hawaii (Danny Kuaana) 255 Music by Max Steiner & Familiar 179 Samba (Chuy Reyes) Themes from Tchaikovsky 182 Tango (Georges Tzipine) 210 Music of Jerome Kern 152 Rumba de Cuba (Chuy Reyes) 161 Songs of Noel Coward 257 Mambo At The Mocambo (Chuy Reyes)

MUSIC I^M iAS¥ il!tfi«iM© A LOVELY SERIES OF ALBUMS 208 Waltzing On Air (Frank DeVol) BY PAUL WESTON 2010 Frank De\'ol Concert of Walt/cs 287 Music For Reflection 206 Moonlight Moods (Buddy Cole at the Console) 245 Music For The Fireside 207 Music By C:andle!ight 153 Music For Romancing ( Studio (^jciiestra) 225 Music For Memories 194 Dinner At Eight (Georges Tzipine) 185 Classics In 222 Music For Dreaming Modern 230 Sonus For Summer Eveninos (Frank DeVol) o ^ 195 Music For Easy Listening (Isham Jones) PRODUCED 2005 BY UNZ.ORG ELECTRONIC REPRODUCTION PROHIBITED SCti^ii

236 Nero Fiddles (Paul Nero) s Dennis Day Sings 193 Concert Creations for Guitar 165 Barber Shop Harmony () (The Sportsmen Quartet) 229 Harmonica Holiday 151 Rendezvous with Peggy Lee (Philharmonic Trio) 204 My Best To You 237 Join The Band (Billy May) (Peggy Lee) 243 Fancy Fingers (Eddie Grant at 205 Peg O' My Heart Hammond Organ) (Clark Dennis) Nat "King" Cole 214 Johnny Mercer Sings Wl^^ -' \r^":H-if:% A National tavorite' 211 Songs By Kay Starr 191 Piano Highlights (Barclay Allen) Pieci Pipers' Harvest Moon 212 177 King Cole Trio, 196 Piano Brillante (Chuy Reyes) Alargaret Whiting Sings 234 Volume 4 216 Art Tatum Autumn In New York 197 T56 Nat "King" Cole 269 Art Tatum Encores (Jo Stafford) At The Piano 280 Bar Room Piano (Joe "Fingers" Carr) Gordon MacRae Sings 231 213 Harvest Of Hits Sunday Evening Songs 1 88 Honky-Tonk Piano (Marvin Ash, 247 (The King Cole Trio) Lou Busch, Ray Turner) (Jo Stafford, King Cole Trio, 220 180 Piano Moods (Diana Lynn) Gordon MacRae) Volume I Jo Stafford Sings 110 Keyboard Sketches by Skitch Henderson 75 59 King Cole Trio, American Folk Songs Volume III MAlf lAl MUSIC 265 Ringling Bros. Barnum & Bailey Circus Band (Merle Evans) APTMiilfiC JAXl «iid 150 Here Comes The Band (Louis Castellucci) S^Aix IHYfllM GSOt^F: 253 Bozo's Circus Band (Billy Mav) 215 Jazz Time (Red Nichols) 83 Boogie Woogie Volume II €©t.ie»si soMSS (Freddie Slack) •^^•z^ fjim^ 285 Songs Of The Ivy League 266 Sharkey's Southern Comfort (The Voices of Walter Schumann) (Sharkey Bonano) 154 College Medleys (Jan Garber) 202 Session For Six 186 More College Medleys (Jan Garber) (Benny Goodman) • •••• ivM 183 Pete Daily's Dixieland Band MUSIC i« ,he WiSfERM ««„er 203 Straight From Dixie 4004 Cowboy Favorites (Tex Ritter) (Pee Wee Hunt) «!i? 4008 Songs Of The West (Jimmy Wakely) 192 Cocktail Time 4000 Cowboy Hit Parade (Ernie Felice Quartet) 240 History of Jazz (Vol. 2, 4001 Cliffie Stone Waltzes 178 Cocktail Capers "The Golden Era") 4005 Polka (Tex WiUiams) (Art Van Damme Quintet) 241 History of Jazz (Vol. 3, 235 Battle Of The Bands "Then Came Swing") i. V - '• »* ' "' J. »• J V i^ Al \f 4? J V 242 History of Jazz (Vol. 4, 239 History of Jazz (Vol. I, 4007 Square Dance Tonight —with calls "The Solid South") "This Alodern Age") (Clifiie Stone) (without calls 4003) 4006 Cliffie Stone Square Dances —with calls (without calls 4009) The 'phenomenal multi-guitar-technique of 4010 Square Dance Party for Young Folks

286 The New Sound! Vol. II (Les Paul & Mary Ford)

226 The New Sound (Les Paul)

* *

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world's most distinctive records of classical music. 8140 Tcluiikovsky: 1 he Nutcracker On these pages you will find many exclusive Suite & Suite From 1 he Swan Lake recordings of the world's best loved (Roger Desormiere, Cond.) music... authoritative and definitive 8138 Sibelius: Finlandia (Eckerberg, Cond.) performances of the finest musi­ & Chabrier: Espaiia (Schmidt Isserstedt, Cond.) cians from the music capitals of 8142 Tchaikovsky: The Swan Lake (Roger Desormiere, Cond.) Europe ... Vienna, Berlin, Amster­ THE MARK OF 8141 Tchaikovsky; dam, and . The Nutcracker Suite MUSICAL MERIT (Roger Desormiere, Cond.) 8033 Franz Lehar Operettas (Berlin State ) 8034 Johann Strauss Operettas ^wmimmmQ %ti?p- (Berlin State Opera) 9011 Symphonic Band Music FilSf IMflOOeCf^ ':•' (Louis Castellucci) 9015 Festival Concert Of Choral Music (Peter Wilhousky, Cond.) CAPifoi #p i©^cf r^' 8061 Johann Strauss Waltzes (Kleiber; Krauss, Cond.) • 149 Prokofiev: Suite From The . 223 Your Favorite Strauss Waltzes (Sam Freed) Love For Three Oranges Pc^oficv <***' 184 Paul Weston Conducts Chopin, Debussy & Ravel , & Lieutenant Kije ii.'Hiimi'Hi!i»|iwvMH CDesormifere, Cond.) ^BJH^W^ i^R^Ty S 8f47 Villa-Lobos: Bachianas U" Brasileiras No. 1 & Chords No. 4 \ aiV^HP^>;^|P SUITE FROM & 7 (Werner Janssen, Cond.) -^ -~ •ERIUEITEKANI 804S Bela Bartok: Music For String mSf-i nut Instruments, Percussion And ~r^ n'S^!> Celesta (Harold Byrns, Cond.) 8110 Beethoven: Symphony-No. 5 8150 Alban Berg's Der Wein (Werner Janssen, Cond.) •InC Minor 8125 The Genesis Suite 8103 Tchaikovsky: Symphony (Werner Janssen, Cond.) No. 6 in B Minor 8134 Hindemith: Philharmonic "Pathetique" ^ Concerto & Apparebit 8002 Beethoven; Symphony No. 3 Repentina Dies InE-Flat, Op. 55 (Hindemith, Cond.) "Eroica Symphony" Beethoven: Symphony No. 1 8043 Villa-Lobos: Chords No. 10' 8079 & Toccata: Little Train & Symphony No. 8 Of The Caipira 8127 Berlioz:' The Damnation of (excerpts) & (Werner Janssen, Cond.) Tchaikovsky; Ouverture 8113 Prokofiev: Sonata No. 6 & Visions Fugitives Solennelle"18I2" (Leonard Pennario, piano) 8023 Franck; Symphony in 8137 Haydn: Horn Concerto & D Minor Handel: Concerto Grosso in B Flat Major 8100 R. Strauss; Death and Transfiguration & Till (Werner Janssen, Cond.) Eulenspiegel's Mer?y Pranks 8115 R. Strauss: Duet-Concertino & 8097 Tchaikovsky; Piano Conceitu Honegger: Concerto da Camera No. 1 in B-Flat Minor (Harold Byrns, Cond.) 8053 Tchaikovsky: Symphony 8029 Bach: A German Organ Mass No. 5 in E Minor (Third Part of the Klavierii- buag) (Fritz Heitmann, organ) PRODUCED 2005 BY UNZ.ORG ELECTRONIC REPRODUCTION PROHIBITED SYlftHING PERFORMANCiS PiLIGMfFUL OF GREAT WASfElPIECES wOCIIIk AlfcBWIwS

8132 Debussy: Iberia & Ravel; Valses 8119 Etna Sack Operatic Arias Nobles Et Sentimenta'es 8000 Erna Sack, (Franz Andre, Cond.) The European Nightingale 8096 Ravel: Bolero & De Falla: Dances 8101 Erna Sack Encores From 'The Three Cornered Hat' 8144 Verdi; Don Carlo (Scenes from (Andre, Krauss, Cond.) Act Three) (Vienna Opera) 8126 Palestrina: "Missa Papae 8085 Schubert Songs & Folk Songs MarceUi" (R. Wagner, Cond.) (Vienna Choir Boys) 8105 Bach Organ Music 8041 Sibelius Songs & Three Finnish (Fritz Heitmann, organ) Songs (Aulikki Rautawaara) 8098 Bizet: L'Arlesienne Suite No. 1 and No. 2 (Schuricht, 8036 R. Strauss; Salome —Final Schmidt-Isserstedt, Cond.) Scene & Dance Of The Seven 8045 Brahms: Symphony No. 3 in Veils (Liselotte Enck) F Major, Op. 90 (Jochum, Cond.) 8135 Dukas: Sorcerer's Apprentice & PIAMO SOMAfA^ Gretry: Suite from "Cephale Et Porcris" (Andre, Cond.) CHAMBill ^i4i^tC 8130 Cluck: Overture to Alceste & Beethoven: Cavatina (Furtwangler, Cond.) 8118 Schoenberg; Verklaerte Nacht 8038 Haydn: Symphony No. 94, (Transfigured Night) 'Surprise'( Schmidt-Isserstedt, (Hollywood String Quartet) Cond.) & Mozart: Eine Kleine Nachtmusik 8133 Schubert: Quintet in C Major (Kleiber, Cond.) Opus 163 8003 Hindemith; Mathis Der Maler (Matthias The Painter) (Hollywood String Quartet) (Hindemith, Cond.) 8136 Liszt: Sonata in B Minor; 8082 Ravel: Rhapsodie Espagnole & Sonetto Del Petrarca: Debussy: La Mer La Prediction Aux Oiseaux (Andre Cond.) Hungarian Rhapsody No. 12 (Leonard Pennario, piano) 8145 Ravel: DaphnisEtChloe- 8106 Mozart; Quartet No. 14 in G Major & La Valse (Franz Andre, Cond.) Quartet No. 18 in A Major (Calvet Quartet) 8153 Brahms: First Symphony 8151 Hindemith Quartet — Prokofiev Quartet (Joseph Keilberth, Cond.) (Hollywood String Quartet) 8020 Sibelius: Symphony No. 1, E Minor, Op. 39 (Tor Mann, Cond.) ^eiejunkunhen AUCT AMD World-famed for over two decades, the name TELEFUNKEN has been associated with the most advanced techniques in OPERA MUSIC electronic sound reproduction. 8140 Tchaikovsky: Nutcracker Suite & Suite From The Swan Flawless fidelity of tonal characteristics, from piccolo to bass Lake (Roger D^sormi^re, Cond.) ...has distinguished TELEFUNKEN recordings... now avail­ 8142 Tchaikovsky: The Swan Lake (Roger D^sormi^re, Cond.) able in the , on the CAPITOL label! 8141 Tchaikovsky: The Nutcrackei" Suite (Desormifere, Cond.) 2006 Familiar Themes From The Ballet (Georges Tzipine, Cond.) 2007 Familiar Themes From The Opera (Serge Dupre, Cond.) 227 Operetta Encores (Lois Butler)

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BOZO APPROVED CAPITOL RECORD READERS

At a signal on the record, the child turns a page in the colorful BOZO reader to see a new RECORD READERS picture timed to the story being heard. 3076 Bozo On The Farm 3033 Bozo And The Birds BIG, EASY-TO-READ TYPE FULL COLOR PICTURES 99 Bozo Under The Sea 114 Bozo At The Circus 118 Bozo And His Rocket Ship

3058 Hopalong Cassidy And The Singing Bandit 93 And The Tortoise 3102 Tweety's Puddy 3021 Bugs Bunny 3032 Woody Woodpecker And Tat Twouble In Storyland His Talent Show 3013 Disney's Three Little Pigs 120 Mickey And The Beanstalk iOiSEiSi SGiiS... 3034 Disnev's The Grasshopper Nursery Rhymes, Stories and Sounds And The Ants 3075 Hopalong Cassidy And The 3011 Bozo's Jungle Jingles Square Dance Holdup 84 Bozo Sings 3046 Bozo Laughs 89 ' King Cole For Kids 90 Nursery Rhymes (Ken Carson) 3054 Gerald McBoing-Boing (Great Gildersleeve) MUSIC MPwmmm 3081 Baby Snooks (Fanny Brice) FOR YOUNG FOLKS 3012 Gossamer Wump (Frank Morgan) 3016 Ticketv Tock (Knox Manning) 3094 The Sorcerer's Apprentice 60 Here Comes Colonna's Trolley (Mickey Mouse) 30132 The Schnitzl Band-Bulgy The Bass (Jack Smith) 78 Sparky's Magic Piano 3019 Sparky's Music Mix Up REllGiOUS S©Mfi5 115 Rustv In Orchestraville AND STORIES BIBLE STORIES FOR CHILDREN BY CLAUDE RAINS 92 David And Goliath & Joseph And His Coat Of Many CoJors 94 Noah And The Ark & Moses In The Bulrushes 3049 The Story Of Jesus B 4010 Square Dance Party For Young Folks 3078 Sunday School Songs For Children (Tex Ritter)

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FAIRY

TALES Stories by Margaret O'Brien

*" j^"™" , ^^^tp^ 1 Stories by The Great FAVORITE FAIRY TALES v-W^^ Gildersleeve () 138 Sleeping Beauty BUGS BUNNY ?«ZDS' 130 Cinderella • Princess tdoSt j)i&n«Ai 3098 Henerv Hawk The Great Gildersleeve 143 Frog Prince 127 116 Tales Of Uncle 3077 Bugs Bunny Sings Stories For Children • Red Riding Hood Remus (Johnny 117 Bugs Bunny 3028 Beauty & Beast 128 The Brave Little Tailor Mercer, Pied Pipers) 3072 Bugs Bunny Meets • Princess & Pea 129 Hansel And Gretel 80 Little T(X)t (Don Hiawatha 123 Stories For Children Wilson, Starlighters) 131 Snow White And Rose Red 3073 Meets 121 Goldilocks And The 3099 Elmer Elephant Yosemite Sam Rumpelstiltskin 132 Three Bears 3096 Three Orphan 3074 Tweety Pie Kittens ADVENTURE RECORDS 3095 Ferdinand The Bull 3048 Mr. Toad 3092 The Flying Mouse (Basil Rathbone) CHILDREN'S SONGS AND STORIES BY TEX RITTER 3057 Walt Disney Songs 109 So Dear To My Heart 133 Billy The Kid, Pony Express, etc. (Jack Smith, "^iM Frank DeVol) 134 Wreck Of Number Nine, Children's Songs Ransers, etc. and Stones 119 Sparky And The Talking Train ?1SiSIMfiMa. 30128 Hoppy's Go(xl Luck Coin & The tfSnWf''*'^ Legend Of Phantom Scout Pass "sSmL 3051 Little Johnny Strikeout (Joe DiMaggio) 122 Let's Fly To Mexico With Margaret 3091 Woody Wood­ O'Brien pecker's Picnic 3047 Dorothy & The Wizard In Oz SONG STORlEi (Rosemary Rice) 3079 Frosty The Snowman & The Tubby 30060 How The Fire Engine Got Its Siren The Song 3082 Gabby The Gobbler 3080 Destination Mooh (Tom Reddy) & The Little Red Hen (Ken Carson) 3050 Night Before Christ­ mas (Fibber McGee 3083 I'm A Little Tea Pot & Molly) & The Teddy Bears' Picnic (Frank 3100 The Noise Song & DeVol) TELE-TALKIES Bluetail The Red Fox 3084 Do You Believe In 91 Tex Ritter Songs WHEN CHILD TURNS WHEEL, Santa Clausr & I For Children A DIFFERENT PICTURE SHOWS Don't Want A Lot The Donkey Engine ON TV SCREEN For Christmas 30131 3093 Casper,The Curious & I Wish That I'd 3085 Rudolph The Red- Said That (Smiley Kitten nosed Reindeer & Burnette) 3086 Teena, The Laugh­ Christmas Boogie ing Hyena (Sugar Chile 30133 Rudolph The Red- Nosed Reindeer & 3087 Panchito, The Little Robinson) Burro Who Could The Swiss Boy 3089 The Whistler And ''Smiley Burnette) Not Bray Flis Dog & The Song Of The Owl And The Duck ALL CHARACTERS COPYRIGHT: . INC.; WARNER BROS. CARTOONS. INC.: WALT DISNEY PRODUCTIONS. WALTER LANTZ PRODUC­ TIONS. INC.; HILL a RANGE SONGS, INC.; AND/OR MOREY-PEARCE. INC. Numbers given indicate Album or Record identification only. When ordering, indicate Album or Record Number and speed desired: 45, 78 rpm.

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HARIC! THE YEARS! A scrapbook in,sound of ALBUMS FROM ^ famous people and epochal 282 Hark! The Years! events which made history! OUTSTANDING SHOWS 2000 Music Out Of The Moon Hear the actual voice of (Leshe Baxter) Florence Nightingale and 289 A Streetcar Named Desire many other immortals. 221 Music For Peace Of 291 Painting The Clouds With Mind (Dr. Samuel Hoffman) Sunshine (, 275 Listen And Relax Lucille Norman) 224 Milady, Your Figure! 283 Cyrano De Bergerac (Figure Conditioning) (Jose Ferrer) 284 181 Gypsy Dreams Flahooley (Yma Sumac) CJascha Datsko) 163 South Pacific (Whiting, Lee, MacRae, DeVol, Barbour) 140 Italian Street Scenes (Anthony de Bernardi) 157 Kiss Me Kate 233 Caucasian Moods (Stafford, MacRae, Weston) (Hrach Yacoubian) 219 New Moon & Vagabond King 200 California Suite (Lucille Norman, MacRae) 217 New Moon (Mel Torme') 218 Vagabond King (Lucille (Lucille Norman, Norman, Gordon MacRae) Gordon MacRae)

C ilK.1UHttiCTAAA9 I mMiSCP MkmmVAMfl LE SACRE RELICilOUs MUSIC du SAUVAGE 290 Lord's Prayer & Psalm 150 288 (Ritual Of The Savage) (The Voices of Exotic music of native Walter Schumann) moods by Les Baxter. 9016 Christmas In The Air! (The Voices of Walter Schumann) 9014 Songs Of Faith (Jo Stafford) 9013 Christmas Bells YMA (Richard Keys Biggs) 9012 The St. Luke's Choristers SUMAC 9008 Under The Christmas Tree (Jan Garber) 244 Voice Of The 9007 Carols For Christmas (Starlighters Chorus) Xtabay . 9006 Boys Town Choir Singing Christmas Music 284 Flahooley 9005 Carols At Christmas (The Sportsmen Quartet) 9004 Christmas On The Range (Jimmy Wakely) 1819 Birds 9002 The Organ Plays At Christmas (Buddy Cole) 9000 Christmas Carols (St. Luke's Choristers)

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PRODUCED 2005 BY UNZ.ORG ELECTRONIC REPRODUCTION PROHIBITED 65 ly responsive to the swelling lyricism begins when the Valkyries are ex­ REVIEWS of the slow movement and the power­ cluded (together with the exuberant (Continued jrom page 56) ful energy of the scherzo. A major but vocally unstable Sieglinde, Leonie credit to all concerned, especially the Rysanek), narrows a bit further when recording team which did the job. Varnay and Bjoerling begin their his­ conversant with that reputation could toric colloquy, and gets down to real hardly have hoped for so dazzling an New Bayreuth, Old Dresden undeviating splendor when the bass- affirmation of it on his first try. baritone has the scene to himself. Varnay's voice is listenable enough For one thing, no recording pre­ WAGNER: "Die 'Walkiire" (Act III). in the middle range, and she is always viously made in Vienna has offered so Sigurd Bjoerling, Astrid Varnay, intelligent; but between her quavery scintillant a panorama of orchestral etc., with con­ top tones and no Briinnhilde, I'd say values, so tangible a palette of colors, ducting the Bayreuth F'estival Or­ no Briinnhilde. However there is a save it be Scherchen's own "Military" chestra. (Columbia SL 116, $10.90.) Symphony of Haydn. The ama^zing massive authority in Bjoerling's de­ percussion outbursts of that are paral­ clamation, and a surge of authentic WAGNER: "Die Meistersinger" (Act musical majesty v Ki -.i he and the leled in all the timbres of this—trum­ III). Torsten Ralf, Hans Hermann pet, percussion, , saxophone—• orchestra led by Karajan are unim­ Nissen, Margarete Teschemacher, peded; Rejjroductive virtues go with within a frame highly relevant to the etc., with Saxon State Orchestra the musical ones—diffused and hard satiric content of the score. conducted by Karl Bohm. (RCA to hear when the Valkyries are spread As performance, Scherchen's "Lt* Victor LCT 6002, $11.44.) out all over the stage, concentrated Kijie" closely challenges the previous and quite overpowering when the standard of Koussevitzky, while his WO classical perorations in the mikes "iris in,"- so to speak, on the "Scythian Suite" out-dynamics any­ TWagner manner are here juxta­ principal performers. thing previously known of this score posed, also two opposed methods of on discs. Its derivations are fairly ap­ dealing with their physical masses RCA has gone to vast trouble to parent, but its innovations still com­ and emotional forces. In "Walkiire" recast the wonderful "Meistersinger" mand the attention. This side is some­ there are the advanced resources of Act III in current mold, and the re­ sults almost unvaryingly justify the what noisier, in the percussion depart­ on-the-scene tape and "documentary" effort. I take exception to a bit of ment, than its companion, but equally acoustics, in "Meistersinger" the "ar­ stupid editing on side one, in which arousing. chaic" studio and a laborious patch­ "breaks" between 78-rpm sides are ing together on tape of thirty 78- painfully audible, especially the sec­ rpm sides. Inasmuch as a dozen years, Rachmaninoff in Excelsis ond (near the end) where ten or at least, separate the new Bayreuth eleven seconds elapse before the music (1951) from the old Dresden, the latter RACHMANINOFF: Symphony in E minor resumes, and to the decision which bears its age with distinction, plus a (No. 2). Eugene Ormandy conduct­ puts integral musical matter on the kind of silvery streak in the raven hair ing the Philadelphia Orchestra. (Co­ end of side A, where it should go at of youth which tends to mellow its lumbia ML 4433, $5.45.) the beginning of side B (details on charms. request). The wide range and enveloping F THERE is any revaluation of Rach­ sound of the "Valkyrie Ride" in this Aside from this, the reconstituted maninoff in order, it would be for I retake of an experience previously music comes to life with more equal­ the view that interest in his works available on Columbia album 338 (Fes­ ity, justice, and sheer manpower than would wane or subside when he was tival of 1932?) is a potent introduc­ in either Act III on the Urania or no longer alive to play or conduct tion to an experience vastly unequal Columbia (Bayreuth) LP issues. Hans them. Whatever the count in the con­ Nissen is clearly the most eloquent of but, at its best, close to magnificent. cert hall—and I have seen no recent available Sachs (he is the Fifth Ave­ The intensifying circle of excellence one to indicate either negative or posi­ nue rather than the Thirty-Fourth tive evidence for that thesis—, the Street kind), Torsten Ralf combines course of record making is certainly not only the best qualities of Alden- refutation of the doctrine. hoff and Hopf but also those of a Here, for example, is not only the listenable Wagnerian tenor, and Mar­ most beautiful performance this work garete Teschemacher manages some of has ever had on records—and we span Eva's phrases with memorable elo­ nearly half a dozen including a pio­ quence. The audible scale is smaller, neer Sokoloff version in Cleveland, the frame of realism reduced relative two Minneapolis (Ormandy and Mitro- to the newer issues; but the detail is poulos), and a Rodzinski (Philhar­ sharper, the balance invariably ex­ monic-Symphony), hot to mention pert. (No other maker of "Meister­ others—but one of the best that Or­ singer" Act HI can make this claim). mandy and the Philadelphia have done Bohm is methodical rather than in­ of anything. All at once (for this spired, but his method is sound, his month anyway) Columbia has ban­ touch sure. Even after a dozen years, ished its tendency to exaggerate high- this venture makes perfectly clear frequency sound and produced a the basic fact that the place to make an opera recording is in the recording sounding likeness of the great orches­ studio, not in the . Clearly tra that comprehends all virtues of the honors in both instances go to the roundness, balance, and tonal defini­ technicians, who have done brilliantly tion. with the physical problems posed to Hand in groove with it go a sensitive thrill by each set of circumstances. but undemonstrative expression of the —IRVING KOLODIN. emotional content by Ormandy, equal­ Sigurd Bjoerling—"musical majesty.

PRODUCED 2005 BY UNZ.ORG ELECTRONIC REPRODUCTION PROHIBITED 66 Recordings Reports: Classical LP's and Albums See page 14 for Pop Roundup

WORK, PERFORMER, DATA REPORT

Beethoven; Symphony No. 5. Otto There are touches of greatness in this forthright, energetic performance by Klemperer, but also a Klemperer conducting the Vienna Sym­ lack of exuberance, of flexibility, of the essential emotional gamut io the score. Plenty of volume in phony. Vox PL 7070, $5.95. the recording, though horns and other winds lack richness.

Beethoven: Symphony No. 7. Hermann Meticulous execution under Scherchen's direction; with some details of the scherzo and finale newly Scherchen and the clarified and integrated in the whole. The first movement I find a bit slow and heavy-footed by Orchestra. Westminster WL 5089, Toscanini's volatile standard. The broad-sounding reproduction is also a little vague and lacking in $5.95. definition.

Beethoven: Pian '^oncerto No. 4. An almost ideal statement of the opening measures and a completely single minded feeling for the Guiomar Novaes, piano, with the Vienna work as a whole distinguish the treatment of Novaes and Klemperer. I do not like her cadenza for Symphony conducted by Klemperer. the opening movement, a rambling and unstylistic intrusion. Good average recorded sound. Vox PL 7090, $5.95.

Bloch: "Schelomo." Leonard Rose, cellist, Marvellous registration of the instruments and a proclamative treatment of the score. Rose is a with Mitropoulos conducting. Columbia stronger player than Nelsova in her version for London, and in the overside Saint-Saens A minor ML 4425, $5.45. quite qualified for the virtuoso calling he has now embraced.

Brahms: Symphony No. 2. Pierre Mon- A remake of a version long esteemed for appropriate pace, sensitive phrasing, and care of orchestral teux conduaing the San Francisco Sym­ detail. The revealing recording shows up the S.F. strings as a mite coarse, but the venture is other­ phony. RCA Victor LM 1173, $5.72. wise highly successful.

Bruch: Concerto in G minor. Yehudi Big, powerful, efficient performance, which is marred by Menuhin's effortful attempt to pour Menuhin, violin, with Symphony "expression" into a work which yields it gracefully or not at all. As the boy grows older the slides directed by Munch. RCA Victor LM grow longer, and not prettier. Fine technical work on the blending of violin and orche.stra. 122, $4.67.

Chopin: Concerto in E minor. No. 1. One of the best buys yet offered by this low-priced producer. The performance is better than the Edward Kilenyi, piano, with Felix Pro- one Kilenyi made at standard rates a decade ago, the orchestral direction of Prohaska is adept, and haska conduaing. Remington RLP 199- the reproduction is in the better category of current Viennese practice. The surfaces, too, are quieter 44, $2.19. than is customary with this company.

Chopin: Concerto in F minor, No. 2. If anything, Mrae. Novaes is more consistently excellent in this work than in the Beethoven above, Guiomar Novaes piano with Klemperer giving her playing a rippling clarity and nuance not matched in the other LP's by Rubinstein, conducting. Vox PL 7100, $5.95. Malcuzynski, and Ellen Ballon. However, Klemperer is much less skilled in this music than in Beethoven, leading to some angularities of phrasing in the orchestral part and dynamics that over­ power the soloist.

Mendelssoffn: Symphony in A ("Ital­ Unexpectedly spirited playing and full, even-toned reproduction. Not quite the dazzling execution ian"). Fritz Riegger and the Munich of the Boston-Koussevitzky or the Cleveland-Szell, but a thoroughly musical accomplishment in Philharmonic. Decca DL 7508, $5.85. most relevant ways.

Mozart: Serenade in D (K.250, "Haff- One of the major Mozart scores hitherto denied us, played with fine spirit and stylistic detail by the ner"). Clemens Krauss and Vienna Sym­ Krauss-directed ensemble. The elaborate violin solos are well played by an unidentified but expert phony. Vox PL 6850, $5.95. hand. Bright, clear recording favoring the upper frequencies.

Mozart: "Serenata Notturna" (K.239, A close companion to the foregoing, with some especially delightful efl!ects contributed by the use in D). Josef Zimbler Sinfonietta. Decca of a solo quartet against a tutti with tympani. Finely efficient performance and excellent repro­ DL 8522, $4.85. duction. The second side is no less notable, for it returns to currency the masterful Telemann suite once recorded by Ormandy. Here the solo flute is James Pappoutsakis, a nimble, tasteful player.

Mozart: Quintet in G minor. Amadeus Not quite what one expected of this able organization in this work. Tempi are rushed, a little Quartet, with Cecil Aronowitz, second nervous unstability infects rhythmic detail, and the substance of the great work thereby suffers more viola. Westminster WL 5086, $5.95. than a little. Over-live background makes the sound occasionally suggestive of a string orchestra rather than merely a quintet. Some stretches are splendid, but the whole, is uneven.

Schumann: Quintet in E flat. Clifl^ord A suitable successor to the Brahms quintet by the same performers, and a twin-pea in excellence of Curzon, piano, with the balance, wholesomely healthy style of playing, and thoroughgoing comprehension of musical re­ Quartet. Columbia ML 4426, $5.45. quirements. On the whole, better integrated than the Rubinstein-Paganini, though that has its substantial virtues.

Stravinsky: "Petrouchka." Dimitri Mit­ Columbia's answer to Ansermet and Stokowski, with most of the credit going to the engineers and ropoulos conducting the Philharmonic- associated technicians. Mitropoulos seems to find in this score little more than a collection of Symphony. Columbia ML 4438, $5.45. effeas, some of them btilliantly realized, but with no consistent musical meaning.

Stravinsky: "Sacre du Printemps." Pierre The exact opposite and corrective to the foregoing: a marvellously exact, detailed, scrupulously Monteux conduaing the Boston Sym­ clean, and rhythmically precise re-examination by Monteux of a score he has been conducting with phony Orchestra. RCA Victor LM 1149, unique sensitivity for nearly forty years—since its premiere, indeed. Note that the orchestra is the $5.72. Boston, and it plays with all its old, leonine virtuosity. Needless to say, only wizard reproduction could make all these values apparent.

Verdi: "D'Amor sull' ali rosee," etc. Typically powerful and equally erratic vocal work by Miss Varnay, in a collection ranging from Astrid Varnay, soprano. Remington RLP "Ahscheulicher" ("Fidelio") to excerpts from "Thais" and "La Juive" as well as the indicated 199-45, $2.19. Verdi. A kind of vocal weightlifting, all muscular effort and little esthetic appeal. Herman Weigert ! Miss Varnay's spouse) leads the orchestra, which is not always sufficiently rehearsed. —IRVING KOLODIN.

PRODUCED 2005 BY UNZ.ORG ELECTRONIC REPRODUCTION PROHIBITED