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789.9 N53 v.25 



ansas city 
i y public library 
Kansas city, 

r \he New Records 


Issued MonMy by 


"The World's Record Shop" ' 


VOL 25, NO. I 

MARCH, 1957 

By mail to any address 
$1 per year 

AS WE BEGIN the twenty-fifth volume of 
jLJLTHE NEW RECORDS we would like to say a 
word of sincere thanks to the hundreds of re- 
tail record dealers who subscribe to TNR and 
recommend it to their customers. Of course, 
we know that if TNR gives a recording a rave 
review, its sale is greatly stimulated; and we 
also know that a vast number of record col' 
lectors have been guided in building their 
libraries by the recommendations and warnings 
to be found in our columns; and further, we 
know that TNR has been responsible for the 
sales of thousands upon thousands of records 
by dealers everywhere. The great majority of 
dealers appreciate this and go out of their way 
to recommend our publication. 

We have earnestly tried not to interfere in 
any way with independent record dealers, for 
we sincerely believe that the health and growth 
of the whole record industry, of which we are 
a part, depends upon a vast network of strong 
independent and financially sound record re- 
tailers spreading out into the smaller cities and 
towns of our country. For this reason, we have 
always urged our readers to purchase their 
records locally and to send to our publisher 
only for items that could not 'be readily secured 
in the home market. The maintenance of this 
policy for over two decades is in no way altru' 
istic, for it is the local dealers who continually 
interest new persons in record collecting, and 
thus prospective subscribers to THE NEW HEO 
ORDS are being developed. These retailers also 
help to keep the interest of the older collectors 
continually stimulated. It is these collectors, 
old and new, who support our publication. It 
is the orders they send to our publisher for 
unusual items that are not available locally, 
often quite small in themselves, but large in 
the aggregate, that make our publisher's record 

business one of the largest and most wide- 
spread in the world. Much of this business is 
directed our way by dealers everywhere; for it, 
our sincere thanks. 

The Current Market Pricte of records is the 
retail price that is charged by most leading 
dealers, including the publisher of this bul- 
letin. When the major companies reduced 
their list prices for LP records, some of the 
smaller publishers reduced only their whole- 
sale prices and did not change their list prices 
(see TNR Mar. '55) ; thus the Current Mar- 
ket Price came into being. 

Also, from time to time, in order to stimu- 
late business, some companies have drastically 
reduced prices for limited periods. In order 
that our readers may know the Current Mar-*' 
ket Price, we are indicating in this and future 
issues the prices that are presently in effect; 
and, although we cannot guarantee these 
prices, they should prevail during the current 

NOTE: The Current Market Prices of all 

Mercury 12-inch LP 5 s (10000-, 2500O, 30000-, 
40000', 50000-, 80000-, and 90000-series) is 
#3.19; album sets are 20% less than published 
list prices. 

NOTE: The Current Market Prices of 

Westminster Records are as follows: WN/ 
SWN/XWN-18000 series, #3.19; W-LAB- 
7000 series, #5.95; WL-5000 series (discon- 
tinued), #2.39; WP'6000 series, #3.19; album 
sets, 20% less than published list prices. 


We are continually receiving requests for 
back copies of THE NEW RECORDS. Most of 
the issues published during the last twenty 





four years are available. The price is lOc 
each. A file of ail available issues (at least 
160 copies) is $5. These prices are postpaid 
within U.S.A. 

NOTE: Those persons interested in recent 
recordings only may secure all of the issues of 
the last three years beginning March, 1954 
(36 copies) at the special price of $2 (post- 
paid within U.S.A.). 


Verdi- arr. Mackerras: The Lady and the Fool 
One side, and Weber: Le Spectre de la Rose. 
And Minkus: Don ^uichotte Pas de Deux. New 
Symphony Orchestra of London. M2" disc (*L- 
LL-1518) $3.98. (TNR Feb. '57 & June '54). 

Tejera: Joys and Sorrows of Andalusia. Luis Mara; 
villa (guitar) and Pepe Valencia (vocals). I'll 
disc (*DT'TKL-93109) $3.98. (TNR Oct. 52). 


Tchaikovsky: (3) Symphonies. Leningrad Philhar' 
monic Orchestra conducted by Eugen Mravinsky 
or Kurt Sanderling. 3-12" discs (*D'DXE-142) 

CONTENTS: Symphony Ho. 4 in F minor, Op. 
36 (Sanderling); Symphony 7S[o. 5 in E minor, 
Op. 64 (Mravinsky); Symphony 3Sj>. 6 in B minor, 
Op. 74 ("Pathetique") (Mravinsky). 

The last three symphonies of Tchaikovsky re' 
corded by Russia's greatest orchestra and recorded 
in brilliant high fidelity in Vienna by Deutsche 
Grammophon, housed in an attractive three pocket 
cover, is proudly presented by Decca. For every 
one of these three pocket sets that is sold we would 
imagine three of the single discs would be sold 
were they available separately. However, we must 
consider them as a package, rather than individually. 
As a package we can only recommend them to 
those who do not already own a favorite recording 
of one or more of these great favorites. Your re' 
porter would not trade his individual recordings 
for this group, although it must be admitted that 
the three are well done, magnificently reproduced 
on quiet discs, and are a shining example of the 
powers of this great orchestra. 

Sanderling^ statement of the Fourth is low volt' 
age by most standards we know, yet it has great 
drive and expansiveness in its way. It is always un' 
hurried and darkly tinted, compared to the bright 
and glossy performances we usually hear of this 
work. It has a cumulative effect of being a bigger 
and more important work than we usually think 
ft and this effect is not achieved with garish 
exaggerations. It is a powerful performance, but 

one which might not have enough excitement for 
many persons. 

The Fifth and Sixth are conducted by the dean 
of Russian conductors, Eugen Mravinsky, chief 
conductor of the Leningrad Orchestra (German' 
born and trained Sanderling is an associate con- 
ductor of the group). The Fifth is presented with 
less contrast, brio, color, and effect than our crack 
American orchestras offer. Mravinsky, for the most 
part, lets the music speak for itself, does not pull 
out all the stops until the last movement, and then 
he maintains a very even pace, again letting the 
music have its own effect. It is good, but lacking 
in rhetoric for our taste (being weaned in Phik' 
delphia, this Russian brew has a different taste). 
It is in the Sixth that Mravinsky lets his hair down 
and comes off with a thrilling reading of the "Pa' 
thetique" that is worth the price of the entire album. 
We doubt that any LP in the current catalogs can 
top this reading of the Sixth, and we can only recall 
the HMV recording by Furtwangler in days gone 
by as a reasonable comparison. A burning inspira' 
tion, magnificent orchestral playing, and superlative 
recording result in this gorgeous performance. 


Rimsky-Korsakov: Scheherazade, Op. 35. Concert' 
gebouw Orchestra of Amsterdam conducted by 
Eduard van Beinum. 1-12" disc (*EPIG LO 
3300) $3.98. 

Rachmaninoff: Symphony No. 2 in E minor, Op. 
27. Leningrad Philharmonic Orchestra conducted 
by Kurt Sanderling. 1-12" disc (*D-DL-9874) 

Another recording of the Scheherazade brings 
the total number of LP's around the two dozen 
mark, and it also demands that the lines of distinc' 
tion be drawn rather finely in choosing the best of 
the lot. For sumptuous tonal quality the Philadel' 
phia Orchestra under Ormandy is always hard to 
beat (*OCL'850) and the new one under considera' 
tion by van Beinum does not displace Ormandy on 
tonal matters. For delineation of detail in this com' 
plex score, no one has ever exceeded the Pittsburgh 
Symphony Orchestra under Steinberg (*CL'P' 
8305), whose recording is a masterpiece of clarity 
in orchestral detail with credit to the recording 
engineers as well as the artists. Van Beinum is not 
even in the same league with Steinberg when it 
comes to orchestral balance, control and clarity, 
The best that can be said for van Beinum and the 
Amsterdam performance is that it is a typical read' 
ing by a good orchestra and recorded with depth 
and splashy effect. Ormandy has all of that plus a 
lot more. Steinberg remains our favorite in Scheher' 
azade because his is the most thrilling performance, 
not because of pace, but because of all the detail 
which he defines so sharply. To us, no other reading 
has ever matched Steinberg's and we recommend It 
strongly to anyone who has not yet heard it. 

* Indicates IiF 38 1/8 rpm. 
indicates 45 rpm. 




The Nf w Records 


By a strange coincidence Ormandy and Steinberg 
are the contending rivals for honors in the Rach- 
maninoff Second against the strong new entry of 
the Leningrad Philharmonic, superbly recorded in 
Berlin reproduction that displays the full glories 
of this great orchestra. Ormandy's reproduction is 
definitely dated by comparison with both the pres- 
ent set and with Steinberg's. As the Ormandy in- 
terpretation offers nothing above these other two, 
we may dismiss that one. Steinberg is again a dari- 
fier of the ensemble (as he usually is), and it is 
give and take with Sanderling. We believe most 
persons will prefer the Decca record as an example 
of the Leningrad Orchestra, playing music it plays 
well. We own the Steinberg and are not trading 
it for the newer disc. S. 

Mozart: The Early Symphonies (Vol. I). L'Or- 
chestre de Chambre des Concerts Lamoureux con' 
ducted by Pierre Colombo. 140" disc (*OL-DL' 
53008) $3.98. 
CONTENTS: Symphony Ho. I in E-flat, K. 16; 

Symphony HO. 6 in F, K. 43. 

Mozart: The Early Symphonies (Vol. II). L'En* 
semble Orchestral de FOiseau-Lyre conducted by 
Louis de Froment. 1-12" disc (*OL-50118) $4.98. 
CONTENTS: Symphonies HOS. 2 in B'flat, K. 17; 

3 in E-flat, K. 18; 4 in D, K. 19; 5 in B'flat, K. 22; 

7 in D, K. 45-. 

Mozart: The Early Symphonies (Vol. HI). L'En- 
semble Orchestral de FOiseau-Lyre conducted by 
Louis de Froment. 1-12" disc (*OL-50119) $4.98. 
CONTENTS: Symphonies HOS. 8 in D, K. 48; 9 

in C, K. 73; 10 in G, K. 74; 11 in D, K. 84. 

Mozart: Symphony No. 35 in D, K. 385 ("Haff- 

ner"). One side, and Schuhert: Symphony No. 

8 in B minor ("Unfinished"). Vienna Philhar- 

raonic Orchestra conducted by Carl Schuricht. 

M2" disc (*L-LL-1534) $3.98. 

The early Mozart symphonies are available in one 

other recording (TNR June '54) under Otto Acker' 

mann, but the present set is adequate in every way. 

Although the 10-inch disc is conducted by Colombo 

and all the others by de Froment, the readings pre- 

sent a unified picture of these early works. Included 

in the collection is the Third Symphony, acknowl' 

edged to be by Abel and copied by the boy Mozart 

as an exercise. The eight-year-olds just aren't writing 

things like this any more, and it's a fascinating bus- 

iness to be able to listen to the first demonstrations 

of Mosart's genius. 

The first Schuricht disc to appear for quite some 
time offers rather routine readings of two standards, 
already available in a doxen or more other versions 
and one other pairing. The Vienna Philharmonic 
does best with the Schubert symphony, and the 
customary London frr sound is rich and pleasing. 


Shostakovich: Symphony No. 1 in F, Op. 10. On 
side, and Kahalevsfcy: Colas Breugnon Suite, Op, 

24. St. Louis Symphony Orchestra conducted by 

Vladimir Golschmann. 1-12" disc (*C-MI>5152) 

Milhaud: Suite Provencale. One side, and Milhaud: 

Saudades do Brasil. Concert Arts Orchestra con' 

ducted by Darius Milhaud. 1-12" disc (*CL-P- 

8358) $3.98. 

The St. Louis Symphony is currently celebrating 
its seventy-fifth year and its twenty-fifth under 
Maestro Golschmann. The present disc is its second 
release on the Columbia label. The works presented 
are relatively unfamiliar ones, played with dazsling 
brilliance and admirably recorded. The Shostako- 
vitch Symphony is, by this time, regarded as a 
landmark of contemporary music; Golschmann gives 
it a superlative reading. The overture to the Kaba- 
levsky suite is likely the only familiar portion of 
that score; all of it, however, is well worth hearing. 

Darius Milhaud's Saudades do Brasil is a suite 
of twelve short pieces for small orchestra, originally 
composed for solo piano. Capitol's notes tell us that 
the Portuguese word saudade is defined as "an ardent 
longing for an absent thing," Milhaud spent the 
years 191 7'1 8 in Rio. The work testifies clearly to 
the fact that the composer must have missed Rio 
very much. The rhythms are those of Brasil 
maxixes and tangos; the music, however, is Mil- 
baud's own. 

The Suite Provengale stems from a commission 
the composer received in 1936 to write the music 
for a play about a 1 2th century Provencal troubador. 
It called to our mind the music William Walton 
has done for Olivier* s Shakespeare films, at once 
suggesting antiquity, yet underlaying it with a basic 
idiom that has its roots in contemporary composi- 
tion. These performances, under the baton of the 
composer, may be regarded as definitive; Capitol 
deserves a vote of thanks for reaching out from the 
usual repertoire to present this disc. N. 

Brahms: Symphony No. 4 in E minor, Op. 98. Ber- 
lin Philharmonic Orchestra conducted by Eugen 
Jochum. One and one-half sides, and Brahms: 
Akademische Festouvertiire, Op. 80. Berlin Phil' 
harmonic Orchestra conducted by Paul van Kern- 
pen. 1-12" disc (*D-DL-9866) $3.98. 
Berwald: Symphony in C (1845) ("Singuliere"). 
One side, and Berwald: Symphony in E-flat 
(1845). Berlin Philharmonic Orchestra conducted 
by Igor Markevitch. 1-12" disc (*D-DL-9853) 

Eugen Jochum and the Berlin Philharmonic may 
be producing some of the finest orchestral record- 
ings of the present time. There is a luminous quality 
about this reading of the Fourth that makes it im- 
mediately a leader of most other versions. The chief 
factors of Jochum's art are difficult to evaluate, 
chiefly because his conducting is completely devoid 



Indicates LP 88 1/8 rpm. 
tadiefttot 48 rpm. 





of eccentricity and sensationalism. The final move' 
ment of the symphony, with its theme and thirty 
variations, emerges as the master stroke of Brahms'* 
genius that it is; no other recorded version of the 
work delineates the architecture of this movement 
so markedly. The Academic Festival Overture is a 
pleasant bonus, equally well played. 

Franz Berwald, a Swedish composer (17964868), 
spanned the musical lives of Schubert, Mendelssohn, 
and Berliox. His work shows the influences of all 
these men, strangely coalesced into two symphonic 
works of surprising excellence. The Adagio of the 
E'flat Symphony has a gentle tenderness and melodic 
purity that can rival any romantic composer. You 
can put this one on when your know'it'all friends 
drop in; it will keep them guessing. But more than 
just an oddity, these works are of some consequence. 
One of the advantages of the current recording era 
is the opportunity to recall to life such gems as 
these; Decca deserves our gratitude for bringing 
such music to our attention. N. 

Bruckner: Symphony No. 5 in B-flat. Three sides, 

and Wagner: Gotterdammerung Dawn; Sieg' 

fried's Rhine Journey; Siegfried's Funeral Music. 

Vienna Philharmonic Orchestra conducted by Hans 

Knappertsbusch. 242" discs in album (*L'LL' 

1527/8) $7.96. 

Bruckner's symphonies seem to be enjoying an 
unprecedented degree of popularity in this country; 
and for this much wider acceptance of his music, 
thanks must given to the long playing record. In' 
credible as it may seem, this is the second record' 
ing of the B'flat Symphony and it is also the 27th 
recording of a Bruckner symphony. 

Herr Knappertsbusch and the Vienna Philhar' 
monic Orchestra, with a notable assist from Lon' 
don's engineers, give a stunning performance of the 
work. The opening movement, with its moving 
Adagio ^introduction," is superbly presented, while 
the slow movement, so full of problems for the 
conductor (he must conduct 6/4 with one hand 
and 4/4 with the other, or like Nikisch, "help the 
group which needs me most!"), is negotiated with 
deceptive ease. The robust Scherzo and powerful 
Finale are presented in a straightforward manner 
that achieves a very convincing degree of force' 

The version used here is that of the Schalks and 
Loewe (not the urtext usually favored), and it is 
of interest to note that the Bruckner scholar, Dr. 
Werner Wolff, does not agree with the detractors of 
the Schalks and Loewe "nobody has the right to 
abuse (them), whose efforts for tie Bruckner cause 
can not be overrated. The critic who abuses them 
comes post factum, when things are over. I believe 
artistic motives alone should be the criterion in de' 
ciding which edition to use. ... to make the matter 
one of character is wrong and rather disagreeably 
distasteful. 111 To which one can only add a hearty 

Rousing performances of two popular excerpts 
from Die Gotterdammerung make almost a feature 
attraction out of what is admittedly a filler. Good 
and always exciting sound plus intelligent notes are 
added features. W. 

Russian Ballet. Philharmonia Orchestra conducted 
by Igor Markevitch. 1-1 2" disc (*ANG-3515lTP) 
$3.48. 142" factory-sealed disc (*ANG-35l5l) 

CONTENTS: Parade (Satic); Le Spectre de la 
Rose (Weber arr. Berlioz); L'Apres'midi cTun 
Faune (Debussy); Daphnis et Chloe (Suite No. 2) 

Glazounov: The Seasons, Op. 67. L'Orchestre de 
la Societe des Concerts du Conservatoire de Paris 
conducted by Albert Wolff. 1-12" disc (*L-LI/* 
1504) $3.98. 

Markevitch's collection of Russian ballet music on 
Angel records was released originally about two 
years ago in a sumptuous three-record set titled 
Hommage a Diaghilev (TNR Feb. '55). Now, ap- 
parently, all these discs are to be made available 
singly, but without the remarkable brochure which 
accompanied the original album. Erik Satie's short 
ballet Parade is the prize of the present disc, a 
pleasant novelty of impish wit. The other selections 
are admittedly routine, but all are excellently played. 
Glasounov^s ballet The Seasons is often suggestive 
of the big ballet works of Tchaikovsky, both with 
regard to its large scale staging and its lucid OP 
chestration. London's usually choice sound quality is 
at its very best in this release, and Wolff's reading 
of the score is most satisfactory. N. 

Wagner Recital. Detroit Symphony Orchestra con' 
ducted by Paul Paray. 1-12" disc (*ME-MG- 
50107) $3.98. 

Current Market Price: #3.19. 

CONTENTS: Die Gotterdammerung Dawn and 
Siegfried's Rhine Journey; Siegfried Idyll; Parsifal 
Prelude; Tristan und Isolde Prelude (Act III), 
Wagner: Die Meistersinger Preludes (Acts I $ 
III); Dance of the Apprentices; Procession of 
the Mastersingers. One side, and Wagner: Lo- 
hengrin Prelude (Act I). Philharmonic Sym* 
phony Orchestra of London conducted by Artut 
Rodunski. M2" disc (*WEST-W'LAB-7028) 

Current Market Price: #5.95, 

A Wagner Program. Wiirttemberg State Orchestra 

conducted by Ferdinand Leitner. 1-12" disc (*D' 

DL-9854) $3.98. 

CONTENTS: Die Meistersinger Prelude (Act 
I); Dance of the Apprentices; Procession of "the 
Mastersingers. Die Wdl^iire Magic Fire Music;' 
Ride of the Valkyries. Tristan und Isolde Prelude? 
and Liebestod. Gotterdammerung Funeral March, 

More of Paray 's wonderful way with Wagner's" 

* Indicates IP S3 1/3 rpm. 
Indicates 45 rpm. 






music this month, with""" Mercury's Olympian re- 
production very much in evidence (see TNR Jan. 
"54 and Apr. "56) . . . Westminster's great Labora- 
tory Series continues to grow slowly, adding works 
of great merit by fine conductors, featuring repro- 
duction that is absolutely "tops'" . . . Leitner keeps 
his Wagner stepping a little bit too lively for us; 
this music requires contemplation and savoring, like 
fine brandy, but Herr Leitner treats it like warm 
beer drinking it down before it gets even warmer. 

R. Strauss: Ein Heldenleben, Op. 40. Philharmonic- 
Symphony Orchestra of New York conducted by 
Willem Mengelberg. 1-12" disc (*CAMDEN 
CAL-337) $1.98. 

Who wants to shed a tear for the "good old 
days'"? Most of us old (pre hi-fi) timers can recall 
the time when whatever Mengelberg did was prac- 
tically predestined to become the definitive perform- 
ance of it. Fortunately, such a recording session was 
an event in those days, and the recording engineers 
employed what was the best reproduction techniques 
possible at the time, so that a Mengelberg record- 
ing was really something! Today the audiophiles 
would probably laugh at this Camden disc and 
they may be right; the recording shows its age: 
some surface noise, distortion on the very high notes, 
bass somewhat thin. All of this criticism is, of course, 
by today's standards; this was the ultimate in hi-fi 

But the performance that is entirely another 
matter. Few will gainsay that Mengelberg knew and 
loved this music, or that the New York Philhar- 
monic-Symphony under Mengelberg's direction 
surely played their hearts out in this recording. 
Many Camden orchestral discs we have dismissed 
rather peremptorily; but this one is truly a bargain. 

Mozart: Serenade in G, K. 525 ("Eine kleine 
Nachtmusik"). One side, and Mozart: Symphony 
in C, K. 425 ("Linz"). London Symphony Orch- 
estra conducted by Antal Dorati. 1-12" disc (*ME- 
MG-50121) $3.98. 

Current Market Price: #3.19. 

Although there are numerous recordings of both 
of these works presently in the LP catalogs, there 
may be enough interest in the excellent reproduction 
which Mercury features in its Olympian Series to 
warrant this LP admittedly fine performances, and 


Verdi: Rigoletto (opera for orchestra). Andre Kos- be: 
telanet* and his Orchestra. 1*12* disc (*OCL- 
970) $3.98. 

Current Market Price: #2.98. 

What with Kosty's recordings of BoJietne, Toscd, 
MacUiraa Butterfly, Carmen, Traviata, Aida, and even 
Pique Dame all having been great sellers, there's 
no reason to doubt that his latest operator-orches- 
tra, Rigoletto, wiU also be purchased in great quan* 

tides, especially since this is Columbia's classical 
"Buy of the Month" for March. 

Handel: Music for the Royal Fireworks. Berlin 

Philharmonic Orchestra conducted by Fritz Leh- 
mann. One side, and Handel: Concerto in B-fiat. 
And Handel: Concerto- in G minor. Hermann 
Tottcher (oboe) with Bach-Orchestra (Berlin) 
conducted by Carl Gorvin. And Handel: Con- 
certo Grosso in G, Op. 3, No. 3. Bach-Orchestra 
(Berlin) conducted by Carl Gorvin. 1-12" disc 
(*D-ARC-3059) $5.98. 

NOTE: For review of this disc see under 

Waxman: Sinfonietta for Strings and Timpani. Los 

Angeles Festival Orchestra conducted by Franz 
Waxman. One-half side, and Foss: Concerto No. 
2. Lukas Foss (piano) with the Los Angeles Fes- 
tival Orchestra conducted by Franz Waxman. 1- 
12" disc (*D-DL-9889) $3.98. 
NOTE: For review of this disc see under CON- 


Brahms: Concerto No. 1 in D minor, Op. 15. 

Rudolf Firkusny (piano) with the Pittsburgh 
Symphony Orchestra conducted by William Stein- 
berg. 1-12" disc (*CL-P-8356) $3.98. 
Brahms: Concerto No. 2 in B-flat, Op. 83. Alex- 
ander Unisky (piano) with The Hague Phil- 
harmonic Orchestra conducted by Willem van 
Otterloo. 1-12" disc (*EPIC LC-3303) $3.98. 
Mozart: Concerto No. 23 in A, K, 488. Monique 
Haas (piano) with the Berlin Philharmonic Or- 
chestra conducted by Ferdinand Leitner. One side, 
and Schumann: Concerto in A minor, Op. 54. 
Monique Haas (piano) with the Berlin Philhar- 
monic Orchestra conducted by Eugen Jochum 
(TNR June '52). 1-12" disc (*D-DL-9868) 

With Backhaus, Curzon, Malcuzynski, Rubinstein, 
and Srkin offering competition in the Brahms Con- 
certo Ho. 1, Capitol had to come up with a strong 
entry which it did, and with striking results. Fir- 
kusny is a pianist of the first rank, and his reading 
of the difficult Brahms First is an admirable accom- 
plishment. There is great strength and solidity in 
ie first movement, becoming serenity in the Adagio, 
d a nice sparkle and drive in the Rondo. Stein- 
berg and the Pittsburgh Orchestra provide an ac- 
companiment any artist would welcome; it is per' 
fectly adjusted and yet has a strong contribution 
of its own. Reproduction is exceptional in quality 
and balance, making this on-e of the better editions 
of the work, if not the very best. 

Some of the top pianists have also recorded the 
Brahms Concerto J^o. 2, and in modern reproduction 
we find good versions by Rubinstein and Serkin, 



* Indicates LP 83 l/3_i 
^) in" 

) indicate! 45 rpm. 





either of which will be preferred by most persons 
over the present set by Uninsky. Uninsky is an 
accurate and a sensitive player, and much of the 
Second is admirable, but the total effect has not the 
stature of the other two noted above. The orchestral 
portion is played nicely, with the reproduction 
placing the orchestra a bit distant and lacking in 
impact. We would say this is a very respectable 
third choice, and for those who may have an aver' 
sion to the above artists, this one is worth hearing. 
Previously issued on a 10" LP (TNR June '52), 
the Schumann Concerto is now offered by Decca 
in a coupling with a new edition of the Mozart 7\[o. 
23. Miss Haas is a capable pianist, whose work has 
been previously admired. We could admire the pres' 
ent Schumann, but we could not recommend it 
above Gieseking, Lipatti, Novaes, Rubinstein, or 
Serkin, nor is the reproduction of the latest. The 
Mozart has commendable style and exceptional taste, 
and enjoys fine orchestral playing. This is one of 
the loveliest of the Mosart piano concertos. It is 
interesting to compare Curzon and Gieseking with 
Miss Haas: she is just a shade below them in author' 
ity and exceeds them at times in delicacy. If the 
coupling appeals, this disc can be recommended. 


Brahms: Concerto in A minor, Op. 102 ("Dou- 
ble") David Oistrakh (violin) and Pierre Four' 
nier (violoncello) with the Philharmonia Orches' 
tra conducted by Alceo Galliera. One and one' 
half sides, and Brahms: Tragischc Ouvertiire, 
Op. 81 ("Tragic Overture"). Philharmonia Or' 
chestra conducted by Alceo Galliera. 1'12" disc 
(*ANG-35353TP) $3.48. 1-12" factory-sealed 
disc (*ANG'35353) $4.98. 

Oistrakh has been a partner in this work in a 
couple of previous issues, but never has his art been 
accorded reproduction comparable in quality to the 
present disc. The violin and the 'cello solo parts 
are etched with fine clarity and tone and are at 
the same time in balance with the orchestra. Gal- 
liera is dutiful in his accompaniment and provides 
strong orchestral passages when the occasion arises. 
It is soloists'* day, for the most part, and they do 
a handsome job. While Fournier is not quite as 
adroit as Oistrakh, he manages to equal the great 
Russian fiddler most of the time, and their rapport 
is always close. 

The "Double" Concerto is a difficult work and a 
rewarding one for the artists; it is also rewarding 
for the audience when two such distinguished soloists 
appear together. The first movement is dramatic for 
the most part, with deep and rather tragic overtones 
and a powerful conclusion. The second movement 
is a lyrical andante with graceful melodies pre- 
dominating. It is the finale which always pleases 
us the most. Here we have a rondo that is gay and 
playful, with the two soloists chasing each other 

around with perky tunes and nice orchestral tex- 
ture woven through the whole thing. A dashing 
coda brings the work to a close. Two or three other 
LP's of recent years may have individual excellences, 
but as a whole they do not displace the present 
performance from the top of the list. 

Galliera offers a reading of the Tragic Overture 
as a filler on the second side. It is a solid perform' 
ance played with splendid finish by the Philharmonia 
Orchestra and can hold its own with the best of 
them, except Bruno Walter. Again, the reproduc- 
tion is elegant. E. E. SHUPP, JR. 

Foss: Concerto No. 2. Lukas Foss (piano) with the 

Los Angeles Festival Orchestra conducted by 

Franz Waxman. One and one-half sides, and 

Waxman: Sinfonietta for Strings and Timpani 

Los Angeles Festival Orchestra conducted by 

Franz Waxman. 1-12" disc (*D-DL-9889) $3.98. 

Lukas Foss 1 Piano Concerto No. 2 was written in 

Rome during 1951/2, was premiered at the Con' 

temporary Music Festival in Venice and introduced 

to the United States in the fall of '51 by Charles 

Munch and the Boston Symphony Orchestra; with' 

drawn for revision, it was re'introduced by Franz 

Waxman in its here-recorded revised form at the 

Los Angeles Music Festival. Thus the present re- 

cording may be said to be definitive, for the com' 

poser, a first'rate artist, is at the keyboard. 

As with many modern works, the Concerto will 
have to be heard several times, for it is "modern" 
and will probably not be understood on first ac- 
quaintance. The themes are difficult of access, yet 
one theme follows the next logically, and there 
is no "dissonance for its own sake" no tricks nor 
sleight'of'hand, nor is this just note-stringing. The 
work follows the form of the 19th century concerto 
in that the soloist emerges as the protagonist of 
the drama, pitting his forces against those of the 
orchestra. "Lovely" is an adjective we could not 
use; "interesting" 1 would state less than the case 
here. For this is real music with a distinctive char- 
acter containing much that will please, much that 
will cause reflection and contemplation, some that 
may irritate; and it surely gives the pianist ample 
opportunity to show his talents. Artur Rubinstein 
has called the work "one of the finest pieces writ' 
ten in our time," with which words we shall end 
our discussion of it. 

Franz Waxman, besides being the conductor here, 
is a composer of no mean talents, and his Sinfo' 
nietta for Strings and Timpani, which fills out the 
second side of this disc, proved more than modep 
ately interesting. Starting off with a gay first move' 
ment, the mood suddenly changes to a dirge in the 
second movement (for ''cellos and timpani only), 
and ends in what must be a tremendously difficult' 
tO'play Scherso-finale. As with the Concerto, this 
must be considered to be a definitive performance, 

* Indicates LP 88 1/3 xpm. 
Indicate* 45 rpm. 







Decca is to be congratulated for its courage asd 
enterprise In making this disc available. J. 

Coreili: Concerto Grosso No. I in D, Op. & And 
Vivaldi: Concerto in A for Viola cfAmore and 
Strings. And Vivaldi: Concerto in D minor, Op. 
3, No. 11 (from "I/Estro Armonico'*" 1 ). And 
Martini: Concerto in F for Piano and Strings. 
I MusioL 1-12" disc (*ANG-35253TP) $3.48. 
1-12" factory-sealed disc (*ANG-35253) $4.98. 
Respighi: Gli Ucelli ("The Birds"). One side, and 
Respighi: Trittico Botticelliano. Scarlatti Orches* 
tra conducted by Franco Caracciolo. 1*1 2" disc 
(*ANG-35310TP) $3.48. M2" factory-sealed 
disc (*ANG-35310) $4.98. 

It is entirely too long since the last release by 
I Musici (TNR Feb. "56), that capital chamber 
orchestra so highly praised by the late Arturo Tos' 
canini. This newest release more than lives up to 
expectations; it is sheer loveliness . . . The Scar^ 
latti Orchestra's rendition of Gli Ucelli was for' 
merly on a 10-inch Angel, but it is now coupled 
with the Botticellian Triptych and reissued on a 
12-inch LP. The coupling is a happy one, and we 
doubt whether any finer performance of either work 
exists, nor any better reproduced. 

The music on this brace of records provided the 
most enjoyable hour and a half in this month's 
reviews; we think you'll find it irresistible, too. 

Handel: Concerto in B-flat. And Handel: Concerto 
in G minor. Hermann Tottcher (oboe) with the 
Bach-Orchestra (Berlin) conducted by Carl Gor- 
vin. And Handel: Concerto Grosso in G, Op. 3, 
No. 3. Bach-Orchestra (Berlin) conducted by 
Carl Gorvin. One side, and Handel: Music for 
the Royal Fireworks. Berlin Philharmonic Or- 
chestra conducted by Fritz Lehmann. 1-12" disc 
(*D-ARC-3059) $5.98. 

NOTE: For review of this disc see under 

Bruch: Concerto No. 1 in G minor, Op. 26. One 

side, and Wieniawski: Concerto No. 2 in D 

minor, Op. 22. Mischa Elman (violin) with the 

London Philharmonic Orchestra conducted by Sir 

Adrian Boult. 1-12" disc (*L-LL-1486) $3.98. 

Dvorak: Concerto in A minor, Op. 53. Johanna 

Martsy (violin) with the RIAS Symphony Or- 

chestra conducted by Ferenc Fricsay, One and 

one-half sides, and Ravel: Piece en Forme de 

Habanera. And Ravel: Berceuse sur le Norn de 

Gabriel Faure. And Milhaud: Ipanema. Johanna 

Martey (violin) and Jean Antonietti (piano). 1' 

12" disc (*D-DL-9858) $3.98. 

Mischa Elman's performance of these two con* 

certo favorites will delight all his devotees. His 

playing is beautifully supported by Boult's direction 

and the rich and vibrant Elman tone is most evident. 

Though this artist has used the Bruch G minor 

Concerto as a concert staple for years, we under* 

stand this is his first recording of the work. 

Johanna Martsy demonstrates a considerable tech' 
nical facility in her reading of the Dvorak A minor 
Concerto. The work itself is admittedly not a display 
piece; it leans more toward the folk elements in 
Dvorak's writing. The encore pieces are worthwhile 
additions to the disc, particularly the Ravel pieces. 


Schumann: Concerto in A minor. One side, and 
Tchaikovsky: Variations on a Rococo Theme, 

Op. 33. Pierre Fournier (violoncello) with the 
PMharmoma Orchestra conducted by Sir Mai' 
colm Sargent. 142" disc <*ANG-35397TP) 
$3,48. 1-12" factory-sealed disc (*ANG-35397) 

There are several very fine recordings of the 
Saint'Saens 'Cello Concerto presently available, not 
the least of which is Rostropovich's (*VXLM'2016, 
TNR June *56); Fournier makes another excellent 
one available . . . The pretty Variations on a Ro" 
coco Theme is now available in three worthwhile 
recordings: Gendron (*L-LL<947, TNR June '54); 
Navarra (*CL-P-18012, TNR May '56); and the 
present one. Gendron offers the same coupling as 
Fournier; Navarra offers Blochs Schelomo with his. 
Eeenie, meenie, minie, mo . . . 


Beethoven: Quartet No. 10 in E-flat, Op. 74 
("Harp"). One and one'half sides, and Bee- 
thoven: Quartet No. 1 1 in F minor, Op. 95. Koeck' 
ert Quartet. 1-12" disc (*D-DL-9894) $3.98. 
Beethoven: Quartet No. 10 in E-flat, Op. 74 
("Harp"). Quartette Italiano. M2" disc (*ANG- 
35367TP) $3.48. 1-12" factory-sealed disc 
(*ANG-35367) $4.98. 

Beethoven: Quartet No. 14 in C-sharp minor, Op. 
131. Koeckert Quartet. 1-12" disc (*D-DL-9863) 

Beethoven: Quartet No. 16 in F, Op. 135. One 
side, and Beethoven: Grosse. Fuge in B-flat, Op. 
133. Koeckert Quartet. 14 2" disc (*D'DL' 9893) 

Beethoven arr. Winograd: Grosse Fuge in B-flat, 
Op. 133; One side, and Mozart arr. Winograd: 
Fantasy and Fugue in F minor, K. 608. And 
Mozart: Adagio and Fugue in C minor, K. 546. 
String Orchestra conducted by Arthur Winograd. 
1-12" disc (*MGM-E-3382) $3.98. 
We cannot see any superiority of the Angel 
recording of the "Harp" Quartet over that of the 
Decca, and we must perforce recommend the Decca 
for the bonus of the charming Quartet Ho. 11 in- 
cluded on it ... The Koeckert Quartet performs 
both the Quartet NO. 14 and the Quartet >{o. 16, 
as well as the Great Fugue, in sterling fashion; one 
can easily see why this group is regarded as Ger' 
many's leading chamber music ensemble today . . 



* indicates LP 83 1/8 rpm. 
iDdlcatei 48 rpm. 





If MGM^s purpos& in issuing the Winograd disc 
was to make the Great Fugue and Mozart's Fan- 
tasy and Fugue mo're palatable to the novice, in the 
hope that he will : be 'then moved to investigate the 
original, then we are in favor of it; those already 
"in the know" wifl^ not find much of interest here, 
though, in all fairness, we must say that as "ar' 
rangements" go, these are as good as you'll find. 


Handel: Israel m Egypt (complete). (Sung in 
English). Elsie Morison (soprano), Monica Sin' 
clair (contralto), Richard Lewis (tenor); Hud' 
dersfield Choral Society and Liverpool Philhar- 
monic Orchestra conducted by Sir Malcolm 
Sargent, with Ernest Cooper (organ.) 2-12" discs 
(*ANG-35386/7TP) $6.96. 242" discs in fac- 
tory-scaled album (*ANG'3550B) $9.98. 
Handel: Music for ' the Royal Fireworks. Berlin 
Philharmonic Orchestra conducted by Frits Leh' 
mann. One side, and Handel: Concerto in B-flat. 
And Handel: Concerto in G minor. Hermann 
Tottcher (oboe)- ,with Bach'Orchestra (Berlin) 
conducted by Carl Gorvin. And Handel: Con- 
certo Grosso in G, Op. 3, No. 3. Bach-Orch' 
estra (Berlin) conducted by Carl Gorvin. M2" 
disc (*D-ARC'3059) $5.98. 
Among the masterpieces of choral music, Handel's 
Israel in Egypt stands as a veritable giant. Too 
often it has been overshadowed by the Messiah but, 
on records at least, one can hear this magnificent 
work in two outstanding versions; the earlier on 
Bach Guild was favorably noted in THE NEW 
RECORDS of March 1953. 

To be sure, the earlier set is a little closer to 
Handel's original scheme (there are five soloists, 
and the duet, The Lord is a Man of War, is sung 
by two basses as directed) but Sir Malcolm Sargent 
Aas done a minimum of "arranging" and reading 
of Handel's mind. The resultant performance is a 
thrilling one. The massive choruses, of course, are 
the main attraction, and the Huddersfield Choral So- 
ciety has never sounded better. The soloists are fine, 
and the Liverpool Philharmonic provides sure sup- 
port. Sir Malcolm^s tempi always seem appropriate, 
and the whole affair is : infused with high excitement 
and enthusiasm. The factory-sealed package includes 
notes and pictures that add considerably to one's 

Definitive is the word for the Decca-Archive 
Handel disc. The Music for the Royal Firewor\s 
is a complete joy one of the finest collections of 
beautiful tunes to be* found anywhere. Dr. Lehmann's 
sensitive and inspired direction makes the perform* 
ance the best on records. The two oboe concert! and 
the orchestral concetto (Op. 3) arc also fine Handel, 
performed in a manner that calls 'for the highest 
praise. Recorded sound is very good the Fire* 
worJ($ Music is much better reproduced here than 

on the earlier Decca disc although the tapes are the 
same. Highly recommended. W. 

Brahms: Bin dcutsches Requiem, Op. 45. (Sung in 

German). Elisabeth Grummer (soprano), Dietrich 

Fischer- Dieskau (baritone), Choir of St. Hedwig's 

Cathedral and the Berlin Philharmonic Orchestra 

conducted by Rudolf Kempe. Three sides, and 

Mahler: Kindcrtotenlieder. (Sung in German). 

Dietrich Fischer-Dieskau (baritone) with the Ber* 

lin Philharmonic Orchestra conducted by Rudolf 

Kempe. 2-12" discs in box (*V'LM-6050) $7.98. 

When one reaches the fifth recorded version of 

a work such as Brahms' 1 Bin deutsches Requiem he 

is apt to be struck with a sort of verbal paralysis. 

Certainly the background of the work has been 

pretty thoroughly gone into in these columns, and 

it remains only to relate this new performance with 

its predecessors and appraise its merits or lack of 


Of the four recordings still available, two of them 
are on the elderly side, both having been issued 
around July 1948, and thus they may be dismissed 
on technical grounds. The other two, one a Decca 
the other a Capitol, are both first class perform- 
ances and those who own either need not be dis- 
turbed by this new RCA Victor recording. In the 
review of the Decca issue in THE NEW RECORDS 
of July 1956 the present writer stated "those who 
do not own the Brahms Requiem now have two 
excellent versions from which to choose." Well, it 
is only necessary to change the word "two"" to 
"three" and the story is complete. 

The present recording has preserved a very fine 
performance of Brahms 1 magnificent score but, in 
all truthfulness, it has no musical merit that the 
other two recordings do not have. The soloists are 
excellent, the recorded sound is top-flight, and the 
package is all one could ask for. 

What it does have, however, is a complete re- 
cording of Mahler's Kindertotenlieder on the fourth 
side. Dietrich Fischer-Dieskau sings these lugubrious 
songs in a very sympathetic manner; technically, this 
version surpasses all previous recordings. W. 


Mozart: Bastien imd Bastienne (complete). (Sung 
in German). Soloists and Munich Chamber OP 
chestra conducted by Christoph Stepp. M2* disc 
(*D-DL'9860) $3.98. 

Baetienne Rita Streich (s) 

Bastien Richard Holm (t) 

Colas Toni Blankenheim (bs) 

Mozart's little singspiel Bastien und Bastienne de* 
serves attention for many reasons. First, it is the 
amazing work of a twelve year old boy (this fact 
alone, as Voltaire would have put it is, "a sufficient 
reason") hut then, in the second place, there is also 

Indicate. UP 88 1/8 ipn. 
Indicate! 45 rpm. 


PA6E 8 


Tike "New 


the foreshadowing of Die Entfuhrung aus der Serail 
and Die Zauberflote not to mention Beethoven's 

Previous recordings of this genuinely enjoyable 
little work include an early but excellent perform* 
ance on Period and a newer but much poorer per' 
fonnance on Columbia. The present Decca version 
is, then, the third recorded performance and, all 
things considered, it is the best, for it outshines the 
earlier Period disc mechanically and overshadows 
the Columbia recording artistically. 

Rita Streich needs no words of praise from this 
corner after her work in other Mozart opera re' 
cordings, notably the Decca recordings of Entfuh* 
rung and Zauberflote; she sings a delightful BaS' 
tienne. Richard Holm, a tenor relatively new to 
records, is a thoroughly charming Bastien. The best, 
and also completely new to this writer, is Herr Toni 
Blankenheim, who sings the role of the pseudo' 
magician, Colas. He is the possessor of a deep, 
cavernous bass and a lively sense of humor. One 
hopes that this sample of his talents is just a fore' 
runner of many more discs by this young and 
engaging artist. 

Herr Strepp (also a newcomer) proves to be a fine 
Mosart conductor he keeps things moving without 
rushing them. Decca has supplied, in addition to 
crystal clear recording, a fine libretto that includes 
dialogue as well as arias. All in all, the disc is as 
delightful an experience as the phonograph has to 
offer. W. 

Mozart: Die Entfuiirung aus dem Serail, K 384 

(complete). (Sung in German). Soloists, Beecham 
Choral Society and Royal Philharmonic Orchestra 
conducted by Sir Thomas Beecham. 242" discs 
(*ANG-35433/4TP) $6.96. 2-12" discs in fac- 
tory-sealed album (*ANG-3555B/L) $10.98. 
Constance ___ . . ____ * . . ..... . . .Lois Marshall (s) 

Blonde . ............... . ..... .Use Hollweg (s) 

Belmonte ................ Leopold Simoneau (t) 

Pedrillo . . ..... . ............ Gerhard Unger (t) 

Osmin ............. . ....... Gottlob Frick (bs) 

Pasha Selim ......... Hansgeorg Laubenthal (sp) 

Mozart and Beecham here is a combination that, 
almost eighteen years ago, made phonographic his' 
tory with a recording of Die Zauberflote; now his- 
tory repeats itself, and we have an epochal record' 
ing of Mozart's first really characteristic opera, Die 
Bntfuhrung aus dem Serail. This opera, states the 
late Alfred Einstein, "marks the complete emergence 
of Mosarts personality as a dramatic composer . . . 
from now on he would write nothing in which the 
drama would be indifferently treated." 1 " 1 Even the 
relatively insensitive Emperor Joseph II is sup' 
posed to have remarked, at the first performance on 
16 July 17H2 VM Too beautiful for our ears, and far 
too many notes, my dear Mozart." Whereupon 
Mozart is said to have replied, "Exactly as many, 
your Majesty, as are needed!" 

There are so many outstanding things about this 
performance that one scarcely knows where to be' 
gf a although everything about it begins and ends 
with Beecham. Most characteristic are the moderate 
and unyielding tempi Sir Thomas adopts. This writer 
did not realize it, but Fricsay's tempi in the Decca 
set (TNR March '56) seem very rapid by com- 
parison. As a result of these deliberate tempi, Bee' 
cham's singers always sing, they never yell or 
screech, and they are always able to give proper 
value to the notes and expression to the words. 

The soloists are all superb. There is no finer 
Mozart stylist among tenors than Leopold Simoneau, 
whose phrasing, tonal beauty and general elan are 
wonderful. Second tenor Unger also is highly satis- 
factory. Osmin, in the person of Gottlob Frick, be- 
comes the rascally, vengeful old reprobate Mozart 
intended him to be, and vocally, he too is superb. 
The ladies, the Misses Marshall and Hollweg, are 
fine. Miss Marshall, undoubtedly urged on by that 
old perfectionist Sir Thomas, gives one of the 
finest performances of Martern otter Arten this 
writer ever heard. 

Sir Thomas' handling of the orchestra is some' 
thing that cannot be described the clarity, the 
phrasing and astonishingly silky tonal quality are 
characteristics of the conductor, although it must 
be admitted that Angel's recording is such that these 
qualities are possibly enhanced. The whole set is 
beautiful enough to make you cry. 

A handsome libretto is included in the factory 
sealed package. It is going 'way out on a limb to 
say this so early in the year, but 1957 is unlikely 
to bring forth a more wonderful, a more gorgeous 
recorded performance than this. W. 

Boito: Mcfistofele ("complete"). (Sung in Italian). 

Soloists, Orchestra and Chorus of the Rome Op^ 

era House conducted by Vittorio Gui. 2-12" 

discs in box (*V-LM-6049) $7.98. 

Mefistofele Boris Christoff (bs) 

F aus t Giacinto Prandelli (t) 

Margherita Orietta Moscucci (s) 

Martha * . Amalia Pini (c) 

Wagner Piero de Palma (t) 

This writer has always been at a loss to under- 
stand why Boito's magnificent Mefistofele has never 
been popular in this country. It is certainly melodi' 
ous (D<ti campi, dai jprati; L'altra notte in fondo 
al mare; and Lontano, lontano, to mention three 
gorgeous tunes); dramatic (the Prologo; Son lo 
spirito che nega; and Ecco il mondo, to mention 
but three big scenes) ; and there are three "fat" roles 
for soprano, tenor and bass. But no some flaw in 
the musical make up of our impressarios or our 
opera'going public (a gaping chasm in the skull 
perhaps, as Gene Fowler so quaintly puts it) has 
blinded everyone concerned to the work's obvious 

Now, with a resplendent recording and perform' 

iPAGE 9 


indicates LP 33 1/3 torn. 
indicate! 45 rpm. 


The ISiew Records 


ance, RCA Victor has taken the bull by the horns 
and shows everyone who has ears to hear just what 
he has been missing; and what a lot it isl Boris 
Christoff, who was born for the title role, is sonor' 
ous, musical and dramatically convincing. He rants 
and roars to be sure, but always within the bounds 
of good taste and in a musical fashion. His Mefis* 
tofele emerges as a three dimensional fallen spirit 
truly an inspired performance. Beside this heroic 
characterization, Giacinto Prandelli as Faust seems 
a little pale, but this is only to be expected. He sings 
very well in what seems to be a much lighter voice 
than one remembers from previous recordings. Ori' 
etta Mascucci, a newcomer to records, is a fresh 
and youthful'sounding Margherita, who sings with 
genuine feeling and expression. She has a lovely 
lyric soprano that augurs well for her future. Amelia 
Pini is a deep-voiced and credible Martha. 

Vittorio Gui, in a foreword, gives his reasons for 
omitting Act 4 and, much as this writer deplores 
cutting of * operas, he must admit this act is not 
seriously missed. In fact, when he plays his Urania 
Mefistofele, Act 4 is almost invariably a casualty. 
All of which brings us to the end of this review. 
Every opera lover should have this Mefistofele, 
even if he already owns the still excellent Urania 
set (TNR May *53). Victor's usual good libretto 
is included, and the recorded sound is spectacular. 


Verdi: Otello (complete). (Sung in Italian). Solo' 
ists, Chorus and Orchestra of La Scala Opera 
Company conducted by Carlo Sabajno. 3'12" 
discs in box (*CAM'CCL-101) $5.98. 

Otello Nicolo Fusati (t) 

lago Apollo Granforte (bt) 

Desdemona Maria Carbone (s) 

Emilia Tamara Beltacchi (ms) 

Cassio Piero Girardi (t) 

Roderigo Nello Palai (t) 

The Art of Elisabeth Rethberg. Elisabeth Rethberg 
(soprano) with orchestral accompaniments. 1'12" 
disc (*CAM'CAL-335) $1.98. 
CONTENTS: Otello Sake, Sake ^ Ave Maria; 
Der fliegende Hollander Traft ihr das Schiff; Die 
Fledermaus Czardas; II Re Pastore Uamero saro 
costante; Faust Le roi de Thule; Boccaccio Hab' 
ich nur deine Liebe; Un Bdllo in Maschera Ma 
dair arido stelo & Morro ma prima in grazia. 

Victor's Camden series is enriched this month 
by what must be considered the best all-around per' 
formance of Verdi's Otello on records. It is, of 
course, the old 1928-29 La Scala version that fea* 
tures a fine Otello, a superior Desdemona and what 
probably is the greatest lago on discs, that of the 
fabulous Apollo Granforte . . . and all this at the 
fantastic price of $5.98! 

Nicolo Fusati, in the title role, sounds very much 
like the present day Mario del Monaco, and he is 
a very acceptable Otello virile, passionate and very 

much the "wronged" husband. Vocally he is always 
equal to the occasion, and if he does not infuse 
the role with the pathos and humanity that Marti- 
nelli or Zenatello did, it is still a first'dass perform' 
ance. Maria Carbone surprised this writer he had 
forgotten what a fine singer she was on these discs. 
Her work in the Love Duet is exquisite, and in the 
Finale she is superb. Despite the excellences of 
these two, however, it is Apollo Granforte who 
towers over everyone by virtue of his great musical 
and dramatic gifts. This lago is real no cardboard 
villain; his performance could not be bettered. The 
minor roles are given to first-rate singers and Carlo 
Sabajno's direction is the sort one always used to 
expect on records truly great. The recorded sound, 
while nearly thirty years old, is astonishingly good 
it is not hard to get used to, and then everything 
is all right. This set could almost be the buy of the 

The record devoted to The Art of Elisabeth Reth' 
berg is also far better technically than one has any 
reason to expect, while musically and artistically it 
is a joy from start to finish. Here, again, the modest 
price puts it in the "best buy" category. W. 

Wagner RecitaL Kirsten Flagstad (soprano) with 

the Vienna Philharmonic Orchestra conducted by 

Hans Knappertsbusch. 1-12" disc (*L'LL-1533) 


CONTENTS: Lohengrin Elsas Traum; Parsifal 
Ich sah" 1 das Kind; Die Wal^iire Der Manner 
Sippe & Du bist der Lens; (5) Wesendonc\ Lieder. 
Famous Operatic Arias. Roberta Peters (soprano) 

with the Rome Opera House Orchestra conducted 

by Vincenso Bellewa or Jonel Perlea. 1-12" disc 

(*V'LM-2031) $3.98. 

CONTENTS: II Barbiere di Siviglia Una voce 
poco fa; Lucia di Lammermoor Mad Scene (with 
Preziosa, bs, and Mineo, bt); Fra Diavolo Non 
temete, Milord (recit.) ... Or son sola (aria); 
La\me Bell Song; Don Pasquale Quel guardc 
il cavaliere (recit.) ... So anch'io la virtu magics 
(aria) (Bellezsa). Rigoletto Tutte le feste al tern- 
pio & Caro nofe (Perlea). 
Italian Operatic Arias. Hilde Gueden (soprano) 

with orchestral accompaniments. 1-12" disc (*L 

LL-1322) $3.98. 

CONTENTS: La Taraui'ata Ah! fors' e lui 6 
Sempre libera; Gianni Schicchi O mio babino caro 
Tunardot Signore, ascolta & Tu che di gel se 
cinta; Falstaff Sul fil d'un soffio etesio; La Bohemi 
Quando m'en vo; L'Elisir d'Amore Delia crudel< 
Isotta & Prendi, per me sei libero; Rigoletto Cai< 
nome & Tutte le feste al tempio & Solo per m< 

There are three different sopranos dramatic 
coloratura and lyric, represented here as well a 
three well-defined and very different personalities 
The apparently indestructible Kirsten Flagstad i 

* indicates LP 88 1/8 rpm. 
Indicates 45 rpm. 







heard to good advantage (by and large) in a Wag- 
ner concert. The familiar Lohengrin and Wd!J(ure 
performances are presented in the cool, almost de- 
tached manner one has come to associate with the 
great Norwegian soprano. Her Parsifal and WVsen- 
donc\ Lieder performances are, unless one*s memory 
is completely at fault, new to records. They are 
admirably sung. Aside from a few explosive notes 
and a slight tendency to force, Mme. HagstacTs art 
is as secure as ever. Excellent accompaniments "by 
Knappertsbusch and the Vienna Philharmonic Or- 
chestra, along with good recorded sound, make the 
disc a desirable one. 

But what can one say about Roberta Peters' will' 
ful and doctrinaire performances of some of the 
staples of operatic literature? To twist and use 
Rossini's lovely melodies to one's own ends is really 
rather childish, and to follow the same procedure in 
performing Lucia, Lakme and Gilda is to lay one's 
self open to adverse criticism. This well-recorded 
disc, then, is for the uncritical those who delight 
in virtuosity for its own sake. Personally, this writer 
feels that Miss Peters is wasting God-given talents, 
and we hope someone will speak seriously to her 
concerning talents and duties. 

Hilde Gueden, admittedly one of this corner's 
favorites, contributes a collection of Italian operatic 
arias that are uniformly good. Her Violetta, Liu 
and Lauretta are thoughtfully conceived and artis- 
tically executed characterizations. This intelligence, 
plus a musical and sensuous voice make her per- 
formances thoroughly delightful. The performances 
from Rigoletto, Boheme and L'Elisir d'Amore have 
been taken from the complete operas and have been 
reviewed in earlier issues of THE NEW RECORDS. 
Big spacious sound heartily recommended. W. 

French Operatic Airs from Lully to Rameau. Ettel 
Sussman (soprano) with Instrumental soloists and 
TEnsemble Orchestral de TOiseau-Lyre conducted 
by Louis de Froment. 1-12" disc (*OL-50117) 

CONTENTS: Circe Air de Circe (Desmarets); 
Alcyone Air d* Alcyone (Marias) ; Callirhoe 
Monologue de Callirhoe (Destouches); Amadis 
Air d'Arcabonne, Armide Air d'Armide (Lully) ; 
Alcine Air de Menalie, Les Ages Air de Florise, 
Hesione Air d'Hesione (Campra); Enee et Lavinie 
Prologue (Colasse); Cephale et Procris Air de 
Procris (de la Guerre); Les Festes de Thalie Air 
dlsabelle (Mouret). 

Mr. Bach at Vauxhall Gardens. Jennifer Vyvyan 
and Elsie Morison (sopranos); Boyd Neel Or- 
chestra conducted by Thurston Dart (organ and 
harpsichord). 1-12" disc (*OL-50132) $4.98. 
CONTENTS: (5) Vauxhall Songs; Sei Canzon- 

etts a Due, Op. 4; Concerto in F for Organ and 

Strings, Op. 7, HO* 2. 

Here are two records from Oiseau-Lyre's appar- 

ently inexhaustible supply of music from a bygone 
era. The first, devoted to French Opera from, 
roughly, 1660 to 1750, is of uneven interest. There 
is a similarity in all the music that makes for some- 
what monotonous listening although, in all fairness, 
it must be admitted that the disc should not be 
played through at a single sitting. Ettel Sussman 
displays a voice that is adequate and a sense of 
musicianship and style that are well above average. 
This record, then, is for students of the period 
rather than for the general operatic public. Such a 
limitation should not, however, exclude the curious, 
for it is by curiosity that one learns and expands his 
musical horizons. Good recorded sound. 

Mr. Each at Vauxhall Gardens is a delight from 
start to finish. The "Mr. Bach,'* of course, is Johann 
Christian, son of the great Johann Sebastian Bach, 
also known as the "Milanese" or "English" Bach. 
Here one is treated to a sample of what it must have 
been like in an 18th century "pleasure garden.*' The 
music, artistry and performances on this record are 
all very superior perhaps this writer liked the 
organ concerto better than the rest but, like the 
contemporary Mrs. Papendieck "we were all en- 
chanted . . ." This one is recommended unreserv- 
edly. Good sound, excellent jacket notes. W. 

Famous Records of the Past (Vol. VI). Voices of 
"The Golden Age." 142" disc (*FRP-6) $3.98, 
CONTENTS: Paride ed Elena O del mio dolce 
ardor (Battistini); Puritan: A to o cara (Bond); 
Acis and Galatea O Ruddier than the Cherry 
(Bispham); Jongleur de Hotre Dame Libezte (Gar- 
den); La Juive II va venir (Ponselle); Samson et 
Dalila Amor viens aider (Gerville'Reache); Me- 
fstofele Son lo spirito (Didur); Magic Flute Der 
holle Rache (Hempel); Roberto il Diavolo Roberto 
io t^adore (Lilli Lehmann); Patrie Pauvre martyr 
(Ananian); Samson et Dalila Mon coeur (Maize- 
nauer); Faust Serenade (Arimondi); Siberia O 
bella mia (Ruffo); Vivandiere Viens avec nous 

Famous Records of the Past (Vol. VII). Voices of 
"The Golden Age." 1-12" disc (*FRP-7) $3.98. 
CONTENTS: Don Giovanni Brindisi (d'An- 
drade); Faust Jewel Song (Jerit^a); Romeo et Ju- 
liette Ah leve-toi soleil (Muratore); Africana In 
grembo a me (Litvinne); Huguenots i>iUo ancar 
(O'Sullivan and Llacer) ; Hozze di Figaro Non piu 
andrai (Campanari); Carmen Habanera (Bran- 
sell); Sosarme RenoTl seren oal ciglio (Butt); Don 
Giovanni Nella bionda (Journet); Favorita Spir- 
ito gentil (Borgioli); Lucrezia Borgia Vieni la ma 
vendetta (Navarini); Tosco E lucevan le stelle 
(Schipa); Fanciulla del West Ch'ella mi creda 

Famous Records of the Past (Vol. VIII). Voices of 
"The Golden Age." 1-12" disc (*FRP-8) $3.98. 
CONTENTS: OteZJo Niun mi tema (Slezak); 



* Indicates LP S3 1/3 ipm. 
Indicates 45 rpm. 





Carmen Chanson boheme (Onegin); Andrea, Che* 
nier Nemica della matria (Formichi); Trovatore 
Di quella pira (Lindi); Don Giovanni Deh vieni 
alia finestra (Schorr); Pique Dame Se alF egual 
(de Luca); Louise Adieu de la pere (Rothier); Die 
Tote Stadt Paul's Lied (Tauber); Magic Flute 
Der Vogelf anger (Fugere); Huguenots Bianco al 
par (Lazaro); L'Amore dei Tre Re Son qua" 
rant'anni (Lazzari); Tosca Recondita armonia 
(Giorgini); Turandot No piangere Liu (Marti' 
nelli); Turandot Marte di Liu (Zamboni). 

This, the most recent issue of Famous Records 
of the Past, consists of three discs, each subtitled 
"Voices of the Golden Age*'* Now the "Golden 
Age" is a much abused period of time and historians 
are not -even agreed as to its dates. Be all this as it 
may, these records only serve to prove that "Golden 
Age" or not, mediocre singers were as plentiful 
then as now. There are fortytwo artists represented 
on these three records and only eleven of them 
really deserve the description "great" (from the 
performances given, of course) ; the others are either 
good or, astonishingly enough, plain bad. 

For example, the Battistim, Bispham, Ponselle 
(this is a magnificent record a test pressing from 
an unreleased disc), Didur, Butt, Journet, Tauber, 
Fugere (at 85 years of age!), Formichi, Martinelli 
and Zamboni records are really wonderful superior 
examples of the singer's art. On the poor to bad 
side are d'Andrade, Campanari, Branzell, Borgioli, 
the O'Sullivan'Llacer duet (he sings consistently 
sharp it is pretty dreadful; for a "golden age" per' 
formance of this exciting music hear the Wittrisch' 
Tesschemacher recording), Onegin, Lindi ("Golden 
Age" indeed!), and Giorgini. Middling, perhaps due 
to inadequacies of the recording, are such great 
names as Lilli Lehmann, Hempel, Bonci, Zenatello, 
Schorr and others. 

Recorded sound is rather poor, almost primitive 
in some cases, and understandably so, for the old 
records from which most of the transfers were taken 
are worn. Others, notably the Martinelli Turandot 
excerpt seem to have been made at an actual per- 
formance (dated 1937) but it was in a role that he 
never sang at the Metropolitan. 

Famous Records of the Past discs are for the 
dyed'in'the'wool collector of rarities or student of 
opera. The average music lover and phonophile is 
advised to proceed with caution, for such liberties 
as are taken with Mozart and others will make his 
flesh creep. One begins to suspect "Golden Ages" as 
much as the politician's "New Eras." W. 


'Ere's 'Olloway. Stanley Holloway with the Loverly 

Quartet. M2" disc (*C-ML-5162) $3.98. 

'Ere's 'Olloway, and here is a great disappoint' 

Stanley Holloway has been one of our favorite 

comedians ever since we first made his acquaintance 
through his recitations of, Albert and the Lion, 
Three Ha'pence a Foot, With 'Er "Bad Tuc\ed Un- 
derneath 'Er Arm, and the series in which Old Sam 
Small is the hero. More recently, we thoroughly 
enjoyed and got a lot of laughs from his With A 
Little Bit of Luc\ and Get Me to the Church on 
Time from the smash hit, "My Fair Lady." Natu- 
rally, then, when we heard of a new record by our 
favorite, we could hardly wait until it arrived at the 

But the record did arrive, and we did play it. 
Oh, my! It is true that the Loverly Quartet was 
around somewhere when Holloway made a few of 
the numbers; but from the sound, it would seem 
that it was in another part of the building. The 
selections, some sung and some recited, are a con* 
glomeration of pieces that were made popular in 
English Music Halls by various vaudeville artists; 
most of them do not suit Holloway very well, and 
we doubt whether any of them will be thought very 
funny by an average American audience. 

If you wish to hear Stan Holloway at his best, 
turn to the Angel LP (*ANG-65018, TNR Jan, 
"56) which contains a dozen of his best recitations 
about Albert Ramsbottom, Sam Small, and others. 

Mahler: Kindertotenlicdcr. (Sung in German). Die* 
trich Fischer'Dieskau (baritone) with the Berlin 
Philharmonic Orchestra conducted by Rudolf 
Kernpe. One side, and Brahms: Ein Deutsches 
Requiem, Op. 45. (Sung in German). Elisabeth 
Grummer (soprano), Dietrich Fischer'Dieskau 
(baritone), Choir of St. Hedwig's Cathedral and 
the Berlin Philharmonic Orchestra conducted by 
Rudolf Kempe. 2-12" discs in box (*V'LM-6050) 
NOTE: For review of this set see under 


When Dalliance Was in Flower. Ed McCurdy 

(vocals) with banjo and recorder accompani* 

ments. 142" disc (*ELEKTRA EKL-110) $4.98. 

CONTENTS: Go Bring Me a Lass; The Trooper; 

A Young Man and a Maid; A Wanton Tric\; There 

Was a Knight; Two Maidens Went Mil\ing One 

Dayl A Lusty Young Smith; Tom and Doll; A 

Riddle; A Maiden Did A-Bathing Go; The Jolly 

Tin\er; Old Fumbler; The Three Travelers; Kitt 

Hath Lost Her Key; To a Lady; Four Able Physv 

dans; Sylvia the Fair. 

Elektra has one of the largest catalogs of folk 
songs extant; the research and care which go iiifco 
its presentations have been of an extremely higfo 
degree. Therefore one does not doubt that the songs 
contained on this new Elektra release are as acoi' 
rate as it is possible to be, both as to words an4 
melodies. Assuming this, we must observe that 
though there were no magazines such as Esquire otf 
Playboy in Elizabethan England, the people did not 

* Indicates LP 38 1/8 rpm. 
Indicates 45 rpm. 


PAGE 12 



want for lusty songs full of double entendre; fur* 
ther, we predict that more copies of this disc will 
fall into the hands of the present Playboy and/or 
Esquire set than will be purchased by lovers of folk 
music for its own sake. 

Bernstein: Candide. Max Adrian, Robert Roonse' 
vifle, Barbara Cook and the Original New York 
cast with orchestra conducted by Samuel Krach' 
malnick. M2" disc (*OOI>5180) $5.98. 
Noel Coward in New York. Noel Coward (vocals 
and monologues) with orchestral or piano acconp 
paniments. 1*12* disc (^C-ML-5163) $3.98. 
CONTENTS: I Li\e America; Louisa; Half- 
Caste "Woman; I Went to a 'Marvelous Party; Time 
and Again; Why Must the Show Go on; 3<[ew Yor\ 
Medley; What's Going to Happen to the Tots; Sail 
Away; Wait a Bit, Joe; 20th Century Blues; I Won- 
der What Happened to Him; The Party's Over 
T^o u?. 

The musical, Candide, based on Voltaire^s lively 
diatribe against senseless optimism, has top talent 
everywhere you turn: book by Lillian Hellman, 
music by Leonard Bernstein, lyrics by Richard Wil- 
bur with additional lyrics by the late John Latouche 
and Dorothy Parker, and stars Max Adrian Robert 
RounseviHe, Barbara Cook and Irra Petina. It should 
be terrific; but alas! it has everything except sing- 
able tunes, 

Like Hod Coward in Las Vegas (TNR Oct. "55), 
Tvjoel Coward in l^eur Yor\ features the inimitable 
Mr. C. in numbers that he has made famous and 
that have made him famous; his host of fans will 
certainly wish to add this one to their collections. 

Suddenly It's the Hi-Lo's. The Hi'Lo's with orch' 

estra conducted by Frank Comstock. I'll" disc 

(*OCL-952) $3.98. 

Current Market Price: #2.98. 

CONTENTS: Swing Low, Sweet Chariot; Life 
Is Just a Bowl of Cherries; Deep Purple; My Sugar 
1$ So Refined; Brahms 1 Lullaby; The Desert Song; 
Stormy Weather; I Married an Angel; Tenderly; 
The Old Ox Road; Love Wal\ed In; Basin Street 

This disc has a certain harshness about it, partiV 
ularly when the Hi-Lo's sing a word with 'V 1 in it, 
like "just." It sounds as though they were too close 
to the mike. However, if you keep your treble con' 
trol turned all the way down, you can eliminate 
most of this. The Hi'Lo's run through a dosen 
songs with their tricky, bouncy arrangements in a 
manner sure to please. This is Columbia's "Buy of 
the Month" in the pop category. 

50th Anniversary Album. John Jacob Niles (vocals 
and dulcimer). M2" disc (*CAM-CAL-33Q) 
CONTENTS; The Cuc\oo; Lord Bateman and 

the Turkish Lady; Jimmy Randal; John of Hazel 

Green; Carol of the Birds; That Lonesome Road; 
John Henry; The Wife Wra&t in the Wether's 
S\in; The Cruel Brother; Down in Ton Forest; 
Molly Hamilton; Earl Brand. 

The Great Sandburg. Car! Sandburg (vocals and 
guitar). 1*12" disc (n.YR-LL-66) $5.95. 

Current Market Price: $4.98. 
CONTENTS: The Good Boy; Boll Weevil Song; 
Careless Love; In de Vinter Time; Moanish Lady!; 
Foggy, Foggy Dem; I Wish I Was a Little Bird; Fm 
Sad and I'm Lonely; Cigarettes Will Spoil Yer Life; 
Well Roll Bac\ the Prices; The Horse learned Bill; 
Jay Gould's Daughter; He's Gone Away; Casey 
Jones; I Ride an Old Paint; Man Com' Roun'; Gal- 
lows Song. 

Songs of Erin. Mary O'Hara (vocals and Irish 
harp). 142" disc (*]>LL-1572) $3.98. 
CONTENTS: Weaving Song; ^uiet Land of 
Erin; I Wish I Hdd the Shepherd's Lamb; Bonny 
Boy; Aililiu 7$a Gamnha; She Moved Thro' the 
Fair; Spanish Lady; Eileen Aroon; Spinning Wheel; 
Dileen O Deamhas; Londonderry Air; I Have a 
Bonnet Trimntd with Blue; Castle of Dromore; 
Hext Market Day; My Lagan Love; Ceol and Phio* 
baire; Fill, Fill a Run O; Ballymure Ballad. 

Dear Little Shamrock. Patrick O'Hagan (tenor) 
with instrumental accompaniments. 1-12" disc 
(*L-LL-1524) $3.98. 

CONTENTS: Gentle Maiden; Good Roaring 
Fire; Lar\ in the Clear Air; Star of the County 
Down; Shannon River; Quid Turf Fire; Love Thee, 
Dearest; Down by the Glen Side; Dear Little Sham- 
rock; I'm K[ot Myself at All; She Moved Through 
the Fair; I Know Where I'm Going; The Fairy 
Tree; Little Town in the Quid County Down. 
Favourite Ballads; Thomas L. Thomas (baritone) 

accompanied by Ivor Newton (piano). 1*12" 

disc (*L-LL-1522) $3.98. 

CONTENTS: SmiUn Through; If I Could Tell 
You; One Love for Ever; From the Land of the S\y 
Blue Waters; Forgotten; Pale Moon; Duna; In My 
Garden; Sunrise and You; Marcheta; Your Song 
from Paradise; O That We Two Were Maying; In 
the Gloaming; HI Sing Thee Songs of Araly; A 
Perfect Day. 

Songs from Brazil. Clara Petraglia (vocals and 

guitar). 1-12" disc (*WEST-WP'6030) $3.98. 

Current Market Price: $3.19. 

The high-pitched voice of John Jacob Niles is too 
well known among folk song collectors to require 
comment from us; we will only note that this is 
apparently a "new** Camden disc not a reissue 
and the sound is much better than one usually 
finds on this label . . . Lyrichord seems to have en- 
larged its lOinch LP of Sandburg (TNR Jan. ""51), 
offering a larger sampling to admirers of this more 
manlyvoiced folk singer (and poet, biographer, 
teacher and what have you) . . . Mary O*Hara has a 

PAGE 13 


* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 


The l!$ew KJ? wrds 


Iovel7 voice, admirably suited to the Irish numbers 
she essays for us here; her own accompaniments on 
the Irish harp lend just the right flavor . . . Patrick 
CTHagan is not "just another" Irish tenor; the prin' 
cipal attraction for us was the most unusual and 
pleasant accompaniments a perfectly charming disc! 
The Thomas L. Thomas disc is one of those 
you'll buy for your mother'in'law; she" 1 !! love every 
number . . . Clara PetragHa is, of all things, a 
teacher of higher mathematics, as well as a student 
of folklore and folk music; her small voice is typi' 
cal of a great many American folk singers, and her 
interpretations seem of the refined, night-club vari' 
ety not at all earthy or in the least unpleasant. 


Tchaikovsky: Variations on a Rococo Theme, Op. 

33. One side, and Schumann: Concerto in A 
minor. Pierre Fournier (violoncello) with the 
Philharmonia Orchestra conducted by Sir Mai' 
colm Sargent. M2" disc (*ANG-35397TP) 
$3.48. 1-12" factory-sealed disc (*ANG-35397) 

NOTE: For review of this disc see under CON- 


Mendelssohn: Songs without Words (complete). 

Ania Dorfmann (piano). 3-12" discs in box 

(*V-LM-6128) $11.98. 
Rachmaninoff Redtal. Nadia Reisenberg (piano). 

142" disc (*WEST-XWN-18209) $3.98. 

Current Market Price: #3.19. 

CONTENTS: (5) Piano Pieces, Op. 3; (7) 
Piano Pieces, Op. 10; Polka de W. R. 

We have just spent a delightful couple of hours 
with this album of Songs without Words. We 
hadn't intended to, for we've not begun to cover 
all the records the editor has assigned us for this 
month; yet such is the superior artistry of Mme. 
Dorfmann that she just wouldn't let us turn her 
off. It reminded us that it's fairly easy to command 
the hearer's attention by sheer volume of sound; but 
the genius can summon one with a whisper, a ges' 
ture or a pause. Mendelssohn's beautifully-wrought 
miniatures played by Ania Dorfmann is a musical 
experience we fear that many will miss, such being 
the probable interest in this set; it will be to their 
loss* for here is as fine an example of composer' 
performer rapport as you'll ever find on discs. Louis 
Biancollf s liner notes are a model of clarity and add 
if anything could to the listener's enjoyment. 

Mme. Reisenberg's Rachmaninoff Recital is an- 
other most enjoyable disc, featuring THE Prelude 
in C-sharp minor (No. 2 of Op. 3). The perform- 
ances and the reproduction are in every way above 
reproach; but if RCA Victor's annotater is a model 

of clarity, Westminster's is quite the opposite. 
Chopin Recital. Niedzielski (piano). 1'12" disc 

(*L'TW-91147) $4.98. 

CONTENTS: Scherzo "Ho. 3 in C-$harp -minor, 
Op. 39; Mazur\as HOS. 25 in B minor, Op. 33, HO. 
4 and 13 in A minor, Op. 17, HO. 4; Ballade HO. 
3 in A'flat, Op. 47; Impromptu HO. 1 in A'flat, Op. 
29; Nocturne HO. 12 in G, Op. 37, HO. 2; Polon- 
aise Ho. 6 in A-fiat, Op. J3 ("Heroic"). 
Chopin: (17) Waltzes. Livia Rev (piano). 1-12" 

disc (*DT-DTL-93088) $3.98. 

CONTENTS: Waltzes HOS. 2 in A-flat, Op. 34, 
HO. 1; 7 in C'sharjp minor, Op. 64, HO. 2; 9 in 
A-flat, Op. 69, Ho. 1; 1 in E-flat, Op. 18; 5" in A- 
flat, Op. 42; 11 in G-flat, Op. 70, HO. 1; 10 in B 
minor, Op. 69, HO. 2; 6 in D'flat, Op. 64, Ho. 1 
("Minute"); 12 in F minor, Op. 70, HO. 2; 13 in 
D'flat, Op. 70, Ho. 3; 14 in E minor; 8 in A-flat, 
Op. 64, Ho. 3; 4 in F, Op. 34, HO. 3; 3 in A 
minor, Op. 34, HO. 2; 15 in E; 16 in A- flat; 17 in 
Chopin Recital-. Philippe Entremont (piano). M2" 

disc (*EPICLO3316) $3.98. 

CONTENTS: Ballade HO. 3 in A'flat, Op. 47; 
Hocturne in D-flat, Op. 27, HO. 2; Impromptu Ho. 
1 in A-flat, Op. 29; Tarantelle in A-flat, Op. 43; 
Scherzo in B minor, Op. 20; Polonaises in F'sharp 
minor, Op. 44 and in A, Op. 40, Ho. 1. 
Chopin Recital. One side, and Brahms: Variations 

and Fugue on a Theme by Handel, Op. 24. 

Julius Katchen (piano). 1-12" disc (*L-LL-1325) 


A^flat, Op. 47; Scherzo HO. 3 in C-sharp minor, 
Op. 39; Fantasie in F minor, Op. 49. 
Chopin: (20) Nocturnes (complete). Nadia Reis' 

enberg (piano). 2-12" discs (*WEST-XWN- 

18256/7) $7.96. 

Current Market Price: #6.38. 

CONTENTS: Vol. I: Nocturnes HOS. 1-11 
(*WEST-XWN-18256); Vol. II: Hocturnes HOS. 
12-20 (*WEST'XWN-18257). 
Chopin: (12) Etudes, Op. 10 (complete). Ruth 

Slencsynska (piano). 142" disc (*D-DL-9890) 


CONTENTS: Etudes HO$. 1-12. Op. 10; Im- 
promptus HOS. 1 in A-flat, Op. 29 and 2 in F'sharp, 
Op. 36. 
Chopin: (12) Etudes, Op. 25 (complete). Ruth 

Slenczynska (piano). M2" disc (*D-DL-9891) 


CONTENTS: Etudes HOS. 1-12, Op. 25; Im- 
promptu HO. 3 in G-flat, Op. 51; Fantasylmpromp' 
tu in C'sharp minor, Op. 66. 

These records, gentle reader, represent over seven 
hours of Chopin (with a smidgeon of Brahms 
thrown in for good measure). Rather than discuss 

indicates LP 33 1/3 rpm. 
Indicates 45 rpm. 


PAGE 14 


The New Records 


the music, all of which is familiar and lovely, we 
thought weM write a bit about the four new artists 
represented. However, London, Ducretet-Thomson 
and Epic have decided not to say a word about 
Niedzielski, Rev s and Entremont, respectively, so 
their backgrounds must remain, for the nonce, a 
mystery. Decca, however, tells us that Ruth Slenc- 
synska was born in California in 1925, studied 
under Petri, Schnabel, Cortot and Rachmaninoff, 
and was pronounced by the late Olin Downes as 
"the greatest prodigy since Mozart." Her Polish 
ancestry seems to have given her a fine feeling for 
Chopin, as her two debut discs for Decca will re' 
veal . . . The usually top drawer Julius Katchen 
seems to have had an off day here . . . but Reisen- 
berg is wonderful! 



Leibert at Home. Dick Leibert, playing the Ham- 
mond Electric Organ. 1-12" disc (*WEST-WP- 
6029) $3.98. 

Current Market Price: #3.19. 

^ CONTENTS: Limehouse Blues; Moritat (from 
"Three-Penny Opera"); Canary Caprice (Paganini 
arr. Leibert); Rosa Maria; Theme from "Moulin 
Rouge"; Hallelujah; Mouse and the Pussy Cat 
(Grieg arr. Leibert); Underneath the Stars; Jas- 
mine; English Lavender; Waltz to a Princess; Lover. 
Leibert Takes Richmond. Dick Leibert, playing the 

Wurlitser organ in the Byrd Theatre, Richmond 

(Va.). M2" disc (*WEST-XWN-18245) $3.98. 
Current Market Price: #3.19. 

CONTENTS: Dixie; In the Still of the Wght; 
In a Little Cloc\ Shop; St. Louis Blues; J^o Other 
Love; OV Man River; Greensleeves; Holiday for 
Strings; Autumn Leaves; Virginia Hoe-Doum; Tar a 
Theme; Washington and Lee Swing. 
Moon River Music. Lee Erwin, playing the Quinby 

pipe organ, Summit (N. J.). 1-12" disc (*ZO- 

DIAC LP-333) $3.98. 

CONTENTS: Caprice Viennois; Stardust; Tsfrar- 
ness of You; Villa; Golden Grain of Sand; Laura; 
My Ship; As Time Goes By; But >Jot for Me; Out 
of T^owhere; Blue Moon; Fantasy; Minnequa; Most 
of All; I See Tour Face Before Me; All the Things 
You Are. 

Popular and mood music by Dick Leibert and 
Lee Erwin this month, featuring a variety of organs. 
The first disc listed above features Leibert playing 
his own Hammond Electric, which he has had spe- 
cially built for himself and which contains a good 
many more effects than are found on the standard 
Hammond . . . Leibert then turns his talents to a 
large theatre organ, and we rather imagine that dur- 
ing the course of this disc you'll hear just about 
every effect the mighty Wurlitzer can produce, in- 
cluding the winding of a dock . . . Cincinnatians 

may recall when Lee Erwin was associated with a 
midnight radio program over radio station WLW 
called "Moon River." We understand that for the 
eleven years Mr. Erwin played this "Moon River 
Music," this program became a part of courtship 
in dimly-lit living rooms all over the nation (evi- 
dently it became a network show). So girls, if your 
toothpaste, perfume or toilet soap haven't made 
your fella propose yet, maybe slipping this Zodiac 
disc on the hi-fi (low volume, please) will! 

Fidelity of all three discs is of today's very finest. 

Badh: (3) Preludes and Fugues. Pierre Cochereau, 

playing the organ of Notre-Dame de Paris. 1-12" 

disc (*OL-50125) $4.98. 

CONTENTS: Preludes and Fugues in C, BWV. 
547; in E minor, BWV. 533; in B minor. BWV. 544. 
Liszt: Fantasia and Fugue on "Ad nos, ad salutarem 

undam." Pierre Cochereau, playing the organ of 

Notre-Dame de Paris. 1-12" disc (*OL-50126) 


The organ of Notre-Dame de Paris is a massive, 
five-manual instrument built by Cavaille-Coll in 1868. 
It is ideally suited to the dazzling virtuoso demands 
of the Liszt Fantasia and Fugue, a work that looked 
ahead of its own time to the organ works of Franck. 
The orchestral sonorities that Liszt envisioned for 
his organ compositions are very much removed from 
the pattern of Bach's organ writing, but M. Coche- 
reau presents both with equal effectiveness. 

A feeling of the spaciousness of this famous 
church has been captured admirably on both these 
discs. Fortunately the consequent muffling so often 
encountered has been avoided. 

VIOLIN jjj^ 21 - 

The Violinist Composer. David Oistrakh (violin) 
accompanied by Vladimir Yampolsky (piano) 
1-12" disc (*D-DL-9882) $3.98. 
CONTENTS: Elegiac Poem, Op. 12 (Ysaye)- 
Etude in E, Op. IS, T^o. 5 (Wieniawski); Zortxico 
(Sarasate); La Gitana (Kreisler); Legende, Op. 17 
(Wieniawski); Romances Op. 7, >frs. 2 & 3 
(Vieuxtemps); Variations on the G String on Ros- 
sini's "Moses" (Paganini). 

Oistrakh Encores. David Oistrakh (violin) accom- 
panied by Vladimir Yampolsky (piano) 1'12" 
disc (*ANG-35354TP) $3.48. 1-12" factory- 
sealed disc (*ANG-35354) $4.98. 
CONTENTS: CZmr de Lune (Debussy); Jota 
(Falla); Extase (Ysaye); Valse Scherzo (Tchaikov- 
sky); Love Song (Suk); (3) Hungarian Dances 
(Kodaly); Legende, Op. 17 (Wieniawski); Mazur\a 

It would seem that Decca agrees with Bernard 
Shaw, who once wrote: "I am always inclined to 
believe in a violinist who can play Wieniawski. 
Beethoven and Mendelssohn were great composers 
of music for the violin; but Wieniawski was a great 
composer of violin music. There is all the difference 

PAGE 15 


* Indicates LP 33 1/3 rpm. 
Indicates 45 rpm. 


Tke *New Records 


in the world between the two." Whether or not you 
agree, you will surely concur that David Oistrakh 
performs these short numbers to perfection. 

The choice of encore pieces for the great violinist 
is abundant, says Neville Marriner, Angel's an- 
notator; yet he must choose carefully to further stim* 
ulate the audience following the more profound 
piece ds resistance. Here are several, again performed 
as well as you'd wish. Neither Angel's nor Decca's 
reproduction is tops in fidelity; yet it is quite satis* 


Guitar Music o Latin America. Laurindo Almeida 
(guitar). M2" disc (*CL-P'8321) $3.98. 
CONTENTS: (2) Etudes, (2) Preludes (Villa- 
Lobos); Bwllerids 3? Gmao-n, Tehuacan (Barroso); 
Preludio para Guitarra, Op. 5, No. 1 and Choro da 
Saudade (Barrios); Vals (Ponce); Preludio y Trem- 
olo, Invention, Cajita de Musicd (Almeida). 
From the Romantic Era. Laurindo Almeida (gui- 
tar). 1-12" disc (*CL-P-8341) $3.98. 
CONTENTS: Variations on a Theme from 
Mozart's "The Magic Flute 4 ' (Sor); Minuet in G 
(Beethoven); Fragment from Beethoven s Septet, 
Op. 20 (arr. Tarrega); Adagio Sostenuto (arr. from 
Beethoven's "Moonlight 1 * Sonata); About Strange 
Lands and People and Traumerei (arr. from Schu- 
bert's "Kinderscenen"); Waltz in B minor and >{oc- 
tttrne, Op. 9, Ho. 2 (Chopin); Waltz; (Grieg); 
Elegie (Massenet); The Little Shepherd (from 
Debussy's "Children's Corner"); The Maid with the 
Flaxen Hair (from Debussy's "Preludes, Bk. I"). 

A Spanish Guitar Recital. Maria Luisa Anido (gui' 
tar). 142" disc (*CL-P'18014)$3.98. 
CONTENTS: Asturias (2 excerpts) (Albeniz); 
u los Trig-ales (Rodrigo); Parana (San?); Suite 
Castellana (Torroga); Recuerdos de la Alhawbra 
and Sueno (Tarrega); Danza Espanola MO. 5 (Gra- 

Almeida's recital of Latin American guitar music 
will be hard to take for lots of persons; not that it 
isn't beautiful, but there is much sameness through' 
out the record, and the music will prove so unfa' 
miliar to most persons that only a student of the 
guitar could sit all the way through this disc with- 
out squirming . . . Much more pleasant is the disc 
entitled "From the Romantic Era." Here Almeida 
has selected works familiar to most persons and 
plays them in a perfectly delightful manner. One 
almost forgets that the works were not written for 
the guitar . . . Maria Luisa Anido is a superb tech' 
nician whose feeling for the works she plays over' 
shadows even her skill. 

Introduction to Opera: a guidebook sponsored 

by The Metropolitan Opera Guild. Edited 
by Mary Ellis Pete, xiii + 332 pp. Paper 
bound. Barnes 6P Noble, Inc. (New York) . 
Price $1.65. 

Record Ratings: The Music Library Associa- 
tion's Index of Record Reviews. Compiled 
by Kurtz Myers; edited by Richard S. 
Hill, viii -{- 440 pp. Crown Publishers 
(New York). Price $5.95. 

The Fabulous Phonograph. By Roland Gelatt. 
320 pp. Illustrated. J. B. Lippincott Com- 
pany (Philadelphia and New York), 
Price $4.95. 

The Guide to Long-Playing Records (Orches' 
tral Music). By Irving Kolodin. xii + 
268 + vii pp. Alfred A. Knopf (New 
York). $3.50. 

The Guide to Long'Playing Records (Chamber 
& Solo Instrument Music) . By Harold C. 
Schonberg. xi + 280 + vi pp. Alfred A. 
Knopf (New York). $3.50. 

The Guide to Long-Placing Records (Vocal 
Music). By Philip L. Miller, xvi + 381 
+ xxii pp. Alfred A. Knopf (New York) 

The World's Encyclopaedia of Recorded Music 
(Including 1st Supplement). By Francis 
F. Clough and G. J. Cuming. 890 pp. 
Sidgwick and Jackson, Ltd. (London). 
Price $17.50. 

The 'World's Encyclopaedia of Recorded Music 
(2nd Supplement) . By Francis F. Clough 
and G. J. Cuming. xxii + 262 pp. Sidg' 
wick and Jackson, Ltd. (London). Price 

NOTE: All the above books have been reviewed 
in previous issues of The Hetu Records. If your local 
dealer does not stock them, orders addressed to H, 
Royer Smith Co., Philadelphia 7, Pa., will be 
promptly filled. The prices quoted include postage 
to any point within U.S.A. 


* Indicates LP 33 1/3 rpm. 
indicates 45 rpm, 


PASE 1 1 

New Records 


Issued Monthly by 


"The World's Record Shop" 


VOL. 25, NO. 2 

APRIL 1957 

By mail to any address 
$1 per year 

The World's Encyclopaedia of Recorded Music 
(3rd Supplement) . By Francis F. Clough 
and G. J. Cuming. xxvi ~j- 564 pp. Sidg- 
wick and Jackson, Ltd. (London). Price 

The third supplement to the World's En' 
cyclopedia of Recorded Music is now avail' 
able. It contains "all recorded music of worth- 
while interest from every record-producing 
country in the world" issued during the three 
years 1953 to 1955 inclusive. Thus with the 
two earlier volumes listed on page 16 of this 
issue of THE NEW RECORDS under "Books of 
Musical Interest" there is available a compre- 
hensive encyclopaedia of recorded music from 
the advent of electrical recording through 
1955. In this latest volume will be found also 
a few outstanding recordings issued through 
March 1956 and an appendix containing a list- 
ing of pre-recorded tapes. For those who are 
only interested in the latest hi-fi recordings the 
present volume, which is complete in itself, is 

We must mention that these books are not 
for the average record collector; they are for 
the specialist the serious and discerning col- 
lector who has a flair for research and wants 
to know what is or has been available in the 
realm of worth-while recorded music during 
the present generation. 

If your local dealer cannot supply any or all 
of these publications, orders sent to the pub- 
lishers of this bulletin will be filled promptly. 
Prices include postage to all points in U.S. A. 
* * * 

Our editorial matter will be kept short this 
month in order to conserve as much space as 
possible for the reviews. However, we do want 
to mention that the 1957 Angel catalog has 

just come off the press. Containing 40 pages, it 
lists all available Angel records through March 
1957. The publisher of THE NEW RECORDS 
has a supply of these catalogs and will be 
happy to supply a copy without charge to any 
reader requesting one. 

* * * 

Every so often someone writes and wishes to 
know where he can secure a recording for 
learning the International Wireless Morse 
Code (CW), and until recently we have had 
to reply that the several sets that were avail- 
able had 'been discontinued and were out-of- 
print. We are pleased to announce that an 
excellent course consisting of one 12 -inch LP 
disc and a 12 -page booklet has been prepared 
by Jac Holsman, of K2VEH. It is known as 
"Elektra Code Course." The price of the com- 
plete set (LP disc and booklet) is $3.50. 


The Current Market Price of records is the 
retail price that is charged by most leading 
dealers, including the publisher of this bul- 
letin. When the major companies reduced 
their list prices for LP records, some of the 
smaller publishers reduced only their whole- 
sale prices and did not change their list prices 
(see TNR Mar. '55) ; thus the Current Mar- 
ket Price came into being. 

Also, from time to time, in order to stimu- 
late business, some companies have drastically 
reduced prices for limited periods. In order 
that our readers may know the Current Mar- 
ket Price, we are indicating in this and future 
issues the prices that are presently in effect; 
and, although we cannot guarantee these 
prices, they should prevail during the current 




NOTE: The Current Market Prices of all 

Mercury 12-indhLP's (1000O-, 25000-, 300GQ-, 
40000% 50000% 80000% and 9000Oseries) is 
0.19; album sets are 1&% less than published 
list prices. 

NOTE: The Current Market Prices of 
Westminster Records are as follows: WN/ 
SWN/XWN'18000 series, #3.19; W-LAB- 
7000 series, 0.95; WL-5000 series (discon- 
tinued), $2.39; WP-6000 series, #3.19; album 
sets, 20% less tkan published list prices. 


We are continually receiving requests for 
back copies of THE NEW RECORDS. Most of 
the issues published during the last twenty 
five years are available. The price is lOc 
each. A file of all available issues (at least 
160 copies) is $5. These prices are postpaid 
within U.S.A. 

NOTE: Those persons interested in recent 
recordings only may secure all of the issues of 
the last three years beginning April 1954 
(36 copies) at die special price of $2 (post- 
paid within U.S. A.). 


The public in general, and readers of TNR in 
particular, are by &ow quite familiar with the pur- 
pose of "Sampler" discs, which have become very 
popular with the record'buying public and which 
are being issued in limited quantities by the various 
manufacturers. We are listing a few of the better 
new ones below with the contents of each: 

Tchaikovsky: Swan Lake Suite. One side, and 

Tchaikovsky: Nutcracker Suite, Op, 71a. Synv 

phony Orchestra conducted by Herbert Williams. 

M2* disc (*WEST'XWN-18223) $3,98. 

Current Market Price: 

Grieg: Concerto in A minor, Op. 16. Yury Boukoff 
(piano) with the Philharmonic Symphony Or 
chestra of London conducted by Artur Rodzinski. 
One side, and Grieg: Peer Gynt Suites Nos. 
1 & 2. Philharmonic Symphony Orchestra of 
London conducted by Artur Rodwnski. 1'12" 
disc (*WEST-XWN-mU) $3.98. 

Current Market Price: #1.98. 

Lyrichord Hi-Fi Sampler. Various orchestras and 

conductors. M2" disc (*LYR-LLS'l) $1.98. 

CONTENTS: OatY de Lune (Debussy); Ro< 

mance Cantabile (Beethoven); Whipped Cream 

Waltz (Strauss); German Dance (Mosart); Rondo 

(Louis Ferdinand); Paris Overture (Mozart); Pan' 

tasie Impromptu (Chopin); "Alleluja" Symphony 


High Fidelity Demonstration Record (Vol. 2). 

Various orchestras and conductors. 1-12" disc 

(*UR'UCS-56) $1.98. 

CONTENTS: (6) frequency bands, constant 
tone (30 cps, 50 cps, 100 cps, 1,000 cps, 10,000 
cps, 15,000 cps); Marche Militaire (Schubert); 
Trumpet Concerto (Haydn); Champagne Pol\a 
(Strauss); Swan La\e Danse Espagnol (Tchai' 
kovsky); L'Africaine Marche Indienne (Meyer* 
beer); Serenade (Drigo); Egyptian March (Strauss); 
Domino (Ferrari). 


Beethoven: Concerto 7v[o. 3 in C minor. Op. 37. 
Wilhelm Kempff (piano) with Berlin Philhar" 
monic Orchestra van Kempen. 14 1" disc (*D* 
DL-9898) $3.98. (TNR Feb. '54). 

Berlioz;: Harold in Italy, Op. 16. Frederick Riddle 
(viola) and the Philharmonic Symphony Orches- 
tra of London Scherchen. 1-12" disc (*WEST* 
XWN48285) $3.98. (TNR Dec '54). 

Current Market Price: #3.19. 

Beethoven: Concerto 7vf . 2 in B'flat, Op. 19. Ba- 
dura-Skoda (piano) with the Vienna State Opera 
Orchestra Scherchen. One side, and Beethoven: 
Coriolan Overture, Op. 62. And Beethoven: Die 
Weihe des Hauses Overture, Op. 124. Vienna 
State Opera Orchestra Scherchen. 142" disc 
(*WEST-XWN48340) $3.98. (TRN Nov. '54). 
Current Market Price: #3.19. 

Handel: (6) Concert; Grosst, Op. 3. Boyd Neel Or- 
chestra Ned. 142" disc (*L-LL4130) $3.98. 
(TNR Dec. '50 # Aug. '52). 

Handel: Messiah (excerpts). Addison, Sydney, 
Lloyd, Gramm and Zimbler Sinfonietta Stone. 
142" disc (*UNRJNLP-1043) $3.98. (TNR 
Mar. '56). 


Hindemith: Mathis der Maler. One side, and Toch: 
Symphony No. 3. Pittsburgh Symphony Orches' 
tra conducted by William Steinberg. 142" disc 
(*CL-P-8364) $3.98. 

Mahler: Symphony No. 4 in G. Hague Philhar' 

monic Orchestra conducted by Willem van Otter' 

loo, with Theresa Stich-Randall (soprano). 1' 

12" disc (*EPICLO3304) $3.98. 

By now, most record collectors are well aware of 

the fact that Capitol is second to none in matters 

of elegant reproduction and smooth record surfaces. 

Its classical repertoire has expanded splendidly on 

LP, and its light music series (Hollywood Bowl Or' 

chestra, etc.) is about the best to be had. One of 

Capitol's real prices is the Pittsburgh Symphony; 

whoever bagged this group should be the fair'haired 

boy around Capitol. The Pittsburghers under Wil' 

* indicates LP 38 1/3 rpou 
Indicates 45 rpm. 





Ham Steinberg have not issued one "turkey" in their 
long list, they have produced some "best of them 
all" performances, and now they have a "first" to 
their credit which is truly a blue ribbon affair. The 
Hindemith Mdthis der Maler is every inch the equal 
of the other two recordings available those by OP- 
mandy and Hindemith, himself. 

The Toch Third Symphony was introduced by 
Steinberg and this is its first recording. Premiered 
in December 1955, the Third was awarded the Pul- 
itzer Prize in 1956. It is scored with daring and 
imagination as well as originality (organ, vibra- 
phone, and "hisser" which create many unique ef- 
fects, mostly in the percussion section). These ef- 
fects are inclined to be musical rather than noisy, 
for most of them are quiet and subtle. The whole 
score is unconventional and highly original in con- 
cept, yet it hangs together well and makes its point 
even on first hearing. We give much credit to Stein- 
berg for this effectiveness, for the Pittsburgh Or- 
chestra plays with a sureness born of long and care- 
ful preparation. This is a most remarkable perform- 
ance and recording for a "first" of a difficult new 
work. The reproduction could not be bettered at 
this time it is incredibly realistic and well bal- 
anced. We can offer nothing but the highest praise 
and acclaim for this disc, which is also deserving 
of a Pulitzer Prize! 

Mahler's Symphony J^o. 4 is a serene, pastoralish 
work which is less demanding and more accessible 
than many of this master's works. The Bruno Walter 
reading was a gem, but is aging in reproduction; 
Van Beinum issued a nice performance a while back; 
and now we have what is the best reproduction and 
a surprisingly fine performance. Theresa Stich-Ran- 
dall sings the fourth movement superbly; we can 
recommend this disc highly. E. E. SHUPP, JR. 

R. Strauss: Le Bourgeois Gentilhomme Suite, Op. 

60. Berlin Philharmonic Orchestra conducted by 
Ferdinand Leitner. 1-12" disc (*D-DL-9903) 

R. Strauss: Sinfonia Domestica, Op. 53. Saxon 
State Orchestra conducted by Franz Konwitschny. 
1<12" disc (*D'DL-9904) $3.98. 

R. Strauss: Burleske in D minor. One side, and 
Francaix: Concertino for Piano and Orchestra. 
And Honegger: Concertino for Piano and Or- 
chestra. Margrit Weber (piano) with the Berlin 
Radio Symphony Orchestra conducted by Ferenc 
Fricsay. 1-12" disc (*D-DL-9900) $3.98. 

Schumann: Concerto in A minor, Op. 54. One side, 
and R. Strauss: Burleske in D minor. Rudolf 
Serkin (piano) with the Philadelphia Orchestra 
conducted by Eugene Ormandy. 1'12" disc (*C- 
ML-5168) $3.98. 

Current Market Price: #2.98. 
Decca issues three Deutsche Grammophon re-* 

cordings, made in Germany, of Richard Strauss 

works that lack neither authority in their perform- 

ers nor excellence in their reproduction. The Berlii 
Philharmonic under Leitner plays the genial musi 
of Le Bourgeois Gentilhomme with graceful styL 
and devotion. They at least equal Krauss and th< 
Vienna Philharmonic and Reiner and the Chicagc 
Orchestra; Berlin has the most mellow and appro 
priate reproduction of them all. It is a fine state 
ment of the score, which is typical if somewhat 
watered-down Strauss, music which we would char- 
acterize as nice for the late programs of FM sta- 

The Sinfonia Domestica, is more lusty and verbose 
Strauss which rambles on at a great rate for a long 
time. It is a clever scenario and an unusual orchestral 
painting. Clemens Krauss and the Vienna Philhar- 
monic gave a good account of the work (*L-LL- 
483) a few years ago which is every bit the equal 
of the present set as far as the conductor and the 
orchestra are concerned, but which is not as good 
as far as the engineers are concerned, this new one 
being a splendid recording of the present day. The 
only thing which might annoy some hi-fi-ers is the 
overly long echo present in the hall. It does not 
blur the music, but it hangs on rather long at times. 
Maybe Ormandy will do this again some day, and 
then we will probably have the best all-around ver- 
sion. In the meantime, we would say Konwitschny 
and the Saxon State Orchestra are highly acceptable. 

The talented Swiss pianist, Margrit Weber, per- 
forms three provocative works for piano and or- 
chestra. Aided by the Berlin Radio Symphony Or- 
chestra, formerly known as the RIAS Orchestra, 
under its founder Ferenc Fricsay, Miss Weber gives 
a sterling account of the Strauss Burles\e, a for- 
midable piece which trips along lightly and gaily. 
The little Francaix Concertino and the jawy Honeg- 
ger Concertino both receive their best phonographic 
editions here, and neither of them ever sounded 
better to us. A pair of gems, they are quite irresisti- 
ble as performed and recorded on this disc. 

Columbia's classical "Buy of the Month"" also 
features a warm reading of Richard Strauss' Bur- 
les\e. Low price aside, it should be a matter of 
coupling which would persuade the prospective pur- 
chaser to buy one or the other. It is also interesting 
to note that the Burleske proves to be an apt com- 
panion to the romantic Schumann Concerto in A 
minor as well as to the Francaix and Honegger 
works. There are several excellent readings of the 
Schumann: Giesekjng, Novaes and Lipatti, to name 
three. Serkin's should now be added to the list in 
selecting one's favorite. S. 

Danse Macabre. Philharmonic-Symphony Orchestra 
of New York conducted by Dimitri Mitropoulos. 
I'lV disc (*C-ML-5154) $3.98. 
CONTENTS: Danse Macabre, Le Rouet d'Om* 

phale. Phaeton, La Jeunesse d'Hcrculc (Saint- 


We don't recall ever having seen an LP disc de' 



indicates LP 88 1/8 n>m. 
Indicate* 40 rpnL 





voted exclusively to the short works of Saint-Saens. 
It must have seemed a good idea to Columbia, for 
here is Maestro Mitropoulos in sparkling readings 
of this quartet of pieces. Close-to, brilliant repro' 

Bach: (3) Brandenburg Concertos. Boyd Neel Or- 
chestra conducted by Boyd Neel. 142" disc 
(*UNI-UNLP'1040) $3.98. 
CONTENTS: Concertos NO*. 1 in F; 2 in F; 4 
in G. 

Bach: (3) Brandenburg Concertos. Boyd Neel Or- 
chestra conducted by Boyd Neel. 1-12" disc 
(*UNI-UNLP'1041) $3.98. 
CONTENTS: Concertos HOS. 3 in G; 5 in D; 
6 in B'fi&t. 

(4) Symphonies by Three Sons of Bach. Louis de 
Froment Chamber Orchestra conducted by Louis 
de Froment. M2" disc (*ANG-35338TP) $3.48. 
142" factory-sealed disc (*ANG-35338) $4.98. 
CONTENTS: Symphony in B'flat (J. C. Bach); 
Symphony in D minor (W. F. Bach); Symphony 
>lo. 1 in D, Symphony HO. 3 in F (K. P. E. Bach). 
This newest version of Bach's Brandenburg Con- 
certos is offered by Unicorn on two single records, 
not as a packaged set. This may be a fortunate 
circumstance, as there is considerable variation in 
the standards of performance between the two discs. 
On the record that contains Concertos 1, 2, and 4, 
there are several matters that disturb us somewhat. 
The trumpet work in the Second Concerto is taxing 
in the extreme; but the present performer is fre- 
quently so far out of tune as to be noticeable to 
the poorest ear. Granted that in an actual perform- 
ance of so difficult a passage, a soloist can muff a 
note here and there (we hope only 'here and not 
there as well), but on a record, this sort of thing 
just will not do. Soon the owner is playing the 
record for a friend and saying, "Here is the place 
where he misses the high F'sharp." With the tech- 
nical facility available today to splice tapes, etc., 
there is certainly no excuse for a noticeably bad 
error on a recorded performance. Boyd Neel uses 
the present-day flute for the solo voices of the 
Fourth Concerto instead of the recorder-type flute 
intended by Bach. The effect is possibly more pol- 
ished and subtle, but we like the distinctive tone 
quality of those versions employing recorders. 

The other disc is a far different matter. The 
strings in Concertos 3 and 6 are beautifully rich 
and vibrant, particularly the low-voiced instruments 
of the Sixth Concerto. The solo harpsichord in the 
Fifth Concerto is equally fine, and marvelously well 
defined. Sonics throughout are models of clarity and 
definition, completely up to Unicorn's standard. If 
you're interested in half a Brandenburg set, the 
latter disc is equal to any available. 

The collection of symphonies by the sons of Bach 
is an attractive presentation, containing some gor- a 

geous Baroque music beautifully played. This sam- 
pling of works from the sons of the master musician 
is a striking illustration of the difference between 
talent and genius. The most interesting work on 
the disc is the D minor Symphony of Bach's eldest 
son, Wilhelm Friedmann Bach. Rather than looking 
back upon the works of the parent, this symphony 
anticipates the symphonies of Mozart. Devotees of 
eighteenth century music will find this release hard 
to resist. N. 

Mozart: Symphony No. 39 in E-flat, K. 543. Phil- 
harmonia Orchestra conducted by Herbert von 
Karajan. One side, and Mozart: Concerto in A, 
K. 622. Bernard Walton (clarinet) with the Phil- 
harmonia Orchestra conducted by Herbert von 
Karajan. 1-12" disc (*ANG-35323TP) $3.48. 
1-12" factory-sealed disc (*ANG-35323) $4.98. 
Mozart: Symphony No. 41 in C, K. 551 CJupi' 
ter"). One side, and Haydn: Symphony No. 95 
in C minor. RIAS Symphony Orchestra, Berlin, 
conducted by Ferenc Fricsay. 1-12" disc (*D-DL- 
9745) $3.98. 

Haydn: Symphony Na. 100 in G ("Military'"). One 
side, and Haydn: Italian Overture. Vienna Phil- 
harmusica Symphony conducted by Hans Swar- 
owsky. And Haydn: Concerto in E-flat. Adolph 
Holler (trumpet) with the Vienna Philharmusica 
Symphony conducted by Hans Swarowsky. And 
Haydn: "Toy" Symphony in C. UOrchestre Ra- 
dio-Symphonique de Paris conducted by Rene 
Leibowiu. 1-12" disc (*UR-UX-104) $4.98. 
Von Karajan's version of the Mozart Symphony 
J^o, 39 seems to us to hold a close kinship with the 
eloquent reading by Beecham. It surpasses almost 
all versions in sonic loveliness, and should disap" 
point almost no one. The Clarinet Concerto fea- 
tures Bernard Walton as soloist, who does some uv 
teresting things with this beautiful work. Walton 1 * 
tempi are generally faster than Reginald Kell's, par' 
ticularly in the first movement. Karajan's accom- 
paniment of the soloist is a model of tasteful balance. 
Fricsay's rendering of the Mozart and Haydn pair 
leaves us unimpressed, yet without being able to es- 
tablish definite points of weakness. The twentieth 
"Jupiter" faces considerable competition in many 
versions, our own preference being the Steinberg 
reading on Capitol (*CL'P-8242, TNR May '54). 
The Haydn symphony fails to alter our opinions 
toward Scherchen's performance for Westminster. 
The Urania disc presents a collection of Haydn 
works headed by the "Military Symphony. 1 * Swar- 
owsky 's reading of this work is no match either 
musically or sonically for Scherchen's now-famous 
marvel for Westminster. The celebrated Allegretto 
lacks the steadied pace and dynamic contrast that 
can make it such a thrilling experience. The Trum- 
pet Concerto, on the other hand, is slower than one 
would expect. Soloist Holler plays carefully and with 
gorgeous full tone marked with real brilliance. 

* indicates LP 33 1/3 rpm. 
Indicate! 45 rpm. 







The Toy Symphony (haven't we decided that 
Leopold Mosart wrote this?) seems to have been 
added as an afterthought. All the jingling, banging, 
and tootling elements that supplement the strings 
have been reproduced with excellent clarity. N. 

Franck: Symphony in D minor. Bamberg Symphony 
Orchestra conducted by Fritz Lehmann. 1*12" 
disc (*D-DL-9887) $3,98. 

Each major manufacturer of records feels that it 
must have a recording of every major symphonic 
work represented in its catalogs, and this month 
I>ecca gives us its Franck Symphony in D minor. 
It is a straightforward performance, and it featured 
excellent reproduction. Ormandy, Paray and Furt- 
wangler have better ones more satisfying, with re- 
production as fine as Decca's. 

Hanson: Fantasy Variations on a Theme of Youth. 

Eastman-Rochester Symphony Orchestra con- 
ducted by Howard Hanson, with David Burge 
(piano). And Triggs: The Bright Land. East- 
man-Rochester Symphony Orchestra conducted 
by Howard Hanson. One side, and Rogers: Leaves 
from the Tale of Pinocchio. Eastman-Rochester 
Symphony Orchestra conducted by Howard Han- 
son, with Marjorie Truelove MacKown (narrator) . 
1-12" disc (*ME-MG-50114) $3.98. 

Current Market Price: $3.19. 

Casella: La Giara (Symphonic Suite). One side, and 
Respighi: The Pines of Rome. Orchestra of the 
Accademia di Santa Cecilia (Rome) conducted 
by Fernando Previtali. 1-12" disc (*L-LL-1575) 

Dr. Hanson's series of recordings of American 
music continues with a disc devoted to three com- 
posers. The Hanson and Triggs works are pleasant 
diversions both inspired by the composers'* youth; 
Hanson's variations are lush and broadly orches- 
trated; Triggs' piece is for strings. The Bernard 
Roger's score is something Mercury would dearly 
love to have become the successor to Peter and the 
Wolf. With a slight British accent, Marjorie True- 
love MacKown narrates the story outline, which 
the orchestra punctuates with musical pictures. It is 
a bit wordy, and a bit slow compared to the famous 
Prokofiev model; although designed for persons of 
all ages, we wager the kids will stay awake longer 
than the adults. The spoken word and the orchestral 
music are skillfully blended in this recording. 

London presents the gifted Italian conductor, 
Fernando Previtali, in a pairing of works by the 
Italian contemporaries, Casella and Respighi. Both 
of these composers held posts at the Santa Cecilia 
Academy in Rome, and both the present works were 
first performed within a month of each other. Com' 
posed in 1924, they are dissimilar in that Casella 
looked forward towards the neo-classic idiom while 
Respighi deals with the expanded orchestral texture 
of the day. Casella's work, La Giara ("The Jar"), 

is a suite drawn from a ballet. It is a charming work, 
worthy of a recording, and a good coupling on this 
disc. The Pines of Rome has lately been considered 
a high fidelity specialty, a Toscanini specialty, or 
both. No fledgling orchestra, the orchestra of Res- 
pighi's own Santa Cecilia Academy deals lovingly 
and mightily with the score. Fortunately all is not 
clangor, for the major portion of the score is very 
tender and evocative music; the Academy orchestra 
plays these delicate portions with tonal beauty. 
This is the only disc that does not couple The 
Fountains of Rome a daring departure from custom. 


Brahms: Symphony No. 3 in F, Op. 90. Berlin 
Philharmonic Orchestra conducted by Eugen Jo- 
chum. One and one-half sides, and Brahms: Tra- 
gische Ouverture, Op. 81 ("Tragic Overture"). 

Berlin Philharmonic Orchestra conducted by 
Fritz Lehmann. 1-12" disc (*D-DL-9899) $3.98. 
Schubert: Rosamunde, Op. 26. One side, and Schu- 
bert: Symphony No. 5 in B-flat. Columbia Sym- 
phony Orchestra conducted by Bruno Walter. 
1-12" disc (*C-ML-5156) $3.98. 
Tchaikovsky: Hamlet, Op. 67 (Overture-Fantasia). 
One side, and Tchaikovsky: The Storm, Op. 76 
(Overture). And Balakirev: Overture on Rus- 
sian Themes. Philharmonia Orchestra conducted 
by Lovro von Matacic. 1-12" disc (*ANG- 
35398TP) $3.48. 1-12" factory-sealed disc 
(*ANG-35398) $4.98. 

Jochum's reading of the Brahms Third is not quite 
the revelation that several of his Brahms and Bee- 
thoven recordings have been, but it is a more than 
adequate version when compared with the others 
available. The F major work is less introspective 
than either the First or Fourth, yet it manages to 
create a spell all its own. It seems nearly an impossi- 
bility for this conductor and orchestra to produce 
a poor recording, and the present effort becomes 
one more to add to an impressive list. Lehmann's ap- 
pended Tragic Overture is all right, but of less con- 
sequence than the major work on the disc. 

Walter's renditions of the Schubert works are 
carefully- and lovingly-wrought presentations, es- 
pecially the music from Rosamunde. The Fifth Sym* 
phony epitomizes the romantic genius of Schubert, 
and Walter's talent for revealing that genius is al- 
most unparalleled. 

The Angel disc presents several lesser-known 
works in bold readings by von Matacic. Tchaikov- 
sky's Hamlet never comes alive like the earlier Over- 
ture-Fantasia, Romeo and Juliet, but it remains a 
noble statement characterizing the hero of Shake- 
speared greatest drama. The Storm is Tchaikov 
sky^s earliest composition and sounds like a begin- 
ner's work provided of course that the beginner 
happens to be an incipient genius for orchestration. 
Balakirev's Overture is derived from familiar folk 
themes, one of which later became the principal sub- 



Indicttea LP 33 1/3 rpm. 
Indicates 45 rpm. 




ject of the finale to Tchaikovsky*^ Fourth. The 
engineering of this disc is especially good, particu- 
larly with regard to the tympani and other perois' 
sive efforts. N. 

Copland: Appalachian Spring (complete ballet). 
One side, and Copland: Billy the Kid (ballet 
suite). Philadelphia Orchestra conducted by Eu' 
gene Ormandy. 1-12" disc (*OML-5157) $3.98. 
Kodaly: Hary Janos (suite). One side, and Stra- 
vinsky: Le Baiser dc k Fee (suite). RIAS Sym- 
phony Orchestra conducted by Ferenc Fricsay. 
1-12" disc (*D-DL-9855) $3.98. 
Dutiiieux: Le Loup. UOrchestre du Theatre des 
Champs-Elysees conducted by Paul Bonneau. One 
and one-half sides, and Inghelbrecht: La Nursery. 
UOrchestre du Theatre des GhampS'Elysees con' 
ducted by D. E. Inghelbrecht. 1-12" disc (*DT- 
DTL-93086) $3.98. 

Khachaturian: Masquerade (suite). UOrchestre de la 
Societe des Concerts du Conservatoire de Paris con' 
ducted by Richard Blareau. One side, and Mes- 
sager: Les deux Pigeons (ballet suite). And 
Chabrier: Le Roi malgre Lui Fete polonaise, 
Danse slav. UOrchestre de TOpera Comique de 
Paris conducted by Richard Blareau. 1-12" disc 
(*L-LL-1521) $3.98. 

Stravinsky: Song of the Nightingale. One side, and 
Stravinsky: Pulcinella Suite. I/Orchestre de la 
Suisse Romande conducted by Ernest Ansermet. 
I'M* disc (*L-LL-1494) $3.98. 
Strauss: Graduation Ball. One side, and Meyerbeer: 
Les Patineurs. Ballet Theatre Orchestra conducted 
by Joseph Levine. I'M* disc (*CL-P-8360) 

Rossini arr. Respighi: La Boutique Fantasque. One 
side, and Pizzetti; La Pisanefla (suite). Philhar- 
monia Orchestra conducted by Alceo Galliera. 
1-12" disc (*ANG-35324TP) $3.48. 1-12" fac- 
tory>sealed disc (*ANG-35324) $4.98. 
Chopin: Les Sylphides. One side, and Dukas: La 
Peri* Halle Orchestra conducted by George Wei- 
don. M2" disc (*ME-MG-50117) $3.98. 

Current Market Price: #3.19. 
Eight discs of wonderful ballet music, the only 
totally unfamiliar material being featured on the 
Ducretet-Thomson disc (*DT'DTL-93086). Henri 
Dutiiieux (1916' ) composed Le LOUJD ("The 
Wolf) in 1953; it is the story of a girl who 
marries a wolf by mistake, realizes it after the 
wedding but succumbs to his embraces, anyway, for 
they are very much in love. But the gossips drive 
the wolf away from his bride, and he is killed. It 
has been said that Dutiiieux* music protests the dis- 
integration of traditional forms, which will be ob- 
vious to anyone hearing this work; it is melodious, 
undissonant, but modern and fresh. 

Inghelbrecht is better known, to most Americans 
at least, as a conductor; his La T^ursery is a light' 

weight collection of charming popular French tunes, 
a most pleasant bit of fluff. 

Lack of space precludes detailed discussion of the 
other discs. If your library lacks an up-to-date re- 
cording of any of them, surely you may add any 
of these without hesitation. Performances and re' 
production are exemplary in every way. 

Cole Porter Symphonic Suite. Stanley Black and 
his Orchestra. 1-12" disc (*L-LL-1565) $3.98. 
CONTENTS: Wight and Day; Don't Fence Me 
In; Do I Love You; Begin the Beguine; Miss Otis 
Regrets; Easy to Love; Anything Goes; I've Got 
You under My S\in; It's d' Lovely; Just One of 
Those Things; Let's Do It; In the Still of the 
t; AHez-uous-en; I've Got My Eyes on You. 

Album o Ballet Melodies. Mantovani and his Or' 
chestra. 1-12" disc (*L-LL-1525) $3.98. 
CONTENTS: Kutcrac\er Suite Walts of the 
Flowers, Sleeping Beauty Waltz, Eugen Onegin 
Walts (Tchaikovsky); Spectre de la Rose (Weber); 
Giselle Pas de deux (Adam); La Gioconda 
Dance of the Hours (Ponchielli); Carnival of the 
Animals Le cygne ( Saint- Saens); Faust Walts 
(Gounod); The Bartered Bride Dance of the Co' 
medians (Smetana). 

The Cole Porter Symphonic Suite isn't that at 
all, for Stanley Black has given us very danceable 
arrangements of some of Mr. Porter's greatest songs. 
This, we are sure, will please anyone interested, for 
symphonic treatment applied to Cole Porter is some- 
thing we couldn't (and wouldn't care to) imagine! . . . 
Mantovani will tackle anything, and his many fans 
don't seem to care what it is, they love it; they'll 
surely welcome his offering of this handful of the 
most popular ballet melodies. Another sure-fire best' 

Beethoven: Symphony No. 5 in C minor, Op. 67. 
One and one-half sides, and Beethoven: Die 
Weihe des Hauses Overture, Op. 124 ("Con' 
secration of the House"). Philharmonia Orches- 
tra conducted by Otto Klemperer. 1-12" disc 
(*ANG-35329TP) $3.48. M2" factory-sealed 
disc (*ANG-35329) $4.98. 

Beethoven: Symphony No. 6 in F, Op. 68 ("Pas- 
toral"). Berlin Philharmonic Orchestra conducted 
by Eugen Jochum. 1-12" disc (*D-DL-9892) 

Hearing the first movement of Klemperer's Fifth, 
one might think that this is what he has been wait- 
ing for all these years. The drive and force are 
there in just the right balance; the orchestral tex- 
ture is full and often overwhelming in its power; 
the tempo is right; the sonics are thrilling. Th$ sec- 
ond movement is only slightly less impressive, 
marred only by minute faults of intonation in the 
woodwinds. The third movement begins with gor- 
geous horn passages. Then things seem to fall apart. 

* Indicate* LF 88 1/8 rpm. 
Indicates 46 rpm. 






In the bridge passage joining the last movements 
of this symphony, Klemperer fails to develop that 
feeling of terrible tension demanded for a com' 
plete realisation of this work. The last movement 
again finds this conductor with a much slackened 
tempo of the type that marked his recent "Eroica" 
recording. Another critic has called his speed "Idem' 
pering"; the word seems to fit somehow. This is an 
almost great recording of one of the great synv 
phonies, but it fails to conclude with the bold pro' 
portions of its opening movement. 

Jochunfs "Pastorale 1 * is everything we anticipated 
it would be, judging from his other recent Beetlioveri 
efforts. Those with an ear for the sensational may 
term this reading "moderate," but this is it for 
us: a delicately rendered, superbly balanced "day 
in the country. 11 * The scene by the brookside is 
suitably leisurely and restful; the gathering of jolly 
country folk is merry but not frenzied; the storm 
movement is forceful while still maintaining its 
status as a country thunderstorm; thankfully it never 
becomes the tornado and deluge of several versions. 
Some day, before too long we hope, I>ecca will come 
forth with a complete set of Beethoven symphonies 
by Jochum and the Berlin Philharmonic. N. 

Dreams of Paris. I/Orchestre de Moulin Rouge con- 
ducted by Marcel Guillemin. 142" disc (*UR- 
UR-9001) $3.98. 

CONTENTS: La Seine; Domino; Mademoiselle 
de Paris; La Vie en Rose; In Paris in April; Paris 
Wa\es Up at Night; Poor People of Paris; Mosquec 
de Paris; Under the Bridges of Paris; St. Germain 
des pres; Paris, I Love Tcm; Champs Elysees. 

Hi'fi mood music with a French flavor. We don^t 
quite see what one has to do with the other, but 
with this disc you get a free copy of Art Buchwald^s 
Paris, a paper'bound book (35c value) which will 
be especially funny to one who has made a trip or 
two to Paris. 

Shostakovich: Symphony No. 1 in F, Op. 10. One 
side, and Prokofiev: Scythian Suite, Op. 20. 

L'Orchestre national de la Radiodiffusion fran' 
caise conducted by Igor Markevitch. I'l 2" disc 
(*ANG-35361TP) $3.48. M2" factorysealed 
disc (*ANG-35361) $4.98. 

Stravinsky: L'Oiseau de Feu. One side, and Kodaly: 

Hary Janos Suite. Concertgebouw Orchestra of 

Amsterdam conducted by Eduard van Beinum. 

1-12" disc (*EPIC LO3290) $3.98. 

This writer is in the minority, preferring Schos" 

takovich's First Symphony to any of his others; and 

this new recording of it, under Markevitch, is a 

great one, featuring the very best of jffrr reproduc' 

tion. Prokofiev's Scythian Suite deserves a wider 

hearing than it generally gets, these days, and we 

feel that the present recording will do much to in' 

sure this. Markevitch's skillful direction and the 

agile playing of the French Radiodiffusion Or- 

chestra make this work hard to resist. The whole 
record is most welcome and is recommended with' 
out reservation. 

It -hardly seemed necessary to us to add another 
Firebird to the eleven already in the LP catalogs, 
but we must confess that this is a good one, conv 
paring favorably with Ormandy (TNR Oct. *53) 
and Dorari (TNR Aug. '52). The Hary Janos of 
Kodaly is equally well performed, not quite shading 
Ormandy (TNR Aug. '50), but worth investigation, 
certainly, for its superior reproduction. 

J. C Bach: Smfonia in B-fiat. And Mozart: Die 
ZauberHote Overture. One side, and Beethoven: 
Egmont Overture, Op. 84. And Humperdinck: 
Hansel imd Gretel Overture. And Saint-Saens: 
Le Rouet d'Omphale, Op. 31. Philharmonic'Sym' 
phony Orchestra of New York conducted by Wil' 
km Mengelberg. 1-12" disc (*O\M-CAL-347) 
More excellent performances by Mengelberg and 

the New York Philharmonic, partly hidden by the 

pre'LP reproduction, but worthwhile at the price. 

(see TNR Man *57). 

The Do-It-Yourself H. M. S. Pinafore. Philhar- 

monia Orchestra conducted by Louis Shankson. 

1-12" disc (*CONCORD 3001) $3.98, 

This disc is quite a disappointment. Ignoring the 

fact that it measures some %e <rf ai * inc h less than 

12 inches, so that it would not play on our changer, 

all of the jacket notes and the Concord catalog lead 

the prospective purchaser to believe that contained 

on this LP are all of the orchestral accompaniments 

to H. M. S. Pinafore; when, in fact, only an ex' 

cerpted Act I is here, plus three numbers of Act 


Nevertheless, if you like to sing G. 8? S. airs at 
home and would like some accompaniments to your 
doubtless very fine work, this diec should give you a 
lot of pleasure; a printed score, containing the words 
to all of the music played, is included with the disc; 
and the accompaniments are just that this disc is 
not an orchestral version of the airs; it is meant to 
be sung to. 

Dvorak; Slavonic Dances, Op. 46 and 72 (com' 
plete). Vienna State Opera Orchestra conducted 
by Mario Rossi. M2" disc (*VAN'VRS>495) 

Thtt's record is certainly an outstanding value, for 
it represents the first time that all sixteen of Dvorak's 
lovely Slavonic Dances have been squeezed on two 
LP sides. Maestro Rossi does quite well with them, 
too, with performances somewhat between Kubelik 
(TNR Mar. "56) and Ssell (TNR Feb. 1 57) -not 
quite so lush as Sz;ell, somewhat less taught than 
Kubelik. Purely on the the oasis of price ($4,98 
against $7.98 for either Kubelik or Szell), we'd 
have to give the nod to Rossi the dividends of 
the Romeo and Juliet Overture (Kubelik) or Sine' 



* indicates LP 33 1/8 rpm. 
Indioatei 40 rpm. 


ISfew Records 


tana's Quartet HO. 1 (Szeli) would not sway us. 
But on the basis of performance alone, we still pre- 
fer Kubelik. 

TBe Romantic Music of Chopin. One side, and Ros- 
jini arr . Respighi: Rossiniana. St. Louis Sym- 
phony Orchestra conducted by Vladimir Golsch- 
mann. 1-12" disc (*C-ML-5161) $3.98. 
flat, Op. 2? ("Butterfly"); Etude HO. 6 in E-flat 
minor, Op. 10; Prelude HO. 4 in E-minor, Op. 28; 
Prelude HO. 6 in B minor, Op. 28; Prelude HO. 12 
in G'sharp minor, Op. 28; Prelude HO. 21 in B'flat, 
Op. 28; Prelude HO. 13 in F-sharp f Op. 28; Etude 
HO. 2 in A minor, Op. 10; Mazur\a HO. 2 in C, 
Op. 5<5; Mazur\a HO. 3 in C, Op. 67 (all arr. 

Golschmann's arrangements of Chopin's airy piano 
pieces prove that Chopin knew a good tune when he 
had one; hearing them also convinces us that they 
were designed for the piano heavy orchestral treat- 
ment does not improve them . . . although the 
Rossiniana takes one full side of this LP, one would 
gatiher from the cover and the list of contents that 
either it wasn't even there or it was of no more 
importance than one of the Chopin pieces. Further 
(in the contents) Columbia gives credit for the 
composition to Respighi, whereas he was merely ar- 
ranging some of Rossini's pieces into an orchestral 
suite (as, to be fair, Columbia says in its notes). 
Rossini, too, was a tune-spinner of no mean talents, 
and this finely-wrought performance of 
would be our reason for buying the disc. 


Chopin: Concerto No. 2 in F minor, Op. 21. Vladi- 
mir Ashkenasjy (piano) with the Warsaw Phil- 
harmonic Orchestra conducted by Zdzislaw Gor- 
zinski. One side, and Chopin: (6) Piano Works. 
Vladimir Ashkenasy (piano). 1-12" disc (*ANG- 
35403TP) $3.48. 1-12" factory-sealed disc 
(*ANG-35403) $4.98. 

2 in F, Op. 38; Etudes HOS. 1 in C, Op. 10, HO. 1 
and 15- in F, Op. 25, HO. 2; Mazur\as HOS. 29 in 
A'flat, Op. 41, Ho. 4 and 21 in C<$harp minor, Op. 
30, Ho. 4; Scherzo HO. 4 in E, Op. 54. 
Falla: Noches en los Jardines de Hspana. Eduardo 
del Pueyo (piano) with TOrchestre des Concerts 
Lamoureux conducted by Jean Martinon. One 
side, and Falla: El Amor Brujo. Corinne Vowa 
(contralto) with TOrchestre des Concerts La- 
moureux conducted by Jean Martinon. 1-12" disc 
(*EPIC LC-3305) $3.98. 

Vladimir Ashkenasy won the 1956 Brussels In- 
ternational Piano Competition sponsored by Queen 
Elisabeth of Belgium as well as the 1955 Interna- 
tional Chopin contest in Warsaw. The present re' 

cording was made on the earlier occasion, and 
an impressive recording debut it is, especially in 
view of the fact that the performer was only 18 at 
the time. 

The soloist shows his finest promise in the deli- 
cate Lav 'ghetto of the Concerto. The solo pieces are 
all capably played, providing a good sampling of 
Chopin by a young pianist of considerable merit. 

On the Falla disc, the reading of Rights in the 
Gardens of Spain takes the top honors. The work 
is more nearly a symphonic poem than a concerto, 
the piano being featured as a prominent member 
of the ensemble rather than as a solo voice. The 
balance obtained by Epic's engineers contributes 
much to the success of the present performance. 

On tihe overside, El Amor Brujo, contralto Cor- 
inne Voa sings the vocal parts of the score. Hers 
is a forceful, occasionally un-pretty voice, but some- 
how it seems particularly fitted for the barbaric col- 
orations so necessary to this music. Jean Martinon 
conducts both works with a keen appreciation of the 
Andalusian folk elements inherent in their origins. 


Brahms: Concerto in D, Op. 77. Leonid Kogan (vio- 
lin) with the Paris Conservatory Orchestra con- 
ducted by Charles Bruck. 1-1 2" disc (*ANG- 
35412TP) $3.48. 1-12" factory-sealed disc 
(*ANG 35412) $4.98. 

Bach: Concerto in E. Leonid Kogan (violin) with 
the Philharmonia String Orchestra conducted by 
Otto Ackermann. One side, and Bach: Double 
Concerto in D minor. Leonid Kogan and Elisabeth 
Gilels (violins) with the Philharmonia String 
Orchestra conducted by Otto Ackermann. And 
Bach: Sonata No. 2 for Violin Solo Sarabande. 
Leonid Kogan (violin). 1-12" disc (*ANG- 
35343TP) $3.48. 1-12" factory-sealed disc 
(*ANG35343) $4.98. 

Vieuxtemps: Concerto No. 5 in A minor, Op. 37. 
One side, and Sarasate: Fantasy on Themes from 
Bizet's "Carmen." And Saint-Saens: Introduction 
and Rondo Capriccioso, Op. 28. Leonid Kogan 
(violin) with the State Radio* Orchestra of the 
USSR. 1-12" disc (*WEST-XWN-18228) $3.98. 
Current Market Price: #3.19. 

Violin Encores. Leonid Kogan (violin) with piano 
accompaniments. 1-12" disc (*WEST-XWN- 
18229) $3.98. 

Current Market Price: #3.19. 

CONTENTS: Sevilla, El Puerto (Albenis trans. 
Heifets); Raymonda Ballet Grand Adagio (Glas- 
ounov trans. Zimbalist); Raymonda Ballet Waltz 
(Gla2;ounov trans. Pogoshev); II Palpiti (Paganini 
arr. Kreisler); Cariccio Basque, Op. 24 (Sara- 
sate); Polonaise, Op. 21, HO. 2 (Wieniawski); 
Introduction and "Variation on a Theme by Rossini 

Leonid Kogan belongs to the bravura school of 

* Indicates LP 83 1/8 r 
Indicate! 45 rpm. 







Soviet concert soloists that we have come to know 
better in the persons of Oistrakh and Gilels. He is 
a remarkably talented violinist who has provided a 
number of impressive recorded performances. But, 
lest you suspect that the heights are about to the 
stormed, he is no Oistrakh not yet at any rate. 
The Brahms Concerto may be the best disc of the 
collection with regard to its gorgeous sound, but it 
gives us a rather passive reading of this Concerto, 
lacking in the warmth we have come to expect from 
the work. It's all there if you are looking for the 
notes, but rather unimaginatively presented or so 
we thought. A much better choice is the Bach disc, 
which contains a firmly disciplined reading of the 
B major Concerto, well supported by Ackermann. 
The Double Concerto finds Mr. Kogan sharing hon- 
ors with Elisabeth Gilels (who is Mrs. Kogan as well 
as sister to the pianist) to produce a most satisfac' 
tory reading of this familiar work. 

The Westminster records are from Soviet-made 
tapes, presumably, and are slightly less impressive, 
sonically, than the Angel releases. The programs, 
however, are much more interesting. Of particular 
worth is the Sarasate Fantasy on "Carmen," which 
skilfully combines technical wizardry with pleasing 
melody. Vieuxtemps" 1 Concerto is one of seven that 
he composed for the instrument. It consists of two 
extended movements joined by a cadenzja. Written 
by a violinist for himself as well as other performers, 
it combines virtuoso playing with a somewhat 
operatic style of melody. The "Encores'" disc con- 
tains a collection of adaptations by Heifets, Paganini, 
et al. with piano accompaniments. All are superbly 
played. N. 

Rachmaninoff: Concerto No. 1 in F-sharp minor, 

Op. 1. Sviatoslav Richter (piano) with the State 
Radio Orchestra of the USSR conducted by Kurt 
Sanderlmg. One side, and Samt-Saens: Concerto 
No. 5, Op. 103 ("Egyptian"). Sviatoslav Richter 
(piano) with the Moscow Youth Orchestra con- 
ducted by Kiril Kondrashin. 1-12" disc ^MONI- 
TOR MC-2004) $4.98. 

Rachmaninoff: Concerto No. 4 in G minor, Op. 40. 
Yakov Zak (piano) with the Moscow Youth Sym- 
phony conducted by Kiril Kondrashin. One side, 
and Rachmaninoff: Rhapsody on a Theme by 
Paganini, Op. 43. Yakov Zak (piano) with the 
State Symphony Orchestra of the USSR con- 
ducted by Kiril Kondrashin. 1-12" disc (*WEST- 
XWN-18335) $3.98. 

Current Market Price: #3.19. 

Rachmaninoff: Rhapsody on a Theme of Paganini, 
Op. 43. One side, and Franck: Symphonic Varia- 
tions. Leon Fleisher (piano) and the Cleveland 
Orchestra conducted by George Ssell. And Delius: 
Irmelin Prelude. Cleveland Orchestra conducted 
by George Szell. M2" disc (*EPIC LC-3330) 
$3.98. Current Market Price: #2.98. 

The first two discs listed above have master 

tapes which originated in Russia. The Monitor rec- 
ord is satisfactory if your phonograph and your ear 
are not too critical. Other recordings of the Rach- 
maninoff Concerto ?^o. I are not high fidelity either, 
except for De Groot (*EPIC LC-3145), although 
Rachmaninoff's own recording has interest other than 
high fidelity to recommend it. The Saint- Saens Con' 
certo T^o. 5 is represented by several recordings of 
equal or greater merit, at least in matters of repro- 
duction. Richter is a competent pianist, but we can- 
not enthuse over this disc, particularly at $4.98. 

Westminster's editing produces a record of better 
sound than the Monitor disc, but the general level 
of excellence is hampered by the original tape, which 
is not as good as our domestic recording sessions 
produce. Zak is a sensitive pianist, whose perform- 
ances of the two Rachmaninoff works we find very 
faithful to the tradition. He has a nice subtlety for 
the Rachmaninoff shadings and, of course, an ample 
technique where required. As this is but the second 
LP to be listed of the Fourth, we can recommend 
it to those who do not wish to acquire the Rach- 
maninoff album of the four concertos, with the com- 
poser playing (*V-LM-6123). 

The rising young American pianist, Leon Fleisher, 
is accorded the finest reproduction of all the discs in 
this discussion, and he also enjoys the best or- 
chestral accompaniment, for Szell and the Cleve- 
landers are deadly accurate and nicely adjusted in 
their portion of the proceedings. The reproduction 
is so good on this disc that it shows up the piano a 
bit too well this instrument has an all too prevalent 
tinny quality often heard in concert grands these 
days. However, Fleisher is thoroughly excellent in 
the Rachmaninoff and also in the Franck; and Shell's 
Delius piece is a nice filler for the second side. Epic 
has made this its classical "High Fidelity Hit of 
the Month," and it is a mighty good buy at its 
bargain price, which will obtain for this month only. 


Mozart: Concerto in A, K. 622. Bernard Walton 
(clarinet) with the Philharmonia Orchestra con- 
ducted by Herbert von Karajan. One side, and 
Mozart: Symphony No. 39 in E-flat, K. 543. 
Philharmonia Orchestra conducted by Herbert von 
Karajan. 1-12" disc (*ANG-35323TP) $3.48. 
1-12" factory-sealed disc (*ANG-35323) $4,98. 
Haydn: Concerto in E-flat. Adolph Holler (trum- 
pet) with the Vienna Philharmusica Symphony 
conducted by Hans Swarowsky. And Haydn: 
"Toy" Symphony in C. L'Orchestre Radio-Sym- 
phonique de Paris conducted by Rene LeibowiU. 
and Haydn: Italian Overture. One side, and 
Haydn: Symphony No. 100 in G ("Military"). 
Vienna Philharmusica Symphony conducted by 
Hans Swarowsky. M2" disc (*UR-UX-104) 

NOTE: For review of these discs see under OR- 



" indicates LP 33 1/3 rpm. 
indicates 45 rpm. 


The New Records 


Bach: Concerto No. 2 in E. One side, and Bee- 
thoven: Romance in G, Op. 40. And Beethoven: 
Romance in F, Op. 50. Igor Oistrakh (violin) 
with the Gewandhaus Orchestra, Leipzig, con' 
ducted by Franz Konwitschny. I'll" disc (*D' 
DL-9875) $3.98. 
NOTE: For review of this disc see under CHAM' 


Schumann: Concerto in A minor, Op. 54. One side, 
and R. Strauss: Burlesque in minor. Rudolf 
Serkin (piano) with the Philadelphia Orchestra 
conducted by Eugene Ormandy. 1*12* disc (*O 
ML-5168) $3.98. 

Current Market Price: #2.98. 
NOTE: For review of this disc see under OR' 



Bach: Sonata in C for (2) Violins and Piano. David 
and Igor Oistrakh (violins) and Vladimir Yam' 
polsky (piano). And Beethoven: Trio No. 9 in 
E-flat. Emil Gilels (piano), Leonid Kogan (violin) 
and Mstislav Rostropovich (violoncello). One 
side, and Mozart: Sonata No. 15 in B-flat, K. 454. 
David Oistrakh (violin) and Vladimir Yampolsky 
(piano). 1-12* disc (*MONITOR MO2005) 

Bach: Concerto No. 2 in E. One side, and Bee- 
thoven: Romance in G, Op. 40. And Beethoven: 
Romance in F, Op. 50. Igor Oistrakh (violin) 
with the Gewandhaus Orchestra, Leipzig, con' 
ducted by Franz Konwitschny. 1'12" disc (*D' 
DL-9875) $3.98. 

It is interesting to note that the three works pre" 
sented on this Monitor record are also offered, by 
the same artists, on Colosseum discs; it should fur' 
ther be remarked that the brilliant reproduction on 
the present LP is vastly superior to the tinny, 
archaic sounds which emanate from most Colosseum 
records. Angel offers the Mozart Sonata by Ois* 
trakh and Yampolsky (*ANG'35356, TNR Jan. 
*57), but the other two works are available in satis' 
factory reproductions only on this Monitor record. 
Since the artists featured are some of the leading ex* 
ponents of their instruments of our day, it must be 
stated that if you are inclined towards these works, 
this is the disc to get 

Oistrafch fils competes with Oistrakh pere for 
honors in the Bach Concerto (*C-ML'5087, TNR 
Sept. '56). Both are first'dass fiddlers. The day when 
Igor will shade his illustrious father may come, but 
it hasn't arrived yet. Too, David has the advantage 
of having the Philadelphia Orchestra behind him; 
local pride aside, it is a superior instrument to the 
Gewandhaus Orchestra of Leipzig. Columbia's cou* 
pling is more interesting, featuring the lovely Vivaldi 
Concerto in A minor for (2) Violins (Stern and 
D. Oistrakh) and the Bach Concerto !N[o. 1 in A 

minor (Stem). If the present Decca disc were poor, 
we should dismiss it in a sentence or two; it is not 
so, but Columbia's is still to be preferred on aH 
counts. J- 


Purcell: Ode for St. Cecilia's Day. Alfred Deller 

(counter' tenor), April Cantelo (soprano), Wilfred 

Brown (tenor), Maurice Bevan (baritone), John 

Frost (bass); Ambrosian Singers and Kalmar 

Chamber Orchestra of London conducted by 

Michael Tippett. 1*12" disc (*BG-BG-559) $4.98. 

Dunstable: (6) Motets. One side, and Okeghem: 

(5) Chansons. Pro Musica Antiqua directed by 

Safford Cape. M2" disc (*D-ARO3052) $5.98. 

CONTENTS: Sancta Maria, Ave Regina Coe- 

lorum, Sancta Dei Genitrix, juam pulchra es, Sped' 

osa facta es, rosa bella (Dunstable); Petite Camu' 

sette, Ma bouche tit et ma pensee pleure, Ma mais" 

tresse et ma plus grande amye, Fors -settlement, 

U outre d'antan (Okeghem). 

Gibbons: Anthems, Madrigals and Fantasies. The 
Deller Consort and Consort of Viols of the Schola 
Cantorum Basiliensis. M2" disc (*D-ARO3053) 

CONTENTS: O Lord, I lift my heart to Thee; 
Thus Angels sung; Fantasia I a 3; Almighty and 
Everlasting God; O my love t how comely now; Fan* 
tasia "In nomine" a 5; O Lord, increase my faith; 
This is the record of John; What is our life; Fan" 
tasia II a 3; The silver swan; Fantasia a 4; The Cries 
of London. 

This is a first recording of a major opus by Henry 
Purcell and, as such, will be welcomed by admirers 
of the English master's work. It is performed in 
sterling fashion by the several soloists (including 
the redoubtable Alfred Deller), the Ambrosian Sing' 
ers and a chamber orchestra directed by Michael 
Tippett. The music, which is very illustrative, praises 
various musical instruments; the organ ("wondrous 
machine"), the "airy violin/* the "am'rous flute 
and soft guitar*' and the "fife and all the 'harmony 
(sic!) of war." It is a very interesting disc, a worthy 
addition to any library, a must for those whose 
special field of interest lies in the 17th century. For 
those who are curious or who like to celebrate, Saint 
Cecilia is the patron saint of music and her day 
is November 22nd. 

Your correspondent freely admits to being a push' 
over for the Decca Archive Series (even the strik' 
ing silver and blue labels have a class all their own) 
and, as such, was virtually flattened by these two 
superb examples of (1) the recording art and 
(2) the completeness and intelligence of the pack' 
aging. The Dunstable and Okeghem selections, sung 
by Safford Cape's excellently trained group, is an 
outstanding presentation of the music of these two 
little known Masters. Perhaps the music is not for 
everyone, but for the cognoscenti one only need 

* indicates LF 88 1/8 rpm. 
Indicates 46 rpm. 







to say "Come and get it!" 

The Orlando Gibbons disc is more accessible. 
Gibbons was a musical giant if there ever were 
one, and this very comprehensive and representative 
selection of his music is most ably presented and is 
mightily persuasive. Included are two magnificent 
madrigals WTuit is our life ("Thus march we play 
ing to our latest rest/Only we die in ernest, that's 
no jest") and The Silver Swan ("Farewell all joys, 
O death come close mine eyes/More Geese than 
Swans now live, more fools than wise") and a few 
of the incomparable instrumental fantasias and an' 
tihems. The disc is outstandingly annotated and, 
since it is perfect in every respect, it is a bargain 
even at $5.98. W. 

St. Paul's Cathedral Choir. St. Paul's Cathedral 
Choir directed by Dr. John Dykes Bower (organ) . 
M2" disc (*ANG-35381TP) $3.48. M2" fac- 
tory-sealed disc (*ANG-35381) $4.98. 
CONTENTS: Gabriel's Message; The Infant 
King; Shepherd's Cradle Song; Ding Dong! Merrily 
on High; O Jest* most \ind (Badh); A Spotless 
Rose (Howells); Hodie Christus T^atus Est (Swee* 
linck) (Christmas Music). Hosanna to the Son of 
David (Weelkes); The Call, I Got Me Floorers, 
Easter (from (5) Mystical Songs) (Vaughan Wfl- 
liams) (Easter Music). The Silver Swan (Gibbons); 
Wee]?, O Mine Eyes; My Bonny Lass She Smileth 
(Morley) (Madrigals). Hail, Gladdening Light 
(Wood) (Anthem). 

The Netherlands Chamber Choir. Netherlands 
Chamber Choir conducted by Felix de Nobel. 1' 
12" disc (*EPICLO3263) $3.98. 
CONTENTS: (9) Dutch Fol\ Songs; (9) Va- 
lerius Songs; II Grillo (Dascanio); La Tortorella 
(Obrecht); In Festis Beatae Mariae Virginis (Du* 

Good choral records are always popular, and it 
is a pleasure to report that the two discs listed above 
are both top'flight. 

The Angel offering covers a wide variety of ma* 
terial: Easter and Christmas music, madrigals and 
an anthem. All are sung with an amazing purity of 
tone, accurate pitch and an overfall sense of fitness 
that comes from intimate acquaintance with the ma* 
terial a circumstance usually compounded of equal 
parts of enthusiasm and rehearsals. Outstanding are 
The Silver Swan and the two Vaughan Williams 
songs, although it must be noted that there is not 
a dull piece on the record. 

The Netherlands Chamber Choir sings a somewhat 
less varied program than its English confreres, but 
one that, because of its unfamiliar material, does 
not lack interest. There are nine Valerius (1575' 
1625) songs, including the famous Wilt heden nu 
treden (known in English speaking countries as the 
Prayer of Thanksgiving) and nine Dutch folk songs. 
A religious piece by Dufay and secular songs by Al' 

brecht and Dascanio complete the "concert." The 
performances are as fine as one could ask for 
precise attack, careful phrasing and more than 
average attention to the niceties of group singing. 
Both discs have good clean recorded sound. The 
factory sealed Angel package and tshe more modest 
Epic package have informative notes. W. 

Archangelsky: Divine Liturgy of St. John Chrisos- 
tom. Cathedral Choir of the Holy Virgin Pro' 
tection Cathedral, New York City, directed by 
Nicholas Afonsky. M2" disc (*WEST>XWN- 
18247) $3.98. 

Current Market Price: #3.19. 
Lest there be those who, having glanced through 
THE NEW RECORDS for September 1956, think we 
are reviewing the same record twice, we hasten to 
say that this is not so; this Divine Liturgy of St. 
John Chrisostom is the product of Alexander An" 
dreyevich Archangelsky, while that reviewed last 
September was a service consisting of parts com- 
posed by Ippolitov-Ivanov, Gretchaninov, Rimsky- 
Korsakov, Rachmaninoff and others. The service is 
the same: it is the mass, or eucharist, of the Eastern 
Orthodox Church. 

Both the music and its performance are beautiful. 
Archangelsky composed in a reverent, yet most 
lyrical manner, eleven sections for this Liturgy. 
Hear, for example, the moving Hymn of the Cheru- 
bim (the 5th section) gorgeous singing of mar' 
velous music! The singing is all in Russian, but the 
words, both in Russian and in English, accompany 
the disc, so the work is not too difficult to follow. 
Paeans must go to Nicholas Afonsky, who keeps 
tilings very much under control and has trained his 
forces to razor sharpness; an obvious love for the 
work at hand by all concerned here also adds to the 
listener's enjoyment. An unusual and most welcome 
disc, highly recommended to students of religious 
music and to lovers of fine singing by a church'S&e 
choir. J. 

Talisman: Isaiah, the Prophet. (Sung in French). 

Radio Philharmonic Orchestra and Choir con* 

ducted by Paul van Kempen. 1-12" disc (*EPIC 

LC-3298) $3.98. 

Alexandre Tansman (1897' ) is an expatriate 
Pole who has been living in Paris since the Twenties. 
He is but indifferently represented on LP discs, and 
the only work by which he is known- in this country 
is a Triptych for String Orchestra, The present 
work, composed in 1949' 50, carries the full title 
Isaie, le Prophete, Oratorio symphonique pour 
choeur mixte et orchestre. It is in seven movements, 
two of which are purely instrumental. The text is 
drawn from various parts of Isaiah, and the com' 
poser has been astonishingly successful in realizing 
the essential musicality of the words. The piece is 
scored for large orchestra and is modern without 
being excessively dissonant. 



* indicates UP 38 1/3 rpm. 
indicates 45 rpm. 




Paul van Kempen and the Radio Philharmonic 
Orchestra and Choir of Hilversum give the score 
a rousing performance one that has drive and 
sincerity. The choir sings expressively, and the or* 
chestra (a very "busy** orchestra one must add) is 
always accurate and alert. Epic's sound is all that 
could be asked for, and the text and translation is 
supplied on the jacket. 

For all its excellences, however, one doubts 
whether the disc will have a very wide appeal. This, 
then, is one for the adventurous, for the collector 
of esoterica. W. 

Folk Songs and Fairy Talc. Obernkirchen CM' 

dren's Choir directed by Edith Moller. 1*12" disc 

(*ANG-65031) $3.98. 

CONTENTS: Heut' Loc\t der Sonnenschcin; 
Freund Husch; Vespergesang; Das Echo; Medley of 
(5) German Children's Songs; Mddchen dm Brun* 
nen; Wiegenlied (Brahms); America, the Beautiful; 
The Bremen Town Musicians (musical fantasy). 
Irish Folk Songs. Little Gaelic Singers of County 

D-erry directed by James McCafferty. 1-12" disc 

(*D-DL-9876) $3.98. 

CONTENTS: Dawning of the Day; Spanish 
Lady; Sweet Babe, a Golden Cradle Holds Thee; 
J^ext Mar\et Day; My Singing Bird; Believe Me, 
If All Those Endearing Young Charms; Eileen Og; 
Let Mr. Maguire Sit Down; The Bard of Armagh; 
Eileen Aroon; Kitty of Coleraine; Wiegenlied 
(Brahms); Palatine's Daughter; Oh, Come to the 
Hedgerows; Hail, Glorious St. Patric\. 

With the tendency towards getting away from 
10'inch LP's Angel thought it had better issue a 
12'incher of the lovely singing of the Obernkirchen 
Children's Choir (see TNR Oct. '54 and Jan. '55). 
The group continues to show its marvelous train' 
ing, yet the presentations are seemingly casual and 
most disarming . . . The Little Gaelic Singers sound 
very much like the Obernkirchen Children's Choir 
(high'pitched voices, no basses), but featured on 
some of the numbers is Michael McWilliams (bari' 
tone) . We didn't care for the piano accompaniment, 
but this is a personal matter; the singing is fine, 
the numbers cute. 


Hospitality Blues. One side, and Exsanguination 
Blues. Doug Harrell (vocals), 1-7" disc ^COLO- 
NIAL CR- 501) $1.29. 

Exsanguination Blues was written in 1955 by 
Doug Harrell to be presented as one of a series of 
skits on the annual Student'Faculty Day program at 
the Medical School of the University of North Caro- 
lina; it proved to be a big hit there, and the few 
records that Harrell had pressed were bought up 
and circulated privately. Colonial Records heard of 
it, talked Harrell into writing Hospitality Blues as a 

companion piece, and has issued the present disc. 
Hospitality Blues will prove as funny to the layman 
after his stay in a hospital as Exsanguination Blues 
was to the medical students. A clever gift for your 
physician; but buy two, because if you play it before 
you give it, you'll want one, too. 

Rockin*. Frankie Laine (vocals) with Paul Westoii 

and his Orchestra. 1-12" disc (*OCL-975) $3.98. 

Current Market Price: #2.98. 

CONTENTS: By the River Ste. Marie; So Blac\ 
and Blue; That's My Desire; Blue Turning Grey 
over Tou; That Luc\y Old Sun; Baby, That Ain't 
Right; Shine; Roc\in Chair; We'll Be Together 
Again; West End Blues; Give Me a Kiss; Sunny 
Side of the Street. 

Frankie Laine has the knack of digging up an 
old tune, putting a lot of "sock" in it, and bring' 
ing it to life again. Not that oldies like Blac\ and 
Blue, Shine, Roc\in Chair and On the Sunny Side 
of the Street need much treatment to cause us to 
give a listen, but Frankie puts everything he has 
into whatever he sings; and this is plenty! Here 
is one of the best of Columbia's popular "Buys of 
the Month." 

Colorature Favorites. Rita Streich (soprano) with 

the RIAS Symphony Orchestra conducted by 

Kurt Goebel. 1-12" disc (*D-DL-9S73) $3.98. 

CONTENTS: Village Swallows (Josef Strauss); 

The Nightingale (Alabieff); La Folletta (Marchesi); 

Les Filles de Cadix (Delibes); Villanelle (Delf 

Acqua); Last Rose of Summer (Flotow); Chi sa? 

(Szernik); Druassen in Sievering (Strauss); II Bdcio 


Offenbach at His Best. Frieda Teller (soprano) 
with les Musiciens de Chaillot directed by William 
Gunther. 142" disc (*REQUEST RLP-8027) 

CONTENTS: La Belle Helene The Joys of 
Love 6? The Traps of Love; Les Bavards Let's Go 
to Spain; Vert-Vert God Be with You; Barbe* 
Bleue To Have a Chance; Le Pont des Soupirs 
On the Bridge of Sighs; Madame Archiduc Zing 
Zing Zing and a Tralala; Orphee aux Enfers Oh 
Death, I Call You; La Chanson de Fortunio A 
Bedroom Fight 6? No One but You; La Perichole 
My Love, I Am Writing to You & You Are the 
One for Me; Le Voyage dans la Lune Give Me 
the Moon; La Grande'Duchess de Gerolstein Tell 

Rita Streich proffers a concert of most popular 
coloratura arias, such as one might hear on the 
"Firestone Hour." Since the fans of this popular 
TV and Radio show must number in the millions, 
we predict a rather wide sale for this disc; it is quite 
well done . . . Mme. Teller's Offenbach disc should 
also prove popular, but not for the same reason. It 
is a pleasant package of gay material by one of the 
greatest melodists of all time, featuring the light and 

indicates JUP 33 1/3 rpm. 
Indicate* 45 rpm. 


PAGE 12 





lyrical voice of Frieda Teller. The accompaniments 
are performed by a group consisting of a harpsi' 
chord, a flute, piano and organ; odd as this may 
sound to you, we ask only that you 'hear it. A most 
unusual disc, very pleasing to the ear. 

Vocal Music of Monteverdi. New York Pro Musica 
Antiqua directed by Noah Greenberg. 1*12" disc 
(*OML-5159) $3.98. 

CONTENTS: Zefiro torna; Si ch'io vorrei morire; 
Chiome d'oro; Ohime; lo mi son giovinetta; Amor 
Lamento della ninfa; Interotte speranze; Amor che 
deggio far; Sestina Lagrime d'amante al sepolcro 

Authenticallyperformed madrigals by the musical 
giant of his day, Claudio Monteverdi. Noah Green" 
berg and the New York Pro Musica' Antiqua richly 
deserve the praise they have received since the 
group was founded in 1953; spirit and effervescence 
are very much in evidence here. 

Falla: El Amor Brujo. Corinne Vozsa (contralto) 
with TOrchestre des Concerts Lamoureux con' 
ducted by Jean Martmon. One side, and Falla: 
Nochcs en los Jardines de Espana. Eduardo del 
Pueyo (piano) with TOrchestre des Concerts 
Lamoureux conducted by Jean Martinon. 1-12" 
disc (*EPIC LO3305) $3.98. 
NOTE: For review of this disc see under CON" 


Here Comes the Showboat. Frances Wyatt (so* 
prano), Audrey Marsh, (soubrette), Mac Perrin 
(baritone), Gordon Goodman (tenor), The Quar* 
tones, The Evalines, the Merrill Stanton Choir 
and orchestra conducted by Allen Roth. 1'12" 
disc (*EPIC LN-3329) $3.98. 

Current Market Price: #2.98. 
If you liked Epic's record, Gentlemen, Be Seated! 
(TNR May '56), you'll surely be interested in this 
memento of the days when the showboat presented 
"Refined and Moral Entertainment/*" "The follow 
ing amazing and edifying offerings" are contained 
on the present disc: Here Comes the Showboat; At 
a Georgia Camp Meeting; On the Ban\s of the 
Wabash; Down by the Ohio; Where the Rhodo- 
dendrons Grow; Meet Me in St. Louis; Down by 
the O'hi'o; Roll On, Mississippi, Roll On; I'd Love 
To Live in Loveland; My Sweetheart's the Man in 
the Moon; Let the Rest of the World Go B;y; Miss 
Trombone; Dear Old Girl; Sweet Genevieve; Polly 
Wolly Doodle; Darling l^ellie Gray; He's a Cousin 
of Mine; By the Light of the Silv'ry Moon; Oh, 
Dem Golden Slippers; Beautiful Dreamer; and the 
Grand Finale (Down Among the Sheltering Palms; 
Carolina Moon; Cuddle Up a Little Closer; Bill 
Bailey, Wont You Please Come Home), 

Epic has instituted a new pricing policy on its 
"High Fidelity Hits of the Month," of which this 
is one, making them available at the special price of 

$2.98 for the month only. Judging by the sales of 
Gentlemen, Be Seated!, our advice to dealers is to 
lay in a good stock of Here Comes the Showboat. 


Verdi: II Trovatore (complete). (Sung in Italian). 
Soloists, Orchestra and Chorus of La Scala (Mi- 
lan) conducted by Herbert von Karajan 3-12" 
discs (*ANG-35422/4TP) $9.94. 3-12" discs in 
factory-sealed album (*ANG-3554-5S/L) $13.98. 

Conte di Luna .Rolando Panerai (bt) 

Leonora Maria Meneghini Callas (s) 

Azucena Fedora Barbieri (ms) 

Manrico Giuseppi di Stefano (t) 

Ferrando Nicola Zaccaria (bs) 

lues Luisa Villa (ms) 

Ruiz Renato Ercolani (t) 

During the 1920"s there arose in Germany a verita- 
ble Verdi renaissance. Nearly all of the Italian Mas- 
ter's operas were restudied and presented with detail 
and enthusiasm. Now Herbert von Karajan was, in all 
probability, too young at the time to have taken an 
active part in this now famous re*birth, but he very 
likely heard much of it as a child and as a student. 
In all events, he certainly works wonders here with 
the much abused score of II Trovatore. To be sure, 
he has expert vocal assistance that, mirabile dictu, 
goes along in musicianly fashion no holding of 
notes to show off, none of the absurdities that are 
so often the bane of Italian opera. 

Maria Callas, as the ill-fated Leonore, gives her 
best recorded performance since the marvelous Lucia 
and Puritani recordings which served to introduce 
her to the American public. Both her arias are sung 
exquisitely, and in the ensemble numbers she uses 
her magnificent voice with intelligence and telling 
effect. Guiseppe di Stefano, who seems to have no 
limitations, is a Manrico who makes sense. He per- 
forms this minor miracle by taking the role seriously, 
enunciating tihe words carefully and by using -his 
glorious voice in an expressive manner and (hey 
presto!) Manrico becomes a real, flesh and blood 
hero. Certainly the finale to Act 3 (Di quella pira} 
has never been more thrillingly sung on records than 
here. Elsewhere (notably in Ah, si ben mio and in 
the duet Ai nostri monti) his phrasing and expres- 
sion deserve the adjective "fabulous." Rolando 
Panerai also makes the melodramatic di Luna less 
unreal than many other interpreters by playing down 
the raging and cursing. Of course, lie sings II balen 
very beautifully so beautifully that one almost feels 
sorry for the vindictive Count. Fedora Barbieri also 
sings very well and turns in a first-class characterisa' 
tion; she even manages to make Azucena sound old 
which, of course, she is. The lesser roles are all 
entrusted to singers of more than ordinary merit. 
Ferrando, in the person of Nicola Zaccaria, deserves 
special mention for his work in the opening scene, 

PAGE 13 


!*e LP 33 1/8 rpm. 
" indicates 45 rpm. 


The TSiew Riovzfr 


This II Trovdtore stands virtually alone among 
tjhe complete Verdi operas recorded thus fax be* 
cause of the high musical and vocal level maintained 
by everyone soloists, chorus, orchestra and con' 
ductor. It is Verdi in excelsis. W. 

Wagner: Die Gotterdinsmmmg (complete). (Sung 

in German). Soloists, Oslo Philharmonic OrcheS' 

tra and Norwegian State Radio Orchestra and 

Chorus conducted by Oivin Fjeldstad. 6-12" discs 

in box (*L'XLLA-48) $28.88. 

Brunnhilde - Kirsten Flagstad (s) 

Gutrune Ingrid Bjoner (s) 

Waltraute 1 Eva Gustavson (ms) 

First Norn j 

Second Norn I Karn Marie Flagstad (ms) 

Wellgunde j 

Flosshilde Beate Asserson (c) 

Siegfried - -Set Svanholm (t) 

Gunther Waldemar Johnsen (bt) 

Alberich Per Gronneberg (bt) 

Hagen - - - - -Egil Nordsjo (bs) 

London Gramophone, in an ambitious and gen- 
erally artistic project, presents for the American 
music lover the first listenable complete recording of 
Die Gotterddmmerung. The performance is that of 
January 1956 as presented in a series of broadcasts 
by the Norwegian State Radio System. The fact that 
Mme. Hagstad came out of retirement to sing her 
last Brunnhilde adds interest and a tinge of melan' 
choly to the proceedings. Certain technical and ar' 
tistic lapses inherent in any "live" performance of 
an opera were corrected at a later date, and the 
entire affair, gigantic and sprawling as it is, may 
be accounted a success. 

Space will not permit a detailed account of the 
various performances. Certainly Mme. Flagstad's dra* 
matic and sincere portrayal of the hapless Briinn* 
hilde ranks with the greatest of all time and is, ad' 
mittedly, the set's chief claim to fame. Set Svan* 
holm's Siegfried is only so'so vocally, and he 
achieves most of his effects by his passion and sin' 
cerity. The others in the long cast display varying 
degrees of ability; Johnsen, Gronneberg and Nordsjo 
form a really villainous trio that is always convinc' 
ing. The set's real weakness, unfortunately, is the 
absence of a strong hand at die helm. One has the 
feeling that Oivin Fjeldstad, while certainly one of 
Norway's leading conductors, is somewhat out of 
his element and has to content himself with keep' 
ing everyone together and this, incidentally, is no 
mean feat. 

Despite the aforementioned weaknesses, this Die 
Gduerddmmerung will probably stand for some time 
as the recorded performance of the fourth opera in 
Wagner's mighty tetralogy. London has supplied an 
eminently readable libretto that also includes an 
invaluable thematic index. The recorded sound, 
while never spectacular, is surprisingly uniform and 
of good quality. W. 

Mozart Arias from Opera and Concert. Maria 

Stader (soprano) with orchestral accompaniments. 

1-12" disc (*D-DL-9872) $3.98. 

CONTENTS: Die Entfuhrung aus dem Serail 
Martern aller Arten, Welcher Kummer herrscht in 
meiner Seele; Le T^ozze de Figaro Non so piu cosa 
son, Voi che sapete; Die Zauberflote Ach ich 
fuhls; Alma grande e nobil core, K. 578; Un moto 
di gioia, K. 579; A questo seno, K. 374; Misera, 
dove son, K. 369. 
Mozart Arias. Hilde Gueden (soprano) with or^ 

chestral accompaniments. 1*12" disc (*L'LL*1508) 


CONTENTS: Don Giovanni Batti batti o be! 
Masetto, Vedrai carino; Die Zauberflote Ach ich 
fuhls; Le T^ozze di Figaro Venite inginocchiatevi, 
Deh vieni no tardar; Idomeneo Se il padre perdei; 
II Re Pastore L'amero saro constante; Exsultate, 
Jubilate, K. 165. 

Although the '''"Anno Mozartiano" is over, rec' 
ords devoted to the great man's music are still being 
issued (which is as it should be, for one can not 
have too much of Mozart) and these two recent 
arrivals although not entirely new, are welcome. 

Maria Stader, who always sings beautifully, is in 
top form here and works her way through operatic 
and concert arias with style and aplomb. The arias 
from Die Entfuhrung and Die Zauberflote are not 
new recordings, having been taken from the conv 
plete sets, but the other material is. Of most par' 
ticular interest are the "concert" arias all are 
lovely, and the difficult but exquisite Misers, dove 
son receives its best performance to date. 

All the material in the London disc has appeared 
previously either in complete opera recordings or on 
ten<-inch discs. Hilde Gueden's Zerlina, Pamina and 
Susanna are charming conceptions and vocally pleas' 
ing. The chief point of interest for this writer was 
the Motet K. 165. It was reviewed when previously 
issued on a ten inch disc (TNR June '53); but in 
its more modern transfer and dressed up in the 
RIAA curve it sounds far better than before, and 
this observation also applies to the Idomeneo and 
II Re Pastore excerpts. 

Both discs feature good recorded sound; and, for 
those who do not own the complete operas from 
which the majority of the music was taken, they 
will offer much pleasure for mind as well as ear. 



Schumann; Symphonic Etudes, Op. 13. One side, 
and Schumann: Fantasiestiicke, Op. 12. Guiomar 
Novaes (piano). M2" disc (*VX'PL-10170) 

With the possible exception of Dame Myra Hess, 
Guiomar Novaes is the greatest female pianist we 
have ever heard, either in person or on records. Her 
technique, though certainly more than adequate, 

* indicates LP 38 1/3 rpm. 
indicates 45 rpm. 


PAGE 14 




does not dawle the hearer (like, for example, Ba' 
dura'Skoda's sometimes does); she subordinates 
technical prowess to permit the piece at hand to 
shine forth In all the glory the composer intended, 
Gieseking struck us the same way, as do Brailowsky, 
Rubinstein and a few others. Mme. Novaes shows 
us that the art is greater than the artist that all 
refinements the artist can make in his technique 
should serve the composer, not show off the artist. 
Needless to say, then, that the present disc is a 
beauty. Mme. Novaes" 1 reading of the lovely Fan" 
tasiestucke is anyone's choice in adding it to his 
library; and, though up against the competition of 
Brailowsky (with somewhat outdated reproduction), 
Casadesus (same fault) and Firkusny in the Etudes 
Symphoniques, hr performance of it will still be 
first choice for many lovers of this work. Wonderful 
music most satisfyingly presented. J. 

Falla: Nochcs en los Jardines de Hspana. Eduardo 
del Pueyo (piano) with TOrchestre des Concerts 
Lamoureux conducted by Jean Martinon. One 
side, and Falla: El Amor Brujo. Corinne Vozza. 
(contralto) with TOrchestre des Concerts Lam' 
oureux conducted by Jean Martinon. 142" disc 
(*EPIC LO3305) $3.98. 

Chopin: (6) Piano Works. Vladimir Ashkenasy 
(piano). One side, and Chopin: Concerto No. 2 
in F minor, Op. 21. Vladimir Ashkenaxy (piano) 
with the Warsaw Philharmonic Orchestra con* 
ducted by Adaislaw Gorzynski. 142" disc 
(*ANG-35403TP) $3.48. 142" factory-sealed 
disc (*ANG-35403) $4.98. 
NOTE: For review of these discs see under CON' 


R. Strauss: Burlesque in D minor. One side, and 
Schumann: Concerto in A minor, Op. 54. Rudolf 
Serkin (piano) with the Philadelphia Orchestra 
conducted by Eugene Ormandy. 142" disc (*O 
ML-5168) $3.98. 

Current Market Price: #2.98. 

R. Strauss: Burleske In D minor for Piano and Or- 
chestra. One side, and Francaix: Concertino for 
Piano and Orchestra. And Honegger: Concertino 
for Piano and Orchestra. Margrit Weber (piano) 
with the Berlin Radio Symphony Orchestra con' 
ducted by Ferenc Fricasy. 142" disc (*D'DI> 
9900) $3.98. 

NOTE: For review of these discs see under OR- 

March, Battle Hymn (Gould); Jubilee, Happy Go 
Luc^y, On the Mall, Chimes of Liberty (Goldman); 
Rational Emblem (Bagley). 
Hi-Fi Band Concert Columbia Concert Band con' 

ducted by Morton Gould. 142" disc (*OCL' 

954) $3.98. 

CONTENTS: Our United States, Wings of Vic- 
tory (Ventre); Marianna, Wing'Ding, Bathsheba 
(Singer); Midnight in Paris (Conrad 6? Magidson); 
Italians in Algiers Overture (Rossini); Brigade on 
(Loewe); Hansel and Gretel O\terture (Humper' 

We guess this is Gould vs. Gould, with Gould win' 
ning all the way. The reproduction of the RCA Victor 
disc is much more suited to band music than is Colum' 
bia's; about the only way we can describe it is that 
when you hear the Victor LP, you seem to be seated 
right in front of the band, while Columbia's makes 
you think the band is still down the street. Matters of 
microphone placement and desired results are personal 
matters, and one could not say Columbia's disc is not 
hi'fi; one can only report his preference. Too, RCA 
Victor offers us more popular (and, to us, more listen' 
able) music. 


Brass and Percussion. Morton Gould and his 
phonic Band. 142" disc (*V'LM-2080) $3.98. 
CONTENTS: Stars and Stripes Forever, On Pa- 
rade, Semper Fidelis, Washington Post, The Thun* 
derer, El Capitan, Hands Across the Sea f The Gladia' 
tor"(Sousa); Parade, Fourth of July, American Youth 



Daudet: I/Arlesienne (complete with Incidental Mu' 
sic by Bizet). (In French). Mary Marquet and 
Hubert Noel with supporting cast of the Come' 
die'Francais; chorus and orchestra conducted by 
Albert Wolff. 242" discs in album (*L-XLL- 
1489/90) $9.96. 

Daudet's play has received a fair amount of atten' 
tion through the years solely because of the superb in' 
cidental music the young Bizet wrote for it. With all 
due respect, then, this is certainly a notable instance 
of the tail wagging the dog. It must also be pointed 
out (since London's advertising does not make it clear 
for those who, perchance, might confuse Cilea's opera 
UArlesiana with this recording) that this is a record' 
ing of the play it is not an opera. 

It is a performance in French by seasoned members 
of the Comedie'Francais, all of whom give convincing 
interpretations; and, since an excellent booklet giving 
both English and French is supplied, one has no difE' 
culty in following the action. In fact, this writer be' 
came very much interested not so much in the story 
(which is a tragic one) as in the sound of good French 
well spoken. 

Of Bizet's incidental music it is scarcely necessary 
to speak except to say that it gains in meaning when 
heard in its original setting, and it adds a lot to the 
presentation. Directed by the excellent Albert Wolff, 
the orchestra and chorus perform in a workmanlike 
manner. The recorded sound is very good. 

Such a set will have limited appeal; but where there 
is interest, the interest should be very great highly 
recommended in such cases. 


PAGE 15 


* indicate* LP 33 1/8 rpm. 
indicates 40 rpm. 


The New Records 



Barrel Orgaa in Hi-Fi, Street Organ ("The Arab"). 

142" disc (*EPICLN-3310) $3.98. 

CONTENTS: Va Pensiero (from "Nabucco"); 
Heut' Tsfricht wcnn die Blumen traumen; Blaze Away: 
La plus belle valse d* amour; Rose'Marie Pol\a; An- 
neliesc; The Happy Wanderer; La Ronde de V amour; 
Oh Bdby Mine; Mister Sandman; March of the 
Herald; Theme from Limelight; Vaya con Dios; Mit 
Musi\ durch's Leben. 
The Automobile. Sounds of automobiles from 1906 

to 1956. 142" disc (*UNI-UDS'l) $5.95. 

'The Arab" is one of the most celebrated sights of 
the Netherlands and one of the great street organs of 
the world. How our youngsters loved its cheerful, 
sweet sounds when we played this disc for them! 
Their rapt attention proved that you never have to 
have seen one of these things to love the music ema" 
nating from one. Brilliant, wide'range reproduction. 

We don't know why anyone would wish a record- 
ing of sounds of a 1906 Cadillac, a Stanley Steamer, a 
1911 Simplex, and several other old cars, plus sounds 
of a modern sports car race (1956) with sounds of 
Jags, MG's, Porsches, etc. But we're not taking any 
chances. We didn't know why anyone would wish a 
copy of Kail Dynamics (*SOT 1070, $3.98) and 
didn't even bother to announce its release in these 
pages; needless to say, it is still a consistent seller. 
Peter Bartok has faithfully recorded these car sounds 
for Unicorn, and even helps to describe which sound 
belongs to which car; if you think this would be 
nostalgic or something, here it is. 

Panorama of Musique Concrete. 1*12" disc (*DT- 

DTL-93090) $3.98. 

CONTENTS: Trifle in C (Henry and Schaeffer); 
(3) Instrumental Studies (Henry and Schaeffer); 
Music without a Title 5th 6? 6th movements 
(Henry); Study for Whirligigs (Schaeffer); Veil of 
Orpheus (Henry); Three Directions (Schaeffer); 
Musical Box (Arthuys). 

In spite of the great hulaballoo with which Ducre' 
tet'Thomson introduced this record, there is really 
very little that is startlingly new here. Musique 
Concrete is evidently music made on real instru" 
ments or toys, placed on tape, then played back 
through the phonogene, which reproduces the tapes 
at varying speeds controlled by the operator. By 
changing the speeds, judicious editing, reversing 
the tapes, etc., one can alter the original sound so 
that it is completely unrecognizable; Columbia did 
something like this on its disc, Strange to Tour 
Bars (*OML'4938, TNR Mar, *55), although no 
effort was made on that record to compose music. 


Introduction to Opera: a guidebook sponsored 
by The Metropolitan Opera Guild, Edited 
by Mary Ellis Pelts, xiii + 332 pp. Paper 
bound. Barnes 6? Noble, Inc. (New York). 
Price $1.65. 

Record Ratings: The Music Library Associa- 
tion's Index of Record Reviews. Compiled 
by Kurtz; Myers; edited by Richard S. 
Hill, viii + 440 pp. Crown Publishers 
(New York). Price $5.95. 

The Fabulous Phonograph, By Roland Gelatt 
320 pp. Illustrated. J. B. Lippincott Com- 
pany (Philadelphia and New York). 
Price $4.95. 

The Guide to Long'Playing Records (Orc'hesr 
tral Music). By Irving Kolodin. xii + 
268 + vii pp. Alfred A. Knopf (New 
York). $3,50. 

The Guide to Long'Playing Records (Chamber 
&? Solo Instrument Music) . By Harold C. 
Schonberg. xi + 280 -f vi pp. Alfred A. 
Knopf (New York). $3. 50. 

The Guide to Long-Playing Records (Vocal 
Music). By Philip L. Miller, xvi + 381 
+ xxii pp. Alfred A. Knopf (New York) . 

The World's Encyclopaedia of Recorded Music 
(Including 1st Supplement). By Francis 
F. Clough and G. J. Cuming. 890 pp. 
Sidgwick and Jackson, Ltd. (London). 
Price $17.50. 

The World's Encyclopaedia of Recorded Music 
(2nd Supplement) , By Francis F. Clough 
and G. J, Cuming, xxii -f- 262 pp. Sidg' 
wick and Jackson, Ltd. (London). Price 
NOTE: All the above books have been reviewed 

in previous issues of The ^ew Records. If your local 

dealer does not stock them, orders addressed to H. 

Royer Smith Co., Philadelphia 7, Pa., will be 

promptly filled. The prices quoted include postage 

to any point within U.S.A. 

The first letters In the reeord number Indieate the manufacturer: ANG Ariel, BG Bach Guild. C Columbia, CE Cetra, CH Concert Hall 
Society, CL Capitol, CLAS Classle Editions, CSM Colosseum, D Decca, DT Dueretet-Thompson, ESO Esoteric. FOLK Ethnic Felkwayt 
Library, GIOA Gregorian Institute of America, HMV His Master's Voice (Eitfland). HS-Haydn Society. L London Gramophone, LYR- 
Lyrlchord, ME Mercury, OC Oceanic, OL L'Olsoau Lyre, PE Period, PHM Phllharmonla. PLM Polymuslc, REN Renalssanee, SOT 
Sounds i S Our Time*. $TR-8tradlvarl. T-Telefunkeo. UNI-Unleom, UR- Urania, V Victor, VAN Vanfuard, VX-Vo*. and WEST- 


* indicate* LP S3 1/3 rpm. 
indicates 45 rpm. 


PAGE 16 

Tke New Records 


Itmed Monthly by , 


"The World' t Record Shop 


VOL 25, NO. 3 

MAY, 1957 

By ma if to any address 
$t per year 

AT LONG LAST a satisfactory inexpensive 
JLJL course has been introduced to teadh 
American English to foreign-speaking students. 
The Linguaphone Institute has had such a 
course for many years (see TNR July '53); it 
is still the best course available, and has been 
prepared for students who speak most Euro- 
pean languages, even including Hungarian. It 
sells for $57.50. and it is to be recommended 
above all others at any price. 

However, for those not wishing to make such 
an investment, the new Living Language Amer- 
ican English course for Spanish', German", or 
Italian-speaking students has just been released. 
Arranged very much like its previous courses 
in French, Spanish, Italian and German for 
English-speaking students (see TNR Jan. '57 
and Mar. 1 56), the Living Language course 
starts off with words, graduating to simple 
phrases and finally to sentences and related 
sentences. Only English is spoken on the rec- 
ords; accompanying each set (4-10" LP rec- 
ords) are two textbooks: a reading or lesson 
text, and a vocabulary; the books will, of 
course, vary, depending on the native tongue 
of the student (Spanish, German or Italian), 
The four records and two books are packed 
in a compact box; at its modest price of $9.95, 
it should afford the student a fine introduction 
to American English and give him an excellent 
basic vocabulary on which to build. 

If your local dealer cannot supply you, or- 
ders addressed to the publisher of THE NEW 
RECORDS will be promptly filled. In ordering, 
please specify the native tongue of the student 
(Spanish, German or Italian). The price 
($9.95) includes postage to any point in 
U. S. A. (Please add 1% Sales Tax for de- 
livery within Pennsylvania) . 

We fully realise that only a very few of 
our readers are women who would like to im- 
prove their figures, and so we cannot afford 
to give much space to this new set of discs for 
that purpose, which recently came to the stu- 
dio. The course consists of four KHnch LP 
records and an illustrated manual of some 
ninety-five pages, attractively boxed. It is 
called "Reduce in Record Time with Music." 
The price (postpaid within USA) is $9.95. 

This course was designed and the manual 
written by Evelyn Loewendahl, M.A, N.R., 
Ph.T., Associate Professor of Rehabilitation at 
U.C.L.A. We do not pretend to be an author- 
ity on this subject, but from the text and the 
general appearance of this item, it would seem 
to us that this is a worthwhile course de<" 
veloped by one with expert knowledge and 
vast experience in this field. Miss Loewendahl 
promises that if you will take these exercises 
regularly, following the instructions and the 
tempi indicated on the records, and give heed 
to the suggestions in the manual as to diet, you 
just cannot help reducing your weight and 
greatly improving your figure. She feels that 
exercise and diet go hand and hand. Diet takes 
off excess tissue and reduces the over-all 
poundage, and exercise contours the form and 
gives you the desired measurements in spe- 
cific areas. 

If your local dealer does not carry "Reduce 
in Record Time," orders sent to the publisher 
of this bulletin will be promptly filled. Price 
$9.95 (postpaid within US A). 
* * * 

LAST CALL! Our stock of Schwamfs 1957 
Special Artist Listing LP Catalog is running 
very low, and, as there will be but one print- 



^Rf cords 


ing of this publication which only appears 
about once every three years, those persons 
wishing a copy should send in their orders 
without delay. The price is 35c per copy (post- 
paid) . 


The Current Market Price of records is the 
retail price that is charged by most leading 
dealers, including the publisher of this bul- 
letin. When the major companies reduced 
their list prices for LP records, some of the 
smaller publishers reduced only their whole- 
sale prices and did not change their list prices 
(see TNR Mar. "55); thus the Current Mar- 
ket Price came into being. 

Also, from time to time, in order to stimu- 
late business, some companies have drastically 
reduced prices for limited periods. In order 
that our readers may know the Current Mar- 
ket Price, we are indicating in this and future 
issues the prices that are presently in effect; 
and, although we cannot guarantee these 
prices, they should prevail during the current 

NOTE: The Current Market Prices of all 
Mercury 12-indhLP's (10000-, 25000-, 30000-, 
40000-, 50000-, 80000-, and 90000-series) is 
#3.19; album sets are 20% less than published 
list prices. 

EXCEPTIONS: Mercury has lowered the 
Current Market Price of 30 of its LFs to 
#2.98 until 30 June 1957. The classical discs 
included are: Scheherazade Dorati (*ME' 
MG-50009) ; Pines of Rome & Fountains of 
Rome Dorati (*ME-MG-50011); Bolero & 
Rhapsodic Espagnole Paray (*ME-MG' 
50020) ; La Fiesta Mexicana Fennell (*ME- 
MG-50084); British Band Classics Fennell 

NOTE: The Current Market Prices of 
Westminster Records are as follows: WN/ 
SWN/XWN'18000 series, 0.19; W-LAB- 
7000 series, #5.95; WL-5000 series (discon- 
tinued), #239; WP-60QO series, #3.19; album 
sets, 20^6 less than published list prices. 


We are continually receiving requests for 
back copies of THE NEW RECORDS, Most of 

the issues published during the last twenty- 
five years are available. The price is lOc 
each. A file of all available issues (at least 
160 copies) is $5. These prices are postpaid 
within U.S.A. 

NOTE: Those persons interested in recent 
recordings only may secure all of the issues of 
the last three years beginning May 1954 
(36 copies) at the special price of $2 (post- 
paid within U.S.A.). 


Following our practice, we are listing below the 
latest batch of "Sampler" LP releases which have 
recently been made available. Since readers of THE 
NEW RECORDS are already familiar with such discs 
and aware that "Sampler" releases are always limited 
editions, those interested should make their selec- 
tions without delay. 

Hi-Fi Hi- Jinks with Strauss. Vienna State Opera 
orchestra conducted by Anton Paulik. 1'12" disc 
(*VAN-SRV*104) $1,98, 
CONTENTS: Tales from the Vienna Woods; 

Roses from the South; Village Swallows; Feuerfest 

Pol\a; Eljan d Magyar PoJfct; Persian March; Radet* 

z^y March; Ritter Pazmann Czardas. 

Unicom Sampler. 13 excerpts from Unicorn LPV 

M2" disc (*UNRJNSR-2) $1.98. 

CONTENTS: Concerto in A 1st Movement 
(Vivaldi); Missa "Vent Sfconsa CTiristt" (Pales* 
trina); Messiah I Know That My Redeemer Liveth 
(Handel); Incidental Music to "The Tempest" 
Scherzo (Sullivan); Minuet (Schubert); Ho die 
Christus natus est (Sweelinck); Divertimento for 
Strings 1st Movement (Bartok); The Unanswered 
Question (Ives); Symphony HO. 1 in E'flat, Op. 1 
2nd Movement (Stravinsky); Suite (1940) (Thomp* 
son); Suite in the Spanish Style (Roland'Manuel) ; 
Hymn and Fuguing Tune Ho, 5" (Co well). 

Shostakovich: (3) Ballet Suites. State Radio Or' 
chestra of the USSR. M2" disc (*CLAS-3012) 

TJfoe Word in Review, 16 Excerpts from Word LPs, 

featuring soloists, choruses, organ and orchestra. 

M2" disc (*WORD WLPD-1) $1.98. 

CONTENTS: Battle Hymn of the Republic; 

Seven Last Words Father, forgive them; Blessed 

Is the Man; Our Pother; Crucifixion For God so 

loved the world; Messiah. Hallelujah Chorus 

(choral). Bless This House; Seek Te the Lord; It 

Too\ a Miracle; Roll, Jordan, Roll; He Bought My 

Soul at Calvary (solo vocals). My Faith Loo\s Up 

to Thee; Beyond the Sunset; Jesus, Savior, Pilot Me 

(organ), f Love To Tell the Story (orch.). Jesus, 

the Very Thought of Thee (vocal trio). 

* Indicates LP 38 1/8 rpm. 
indicates 45 rpm. 




New Records 



Hovbaness: St. Vartan Symphony, Op. 80. MGM 

Chamber Orchestra conducted by Carlos Surinach. 
M2" disc (*MGM-E-3453) $3.98. 
Hovhaness* Saint Vartan Symphony could turn 
out to be one of the great works of our time. Its 
appeal is mixed, but one thing that might help it on 
the road to success is the hi'fi. erase. The word 
"symphony" is used for lack of a better term, for 
the work is in 24 sections grouped into five larger 
segments. Paramount in Hovhaness' mind is form, 
and everything is neatly built in cycles, canons, 
rhythmic patterns and other assorted devices. How' 
ever, there is an underlying unity, even a basic 
thought (almost a program), and a forward progres- 
sion in this music that is quite remarkable in its 
ability to carry the listener through the maze. There 
are passages that appear to be cerebral exercises in 
musical composition surrounded by sections that rival 
RimskyKorsakov's Russian Easter Overture for re' 
ligious fervor dipped in a romantic mold. There is 
a section of devilishly tricky percussion rhythms 
next to the lushest of string writing. 

The striking cover design shows a warrior'saint's 
head in mosaic, and there is no wording on the 
cover. This cover is descriptive of the symphony, 
for it is a mosaic of music, which makes a good 
composite picture. Carlos Surinadh and the excellent 
MGM Chamber Orchestra, with three outstanding 
instrumental soloists, offer a performance of superla' 
tive accuracy and fine finish. The reproduction is 
microscopic in detail and has a bit of resonance, so 
often lacking in MGM recordings, making this an 
ideal disc. 

A word to prospective buyers (and possibly to 
MGM*s manufacturing staff): The labels on our 
disc were reversed but so are the stamper numbers! 
Nobody seems to know side one from side two. The 
explicit program notes state side one begins with a 
trombone melody and side two begins with a com' 
bination of alto saxophone, timpani, and vibraphone, 
starting with a sax solo. So be guided accordingly 
when you play this record. E. E, SHUPP, JR. 

Bartok: Music for Strings, Percussion and Celesta. 
One side, and Stravinsky: Song of the Nightin- 
gale. Concertgebouw Orchestra of Amsterdam 
conducted by Eduard van Beinum. 142" disc 
(*EPIC LC-3274) $3.98. 

Stravinsky: Pulcinella Suite. One side, and Bizet: 
Symphony No. I in C. Bamberg Symphony Or' 
chestra conducted by Fritz Lehmann. 1-12" disc 
(*D'DL-9901) $3.98. 

Bartok's Music for Strings, Percussion and Celesta 
makes an ideal pairing for Stravinsky's Song of the 
Nightingale. Paradoxically, it is the Stravinsky work 
(1919), rather than the Bartok (1935), that sounds 
most "modern." Van Beinum gives a splendid 
reading of both, and the intriguing sound colora' 

tions and delicate percussive effects of the Bartok 
score are caught with amazing clarity. Stravinsky's 
work exemplifies the most daring period of his 
writing. It is heard here in the "Symphonic Poem" 
versions drawn from the ballet score by the composer. 

The Bizet'Stravinsky pairing may seem a strange 
one, but a careful analysis of both pieces will vin* 
dicate the decision. Both are compositions influenced 
by and cast in the mold of eighteenth century 
musical writing. Stravinsky's debt is to the Italian, 
Pergolesi; Bizet's to the German, Haydn. The Pul- 
cinella is scored for a small orchestra of eleven dif- 
ferent instruments. Employing the techniques of 
counterpoint to 'harmonies and sonorities that were 
original, Stravinsky established here the basis of his 
"neo'classicaP approach to composition. 

Sometimes we forget just how fine the Bizet synv 
phony really is. Though it is a work of a seventeen* 
year-old, having been composed in 1855, Bizet's tal' 
ent for orchestration especially the lucid scoring 
for woodwinds is already evident in this work. 
While his later efforts were directed elsewhere, 
Bizet would deserve fame on the merits of this 
symphony alone. Lehmann's direction of both works 
is most satisfactory, and Decca's sound is excellent. 


Faure orch. Rabaud: Dolly, Op. 56. And Faure: 
Masques et Bergamasques, Op. 112. And Faure: 
Pelleas et Melisande, Op. 80. L'Orchestre du 

Theatre national de FOpera'Comique (Paris) con' 
ducted by Georges Tzipine. 142" disc (*ANG' 
35311TP) $3.48. M2" factory-sealed disc 
(*ANG-35311) $4.98. 

Verdi arr. Mackerras: The Lady and the Fool. Phil- 
harmonia Orchestra conducted by Charles Macker' 
ras. 1-12" disc (*V-LM-2039) $3.98. 
Rossini arr. Respighi: La Boutique Fantasque. One 
side, and Piston: The Incredible Flutist. And 
Ibert: Divertissement. Boston Pops Orchestra con' 
ducted by Georges Tzipine. 142" disc (*ANG' 
2084) $3.98. 

Faure composed Dolly as a short suite for piano 
four'hands; the present version is an orchestration 
by Henri Rabaud. Childhood seemed to be a favorite 
theme of the late romantics and early moderns, and 
the present work can take its rightful place among 
comparable compositions by Schumann, Debussy, and 
others. The Pelleas et M&isande can be had in sev* 
era! other versions, but this is the only release to 
combine it with other works by the same composer. 
Tzipine has just the proper touch of elegance to 
make these pieces glow; try this for dinner music 
that's just a little different. 

A recording of The Lady and the Fool appeared 
recently on a London 10" LP (TNR Feb. '57). The 
present disc may be regarded as a virtually complete 
performance, while the earlier disc was considerably 
abridged. Mackerras is every bit as successful witih 
his adaptation of Verdi as with his collection of 



indicates LP 88 1/8 rpm. 
indicates 45 rpm. 




tunes by Sir Arthur Sullivan, Pineapple Poll. Victor 
furnishes a complete resume of the ballet, together 
*with references to the obscure operas from which 
the melodies are taken* It all combines to give some 
extremely wonderful listening, touched here and 
there with a "Where'have'I'heard'that?" familiarity 
that is the mark of the early works of Verdi. 

Fiedler and his Boston "Pops" are in fine form 
for the Rossini'Respighi suite. Likewise, The In' 
credible flutist is a speciality of the house, as it 
was this conductor and orchestra that pTeiniered the 
work. We still prefer the impish reading of the Ibert 
that is given by Slatkin on Capitol (*CL-P'8270). 
This is one of the funniest pieces of absolute music 
ever written. Victor's sound is superb in all the 
works. N - 

Haydn: Symphony No. 33 in . One side, and 
Haydn: Symphony No. 46 in B. Philharmonia 
Orchestra of Hamburg conducted by Arthur Win' 
ograd. 1-12" disc (*MGM'E-3436) $3.98. 

Haydn: Symphony No. 99 in E-flat, One side, and 
Haydn: Symphony No. 102 in B-flat. Vienna 
State Opera Orchestra conducted by Mogens 
Woldike. 1-12" disc (*VAN'VRS-491) $4.98. 

Haydn: Symphony No. 100 in G ("Military"), One 
side, and Haydn: Symphony No. 101 in D 
("dock"). Vienna State Opera Orchestra con' 
ducted by Mogens Woldike. M2" disc (*VAN' 
VRS-492) $4.98. 

Haydn: Symphony No. 103 in E-flat ("Drum 
Roir). One side, and Haydn: Symphony No. 104 
in D ("London"). Vienna State Opera Orchestra 
conducted by Mogens Woldike. 142" disc 
(*VAN-VRS-493) $4.98. 

Haydn: Symphony No. 101 in D ("Clock"). One 
side, and Haydn: Symphony No. 104 in D ("Lon* 
don"). Pro Musica Symphony (Vienna) con- 
ducted by Jascha Horenstein. 1-12" disc (*VX' 
PL-9330) $4.98. 

The surprise for us in this batch of Haydn IP's 
Was the first disc. We have heard some wretched 
performances by the Hamburg Philharmonia; but this 
one, featuring a pair of Haydn Symphonies con* 
ducted by Arthur Winograd, was, by turns, charm' 
ing, graceful, spirited everything one could ask for 
. . . The brilliant Mogens Woldike has only to be 
associated with a work to assure its perfection, and 
he does not let us down here. In the slow move' 
ments, such as the opening bars of the "Clock" 
Symphony, the strings are razor sharp not slurred 
nor fuzzy as one sometimes hears. His second move' 
ment of the "Military" may be taken a bit faster 
than some like, but placed in conjunction with the 
other movements, it seems just right. All three of 
these Vanguard discs are superb . . , Horenstein is 
a brilliant conductor, but his orchestra is not up to 
snuff (or else the recording engineer was less than 
perfect); note, again, the opening bars of the 

"Clock,** and compare with Woldike's. Good, but 
not good enough. 

Sibelius: Symphony No. 1 in E minor. Op. 39. 

Philharmonia Orchestra conducted by Paul Kletski. 
1-12" disc (*ANG'35313TP) $3.48. M2" fac- 
tory-sealed disc (*ANG-35313) $4.98. 
We are apt to forget the true stature of Jan 
Sibelius until there comes along such a performance 
of the First Symphony as the present Kletzki'Phil' 
harmonia disc. Composed during 1898 and 1899, 
the symphony retains influences of the post-Roman* 
tics Strauss, Tchaikovsky, Borodin but suggestions 
of the later Sibelius style are already in evidence: 
a fondness for pedal'points; themes that start with 
an attacked note; slow trills or turns; unexpected 
triplet figures. Kletzki has emphasized the colorful 
aspects of the work, and for us at least the result 
is thoroughly ingratiating. As usual, Angel's sound 
is beyond cavil all the way. Unreservedly recom' 

Piston: Symphony No. 6. One side, and Martinu: 

Symphony No* 6 ("Fantasies Symphoniques**). 

Boston Symphony Orchestra conducted by Charles 

Munch. 1-12" disc (*V-LM-2083) $3.98. 
Stravinsky: Le Sacre du Printemps. Paris Conserva' 

tory Orchestra conducted by Pierre Monteux. 1' 

12" disc (*V-LM-2085) $3.98. 

Fifteen new works were commissioned for the 75th 
anniversary season of the Boston Symphony Or' 
chestra; the present disc contains two of them. The 
Piston Symphony NO. 6 is a masterpiece in the 
contemporary art of symphonic writing. It is concise, 
nicely varied and well constructed. We would hope 
this work has a future and a long and active life in 
the repertoire of our orchestras. Not many American 
symphonies make such a strong impression, even 
on first hearing. It is virtuoso music written for a 
virtuoso orchestra, and the headings of each move' 
ment give a clue to the type of music: (1) Fluendo 
espessivo, (2) Leggerissimo vivace, (3) Adagio 
sereno, (4) Allegro en-ergico. 

Martinu's Symphony Ti,o. 6 is titled "Fantasies 
Symphoniques," the "Symphony No. 6" being a 
sub-title which indeed it must be, for this is hardly 
a symphony, but three fantasies. This music was 
written for a specific virtuoso orchestra, and sounds 
it more than the Piston work. It is somewhat diffuse- 
and lacking in point, although it is so wonderfully 
orchestrated and skillful in every way that it takes 
on quite a stature. The thematic material is un' 
usually good. Both of these men have been feted 
time and again by the Boston Orchestra, and they 
obviously did their utmost to write a masterpiece for 
the occasion. Both succeeded notably, and the or' 
chestra here offers performances nothing short of 
magnificent. The reproduction is something special 
too, making it a fine disc of contemporary music. 
RCA Victor should try this more often. 

* indicates LP 38 1/3 rpra. 
Indicate 45 rpau 




The New 


This is the third LP of Sacre conducted by Mon^ 
teux to be listed in the current LP catalogs. It is a 
Monteux specialty, and there is no doubt about it, 
he has a wonderful way with the music. The 
present reading is a model performance and a fine 
reproduction, which makes it about the best avail" 
able version. The Paris Conservatory Orchestra plays 
with unusual inspiration and splendid finish. We 
doubt whether anyone will top this version. 


Vaughan Williams: Symphony No. 4 in F minor. 

Philharmonic-Symphony Orchestra of New York 

conducted by Dimitri Mitropoulos. 1*12" disc (*O 

ML-5158) $3.98. 

The appearance of Vaughan Williams' Fourth 
Symphony by Mitropoulos marks the first instance 
of duplicate performances of that composer's sym* 
phonies in satisfactory hi-fi recordings. Boult's re* 
cordings for London of all the first seven symphonies 
still remains a formidable landmark; and for many, 
the definitive word on this giant of British music. 
Mitropoulos' reading, however, is a powerfully vital 
one, and the work emerges as a formidable statement 
by one of the great symphonic writers of our time. 

The work, while in four movements, is built on 
two central musical ideas: one essentially melodic, 
developing at times contrapuntally; the other ver* 
tical, a "shaft of sound." A characteristic of many 
of Vaughan Williams* works is the gradual extended 
crescendo or diminuendo, and examples of both are 
evident throughout the symphony. 

The recording is presumably very recent, and it is 
a pleasure to hear the New York Philharmonic and 
Maestro Mitropoulos give such an energetic per' 
formance of a work deserving of such effort. N. 

Prokofiev: Symphony No. 7, Op. 131* One and one' 
half sides, and Prokofiev: Symphony No. 1 in D, 
Op. 25 ("Classical"). Philharmonia Orchestra 
conducted by Nicolai Malko. 1-12" disc (*V-LM- 
2092) $3.98. 

Readers are referred to THE NEW RECORDS of 
July '53, in which "S" went into great detail in 
describing Prokofiev's Seventh, when Ormandy and 
the Philadelphia Orchestra, who premiered the work 
in America, issued their recording of it (*C'ML' 
4683). We will not repeat this description now, ex' 
cept to say that the symphony is a thoroughly en- 
foyable piece of music which will delight on first 
hearing and will grow more pleasurable on repeated 

The expert Philharmonia Orchestra, under Nicolai 
Malko, gives a spirited reading of this work; the 
performance is not as lush as Ormandy 's, being more 
taut. A careful comparison will indicate slight dif' 
ferences in interpretation, but one could not state 
a valid preference between the two performances; 
it will be a personal choice, even including the re' 

production angle, for both are excellent in this 

A choice might be based upon couplings: 
Ormandy's record of the Seventh has Prokofiev's 
Lt. Kije, by Kurtz, on the reverse, which is prefer' 
able to us to adding another recording of the ever' 
present "Classical" Symphony to our library. But, 
again, this is a matter of personal taste. Probably, 
in the final analysis, the nod for the Seventh should 
go to Ormandy because of his close connection with 
the work; but whichever version you choose, you will 
not go wrong. Your only possible error would be in 
not adding Prokofiev's Seventh Symphony to your 
collection. J- 

Beethoven: Symphony No. 7 in A, Op. 92. Phil" 
harmonic'Symphony Orchestra of New York con' 
ducted by Arturo Toscanini. 1'12" disc (*CAM' 
CAL-352) $1,98. 

This is the first Camden disc we have come 
across with program notes, and we must observe that 
those on the jacket of the present record (by Irving 
Kolodin) are wonderful. They give the date of this 
recording (1936); Kolodin's opinion of the recording 
in 1946 ("instant vitality," "brilliant energy," "intox' 
ication of the finale," "irreplaceable individuality") 
and the fact that he sees no reason to change any 
of his opinions now; and Kolodin's congratulations 
to RCA Victor upon making this brilliant reading 
available today at one'fifth of the price of the (78 
rpm) original. 

Although the reproduction of this record is any 
thing but good by today's standards, the old'timers 
are advised that they will hear more and better 
sounds by playing this Camden LP on their present 
high fidelity phonograph than they would have 
heard by playing the original DM'317 on the very 
best equipment they could have owned in 1936. Too, 
one is reminded that this reproduction was made 
before tape was known, and that this is, indeed, a 
full performance not recorded snivets spliced to' 
gether by an engineer to make a more>perfect'than' 
life performance. Truly a great accomplishment, this, 
and a real bargain to boot! 

R. Strauss: Don Juan, Op. 20. And R. Strauss: Der 
Rosenkavalier Waltzes. One side, and R. Strauss: 
Till Eulenspiegels lustige Streichc, Op. 28. And 
R. Strauss: Feucrsnot Love Scene. Philadelphia 
Orchestra conducted by Eugene Ormahdy. 1'12" 
disc (*C'ML-5177) $3.98. 

Current Market Price: #2,98. 
With the exception of the Love Scene from JPeuer' 
snot, all of the music contained on this disc is 
thrice'familiar and it is given "the treatment" by 
Ormandy and the Philadelphians. The Feuersnot 
excerpt "develops into a furiously passionate out' 
pouring of longing, of desire, of love, of frustration 
and then of triumph" (Charles O'Connell); it is 
typically Straussian modern, harmonious and me' 
lodic. It fits very well with the other, better known 



* indicates LP 33 1/3 rpm. 
Indicates 45 rpm. 




pieces, and this disc can be warmly recommended as 
being fine orchestral music played to perfection and 
reproduced as excellently as possible. It is Colum* 
bia's classical "Buy of the Month" for May. 

Strauss Sparkles in Hi-Fi. Vienna Philharmusica 

Symphony conducted by Hans Hagen. M2" disc 

(*UR-UR'8009) $3.98. 

CONTENTS: Champagner, Bei uns z'Hause, 
Ele\trophor, Aegyptischer Marsch, O schoener Mai, 
Piccolo March, Cotillion, Waldmeister Overture, 
Freut euch des Lebens, Leichtes Blut, Kuss, Tik^Ta\ t 
Langunen, Intermezzo, Wo die Zitronen blueh'n. 

It is a lot of fun to watch a symphony orchestra 
play a Strauss polka, waltz or march. The sprightly 
rhythm keeps everybody moving, especially the per' 
cussion section watching the triangle, cymbals, tym' 
pani and all the rest come in at just the right time 
has, for us, the same fascination that watching a 
steam shovel has for the "sidewalk superintendents." 
However, next to watching the orchestra, the next 
best thing is hearing a hi*fi reproduction of the 
same; and hi-fi is what this Urania disc certainly is! 
Fifteen items not heard so often will prove lots of 
fun to anyone owning this LP. 

Music of Leroy Anderson. Eastman'Rochester Pops 

Orchestra conducted by Frederick Fennell. M2" 

disc (*ME-MG'50130) $3.98. 

Current Market Price: #3.19. 

CONTENTS: Irish Suite; Sleigh Ride; Forgotten 
Dreams; Serenata; A Trumpeter's Lullaby; The 
PcnnyWhistle Song; Sandpaper Ballet; Bugler's 

Seems as though the public just can't get enough 
of Leroy Anderson's music these days, and every 
couple of months new samplings of his lilting and 
captivating tunes appear. Latest on the list is this 
very excellent LP issued by Mercury, featuring su* 
perb reproduction. This should be an excellent seller. 


Mozart: Concerto in A, K. 662. Benny Goodman 
(clarinet) with the Boston Symphony Orchestra 
conducted by Charles Munch. One side, and 
Mozart: Quintet in A for Clarinet and Strings, 
K. 581. Benny Goodman (clarinet) with the Bos* 
ton Symphony Quartet: Richard Burgin and Al' 
fred Krips (violins), Joseph de Pasquale (viola) 
and Samuel Mayes (violoncello). 1'12" disc (*V* 
LM-2073) $3.98. 

At the height of his fame as a dance-band favor' 
ite, Benny Goodman stood the musical world on its 
ear in 1938 with his recording of the Mozart ^uin* 
tct in A with the Budapest Quartet. Immediately there 
were two dissenting factions: those who condemned 
the clarinetist for using his jazz reputation for per' 
sonal gain in the classical field; others hailed him as 
a first'dass classical artist. The true picture is, just 

as it was in 1938, somewhere between the two. As 
with any performer on a standard instrument, Good' 
man studied the limited literature for solo clarinet: 
Mozart, Brahms, Weber, etc. It is small wonder, 
then, that he should show competency in these 
pieces which, though requiring considerable finesse, 
are not virtuoso works, demanding in the extreme. 
However, competency is the word. There is still 
a great gulf fixed between the world of Jazz and the 
world of Mozart, and it is ridiculous to expect one 
artist to have complete mastery and feeling for both. 
Mr. Goodman plays these works very carefully; 
phrasing and expression are faultless, the tone is 
pleasing (he uses less vibrato than Reginald Kell), 
the accompanying forces are of the highest order, 
and the sound is one of the best clarinet reproduc' 
tions we have yet heard. The pairing of Mozart's 
only two clarinet works is logical, yet most labels 
have avoided it. This should please all but the most 
scrupulous classicist, and will be a must for those 
who collect clarinet recordings. N. 

Liszt: Concerto No. 1 in E-flat. One side, and Liszt: 
Concetto No. 2 in A. Andor Foldes (piano) with 
the Berlin Philharmonic Orchestra conducted by 
Leopold Ludwig. M2" disc (*D-DL-9888) $3.98. 

Liszt: Concerto No. 1 in E-flat. One side, and Grieg: 
Concerto in A minor, Op. 16. Richard Farrell 
(piano) with the Halle Orchestra conducted by 
George Weldon. M2" disc (*ME<MG-50126) 

Current Market Price: #3.19. 

Liszt: Concerto No, 1 in E-flat. One side, and Cho- 
pin: Concerto No. 2 in F minor. Leonard Pennario 
(piano) with the Concert Arts Orchestra con- 
ducted by Vladimir Golschmann. 1*12" disc 
(*CL'P-8366) $3.98. 

Almost every pianist has had a chance at the Liszt 
E-flat Concerto, and the addition of three more 
choices does little to make the selection of a best 
version a clear-cut matter. None of the performances 
to be considered here is a serious threat to the re^ 
cent Rubinstein release on RCA Victor. 

Foldes on the Decca disc has several advantages 
to our mind: ihe is almost surely the best pianist; he 
has been recorded clearly and with admirable bal' 
ance; the pairing of the two Liszt concertos is by 
far the most sensible. The overside A major Con* 
certo (actually the first Liszt worked on, but fin' 
ished second) is more in the form of a symphonic 

Mercury's version features a performer new to us, 
Richard Farrell. New Zealand born, just 30 years 
old, Mr. Farrell possesses considerable talent. The 
Grieg reading is competent, but somehow fails to 
develop fully the lyric tenderness that its Addgio 
requires. Mercury's customarily crisp sound is in 
evidence, particularly on tJhe Liszt side. 

Leonard Pennario has made some fine records 
for Capitol, but the present disc isn't one of them. 

* Indicates LP 33 1/3 rpm. 
indicates 45 rpm. 




The New Records 


His presentation of the Liszt concerto seems less 
vital than Fan-ell's reading, less sure than the 
Fold-es version. The Chopin performance never con' 
jures up the pianistic magic necessary to rise above 
the rather wooden accompaniment that the work 
provides. N. 

Mozart: Concerto No. 20 in D minor, K. 466. One 
side, and Mozart: Concerto No. 23 in A, K. 488. 

Paul Badura'Skoda (piano) with the Vienna State 
Opera Orchestra conducted by Milan Horvat. 
M2" disc (*WEST'XWN-18225) $3.98. 

Current Market Price: #3.19. 

Mozart: Concerto No. 5 in A, K. 219 ("Turkish"). 
One side, and Bach: Concerto in A minor. Nathan 
Milstein (violin) with the Festival Orchestra con' 
ducted by Harry Blech. M2" disc (*CL-P-8362) 

Paul Badura-Skoda's readings of two of the most 
popular Mosart piano concertos should have appeal 
to many listeners. Compared with the other avail' 
able versions, only Gieseking and Haskil provide 
serious competition, and only Haskirs Epic disc offers 
the same pairing. The orchestral backing of the 
Vienna State Opera Orchestra helps to maintain 
this pianist's reputation for good Mozart perform' 

Nathan Milstein's offering of the "Turkish" Con' 
certo brings the number of available versions to an 
even dozen this for a relatively obscure Mozart 
violin concerto! The Bach A minor Concerto like' 
wise enters a crowded field crowded mostly by 
Oistrakh's peerless performance with Ormandy. How 
ever, both works are accomplished at the customary 
standard we have come to expect of this artist. The 
rather uneven support he receives from the or' 
chestra on this disc compares disappointingly with 
his previous alliances with Steinberg and the Pitts' 
burgh Orchestra. Capitol's sound is excellent as 
usual. N. 


Stravinsky: Lfiistoire du Soldat. (with dialogue in 

English). Robert Helpmann (Devil), Terence 

Longdon (soldier), and Anthony Nicholls (nar' 

rator) with chamber orchestra conducted by John 

Pritchard. M2" disc (*V-LM-2079) $3.98. 

Stravinsky's bitter but altogether genuine L'Hi> 

toire du Solddt receives its best recording to date in 

this performance by the same forces as played it at 

the 1954 Edinburgh International Festival. It is, at 

least to the best of this writer's knowledge, the first 

complete English version of the work and the very 

clever rhyming by Michael Flanders and Kitty Black 

contributes a great deal to its success. Helpmann, 

Longdon and Nicholls read their lines with expres' 

sion and typically British clarity. John Pritchard and 

his instrumentalists do yeoman work, and the whole 

affair must be accounted a rousing success. RCA 

Victor's crystal clear recorded sound also adds to 
the excitement. A must for all Stravinskians and 
lovers of 20th century music. W. 

Benjamin: Sonatina for Violin and Piano. Freder* 
ick Grinke (violin) and Arthur Benjamin (pi' 
ano). One side, and Vaughan Williams: Sonata in 
A minor for Violin and Piano. Frederick Grinke 
(violin) and Michael Mulliner (piano). 1-12" 
disc (*L-LL-1382) $3.98, 

Cowell: Set of Five. Anahid Ajemian (violin), Maro 
Ajemian (piano) and Elden Bailey (percussion). 
One side, and Ives: Sonata No. 4 for Violin and 
Piano. And Movhaness: Khirgiz Suite. Anahid 
Ajemian (violin) and Maro Ajemian (piano). 1' 
12" disc (*MGM-E-3454) $3.98. 
Kirchner: Trio for Violin, Violoncello and Piano. 
Nathan Rubin (violin), George Neikrug (violon' 
cello) and Leon Kirchner (piano). One side, and 
Kirchner: Sonata Concertante for Violin and Pi- 
ano. Eudice Shapiro (violin) and Leon Kirchner 
(piano). 1-12" disc (*EPIC LO3306) $3.98. 
Lees: Quartet No. 1. One side, and Denny: Quartet 
No. 2. Juilliard String Quartet. M2" disc (*EPIC 
LO3325) $3.98. 

We found the Benjamin Sonatina thoroughly 
enjoyable and appealing. It has a lyrical appeal that, 
while quite un^British, makes it most engaging 
throughout . . . Vaughan Williams wrote this, his 
first sonata for violin and piano, in his eightythird 
year, admittedly a late date for essaying a new form. 
The composer's lack of interest in chamber music 
has been attributed to his comparative lack of af' 
fection for the piano. It would appear that the pres' 
ent work still retains hints of the former attitude, 
for while the writing is unquestionably competent, 
the result is somewhat disappointing. 

Co welF s Set of Five struck us first as a gigantic 
practical joke (at least we're honest!), but on re' 
peated hearings, a definite change of opinion came 
about. Each of the five movements features a unique 
percussive effect: tuned gongs upside'down on a 
blanket; a xylophone; five small Indian tom-toms; 
and glockenspiel. The Finale employs several of the 
above as well as requiring the pianist to play "tone' 
clusters'" and also to stand and play harmonic 
glissandi on the open strings while using the sus' 
taining pedal! Altogether it is a completely fascinat' 
ing work, well worth concentrated study. The Ives 
Sonata is titled "Children's Day at the Camp Meet' 
ing." Compared with Ives' other works, it is rela' 
tively uncomplicated; suggestions of familiar Sunday 
School tunes abound. The Hovahness Kirgiz Suite 
is yet another instance of this composer's unique 
talent for the fusion of Western and Asiatic musical 

The two Epic discs are products of the work of 
the Fromm Music Foundation, founded in 1952 in 
Chicago and dedicated to publishing and recording 
works of American composers. These records are 



* Indicates LP 83 1/8 rpm. 
Indicates 45 rpm. 





among the first of a projected "Twentieth Century 
Composers Series.** Leon Kirchner is assuredly one 
of the strongest forces in American Composition 
today. IThie works heard on the disc devoted to his 
music are unbelievably complex, harsh and brutal 
to the untrained ear, unrewarding in the extreme to 
any except the listener 'willing to exert strenuous 
study. Yet despite all the difficulty, even the casual 
hearer can recognise the elements of sincere musical 
expression. Tihe Quartets by Lees and Denny are 
much of the same cut, though in our opinion of 
lesser stature. The Lees quartet is intensely sub' 
jective; the one by Denny, more formal and ap' 
proachable. All the performances on these discs are 
of the highest order. Kirchner is pianist for his own 
compositions, and the Juilliard Quartet has long 
since gained fame, as an exponent of faithful rep' 
resentations of contemporary music. N. 


Binchois (?): Mass for Tenor, Baritone and Bass. 
One side, and (6) Secular Pieces. Bernard de 
Pauw (tenor) with choristers and musicians of 
the Chapelle de Bourgogne conducted by Ber- 
nardin van Eeckhout. M2" disc (*OL'50104) 

tinella (Isaac); Quand me souvient (Crequillon); 
En regardant (Turnhout); (4) pieces for instrti' 
ments (Anon.); Ma Mahresse (Ocfceghem); O 
$chones Weib (Finck). 

Martin: Mesae du Sucre dea Roys de France, One 
side, and Lotti: Grucifixus. Jean Giraudeau 
(tenor); Maric'Claire Alain and Marie- Louis Gi' 
rod (organs); Les Chanteurs de St.-Eustache con' 
ducted by R. P. Emile Martin. M2" disc (*CON' 
CORD-4001) $4.98. 

Gregorian Chant ("Orationes solemnes et adoratio 

cracis in feria vi in parasceve"). Choir of the 

Monks of the Benedictine Abbey of St. Martin, 

Beuron, directed by Dr. Maurus Pfaff, O. S. B. 

M2" disc (*D'ARO3050) $5.98. 

This new Oiseau^Lyre disc featuring a first re' 

cording of a mass attributed to Giles Binchois (c. 

14004460) would be, if it were not for a me* 

chanical fault (a decided 60 cycle hum on side two) 

a real treasure. T|he early 15th century music, with 

its intense personal feeling coupled with a certain 

detachment or other worldliness always exerts a 

special fascination for this listener* The second side 

is devoted to secular music by a variety of 15th and 

16th century Burgundian composers, Crequillon, 

Turnhout and others. These, too, are authentically 

performed by the newly (1950) organised Chapelle 

de Bourgogne. Good sound except for the fault noted 


R. P. Emile Martin's Mass is a contemporary 
work that was attributed by its author to an obscure 

1 7th century composer, one Moulinie, The decep* 
tion (mystification, the French call it) was discov* 
ered and no one was injured. It is a powerful, tune- 
ful, work and it receives an effective performance 
under the composer's direction. The Lotti (1667' 
1740) Qrudfixus is also new to records and to this 
writer. Lotti was a Venetian of but ordinary talent, 
if this work is at all representative of his output. 
Good sound and copious if somewhat non*informa' 
tive notes. 

Gregorian chant is apt to be an acquired taste, and 
the best way of acquiring it is to hear this authentic 
performance of Solemn Intercessions and Veneration 
of the Cross from the Liturgy of Good Friday. 
Deutsche Grammophon, with its usual thoroughness 
and sure musical taste, has prepared a recorded 
performance that will stand as a model for such 
music. Highly recommended for students and aH 
music lovers who take their hobby seriously, W. 

Mozart: Requiem Mass in D minor, K. 626*. Elsie 
Morison (soprano), Monica Sinclair (contralto), 
Alexander Young (tenor), Marian Nowakowski 
(bass), BBC Chorus and the Royal Philharmonic 
Orchestra conducted by Sir Thomas Beecham. 
M2" disc (*OML-5160) $3.98. 
We listened to this stunning recording of Mo" 
zjart's Requiem under the knowing baton of Sir 
Thomas Beecham as we read "WV review of the 
Bruno Walter recording (*C-ML-5012, TNR Dec. 
'56). With so gratifying a recording as Herr Wai' 
ter's already in Columbia's catalog, it is surely gild- 
ing the lily for Columbia to come forward so soon 
with this gem. Yet here it is, 

It is really a battle between tht best America has 
to offer (Walter, et al.) and the best from England. 
The always reliable Elsie Morison and Monica Sin* 
clair are already well-known to American dis* 
cophiles. Alexander Young and Marian Nowakowski 
(that's a funny spelling for a man's name it's usu- 
ally Marion) acquit themselves creditably, though 
Simoneau and Warfield have a slight edge in this 
department. The BBC Chorus does not have quite 
the attack of the Westminster choir, though the 
differences are slight and one could be accused of 
splitting hairs here. The New York Philharmonic' 
Symphony and the Royal Philharmonic are both top- 
flight orchestras, there being little possible choice 
between Che two. 

It is also well known that both Sir Thomas and 
Bruno Walter are prime favorites of this corner, 
and to express a choice between these two giants is, 
for us, like deciding which hand to cut off. Both 
recordings are thrilling, satisfying, properly reverent; 
both conductors weld the Requiem into a unity not 
heretofore found by this writer no mean feat, con' 
sidering tihe hybrid (Mozart and Sussmayr) nature 
of the Mass. And, as if that were not enough, both 
feature Columbia's very best reproduction. Can you 
compare the adjective "perfect"? J. 

* Indicates LP 38 1/8 rpm. 
Indicates 45 rpm, 




The New 


Bach: St. Matthew Passion (complete), (Sung in 
German). Agnes Giebel (soprano). Lore Fischer 
(contralto), Helmut Kretschmar (tenor), Horst 
Gunter (bass); Kantorei der Dreikonigskirche, 
Frankfurt, and the Collegium Musicum Orchestra 
conducted by Kurt Thomas. 4-12" discs in box 
(*OL'50in/6) $19.92. 

Bach's monumental Matthau$'Passion receives a 
so'so performance on this, its fifth current LP re' 
cording. It is rather difficult to 'ascertain what the 
fault is; mainly, however, it boils down to a lack 
of enthusiasm, and such matters are usually in the 
conductor's province. If he can not inspire his 
forces, all is lost; and, in the last analysis, that 
is the difficulty here. The towering choruses hear 
the Haydn Society recording of them by Mogens 
Woldike (TNR Aug. *53) to realise what can be 
done are sung mechanically. The soloists are ade' 
quate, but certainly in no way exceptional. Kurt 
Thomas holds his forces together, but ventures little 
or nothing else. 

Despite advances in recording techniques, the 
considerably earlier Westminster recording (TNR 
Nov. *53) directed by Herman Scherchen is greatly 
to be preferred. In fact, some of the advances 
are not in evidence here, for the sound is variable 
in quality and at times takes on a distressingly 
4l> wooly" character that is as unpleasant as it is 

As a final demerit, there is no libretto supplied 
and, at a price of $19.92, this is hardly excusable. 


Calypso Holiday. Norman Luboff Choir directed by 

Norman Luboff. 1-12" disc (*OCL'1000) $3.98. 

Current Market Price: #2.98. 

CONTENTS: Calypso Carnival; The Proposal; 
Balance; Water; Yellow Bird; Dance de Limbo; 
Sound de Fire Alarm; Bamboo'Tamboo; Pig KnucV 
les and Rice; Li\e My Heart; Fisherman's Song; 
Dansez Calenda. 

With the recent revival of Calypso music, the 
present LP should find a ready market awaiting it. 
It features the versatile Norman Luboff Choir, which 
has built up quite a following through its previous 
Columbia records. Of course, this is not true Calypso 
(a la Lord Invador, Duke of Iron, et al.); neverthe' 
less, only the aficionado will care, such is the present 
popularity of the idiom. The program offers a nice 
change of pace which will please anyone interested; 
it is the Columbia popular "Buy of the Month" for 



Great Operatic Artists at Their Best. M2" disc 
(*CAM'CA]>346) $1.98. 

CONTENTS: Aid* O patria mia (Hampton); 
ih, fors'e e lui & Sempre libera (Bori); 

Faust Salut, demeure (Crooks); Don drlos O 
Carlo, ascolta (de Luca); Heriodiade II est doux, 
il est bon (Jeritza); Die Zauberflote Der Holle 
Rache (Korjus); Carmen Habanera (Swarthout); 
Otello Credo dlago (Thomas) ; Carmen Toreador 
Song (Tibbett). 

This disc features very uneven reproduction, rang' 
ing from fair to poor, but that will not dismay the 
collector of recordings of great vocal' artists, for to 
him reproduction is secondary to obtaining "the 
voice." 1 * An old recording of an instrumentalist (a 
pianist, for example) may be sought after by a 
relatively small number of his die-hard fans; and 
even they will admit that a more up'tO'date record' 
ing would probably be more satisfying for the 
music, itself. To an operatic collector, however, 
no two singers sound alike, and the vocalist, by 
his records, leaves his personal imprint on the 
sands of time. 

If any of these singers interest you (and certainly 
some will interest most any operatic collector), you 
will truly find them "at their best" on this inex' 
pensive little Camden disc. 

Verdi: Aida (complete). (Sung in Italian). Soloists, 
Chorus directed by Robert Shaw and NBC Sym' 
phony Orchestra conducted by Arturo Toscanini. 
342" discs in album (*V-LM-6132) $11.98. 

Aida Herva Nelli (s) 

Amneris Eva Gustavson (ins) 

Rhadames Richard Tucker (t) 

Amonasro Giuseppe Valdengo (bt) 

Ramfis Norman Scott (bs) 

King of Egypt Dennis Harbour (bs) 

RCA Victor's release of this present recording of 
Verdfs Aida as conducted by Arturo Toscanini 
(broadcasts of March 26th and April 2nd 1949) 
can be justified, if one feels that such justification 
is needed, on the grounds that it is a Toscanini per' 
formance. It was instructive for this writer to read 
the glowing praises of Toscanini 1 s prowess written 
by Messers. Marek and Simon in the accompanying 
notes. They laud his ability to realize the passion, 
fire and drama; describe his trials and how he 
worked with the singers, orchestra, chorus; and so 
on fo-ut your correspondent only found the per* 
formance surprisingly tame. 

Now the "tameness" could arise from an extra' 
musical source; the eight year old tapes made in the 
notorious studio 8'H might be at fault; for phono* 
graphic opera, in these days of amazjing realism, 
must have exciting sound, and this one doesn't. Just 
to make sure, your correspondent played Victor's 
other Aida issued in November 1955, and there is, 
to coin a phrase, no comparison. Certainly one 
would not compare Jonel Perlea with Arturo Tos' 
canini, but Perlea's Aida has more excitement, more 
drama than this present one by far. 

It could be singers none of the group used in the 
1949 broadcast sings with any real conviction; Gui* 



* Indicates LP 33 1/3 rpra. 
Indicates 45 rpm. 


R cords 


seppe Valdengo is the best, with Herva NelH run- 
ning second. Tucker is, well, Tucker: a fine tenor 
voice. Norman Scott and Eva Gustafson are undis* 
tinguished as Rams and Amneris. 

The foregoing, one suspects, will turn out to be 
a minority report but what will you? It is a lot more 
fun to write praises and indulge in superlatives than 
to suggest that the man whom many consider to be 
the greatest conductor of this age conducted a 
poor performance of an opera that is supposed to be 
his specialty that a relatively unknown conductor 
such as Jonel Perlea far surpasses him. One can 
only place the "blame" on the singers and poor 
recording in the Toscanini set. 

This recording then, is primarily of historical im* 
portance or sentimental value. For a real blood" 
and'thunder performance and recording of Verdi's 
immortal work, it is still RCA Victor, but it is the 
Milanov, Bjorling, Barbieri, Christoff, Perlea re* 
cording, *V'LM-6122. W, 

Verdi: Un Ballo in Maschera (complete). (Sung in 
Italian). Soloists, Chorus and Orchestra of La 
Scala (Milan) conducted by Antonino Votto. 
342" discs (*ANG-35452/4TP) $10.44, 3-12" 
discs in factory-sealed album (*ANG-3557C/L) 

Riccardo ............... Giuseppe di Stefano (t) 

Renato ....................... Tito Gobbi (bt) 

Amelia ............. Maria Meneghini Callas (s) 

Ulrica .................... Fedora Barbieri (ms) 

Oscar ....................... Eugenia Ratti (s) 

Silvano .................... Ezio Giordano (bt) 

Samuel ................... Silvio Maionica (bs) 

Tom ..................... Nicola Zaccaria (bs) 

T i "i 

Renato Ercolani 

Coming from a hearing of the Toscanini recording 
of Atda to this la Scala production of Un BdHo in 
Moschera was extremely instructive. Toscanini also 
has a recorded Un Ballo in Mdschera, in the Victor 
catalog, that is a honey (TNR Apr. '55), while his 
Aida left a lot to be desired insofar as one listener 
was concerned. Here, as in the Aida set, Toscaninf s 
competition has far superior singers, but as a per' 
formance it does not even come close. This is the 
sort of thing that either drives a reviewer crazy or 
makes him look crazy it's like trying to pick win' 
ners on the basis of past performance. 

Well Angel has given Antonino Votto as fine a 
quartet of singing actors as can be found in the 
world today di Stefano, Callas, Barbieri and Gobbi 
and, as one might expect, they all sing with real 
feeling and genuine emotion. As the loving, gener' 
ous and forgiving Riccardo, Giuseppe di Stefano 
sings with all his wonted fervor and imagination 
and is in good voice. He makes the cardboard hero 
of the work three-dimensional by virtue of his su* 
perior art. Here is another full length recorded 
musical portrait (it is his tenth complete recorded 

opea, incidentally) and one that ranks with the 
best. Maria Callas, as the distraught Amelia, gives a 
fine performance, one to match her previous Le* 
onore (II Trovatore). Tito Gobbi is a convincing 
Renato. His voice, one of the few real baritones 
in opera today and therefore unique, never sounded 
better. Fedora Barbieri is a menacing, and therefore 
successful, Ulrica. Eugenia Ratti is a delightful Os- 
car and sings the evergreen Sdjper vorrestc in en* 
chanting fashion. 

Yet for all its vocal excellences, as hinted earlier, 
this set runs a poor second to the Victor Toscanini 
recording. It has none of the biasing sincerity and 
drive the older man was able to realize. Whatever 
success this Angel performance has, and it does have 
some thrilling moments, are achieved in spite of Mo. 
Votto, not because of him. Good sound, although in 
a few of the loud choral passages the sound breaks 
up due to technical mismanagement the records 
are over-cut. The usual good libretto and intelligent 
notes are supplied with the factory-sealed package. 


Gludk: Orpheus and Eurydice (complete). (Sung in 
in French). Soloists, Roger Blanchard Ensemble 
and Orchestra des Concerts Lamoureux conducted 
by Hans Rosbaud. 2-12" discs in box (*EPIC 
SO6019) $9,96, 

Orpheus Leopold Simoneau (t) 

Eurydice .Suzanne Banco (s) 

God of Love , Pierette Alarie (s) 

In 1774, the Chevalier Ghristoph Willibald von 
Gluck presented Orphte et Eurydice at the Academic 
royale de Musique in Paris. It was, of course, a re* 
working of his Orfeo that was first given at Vienna, 
in Italian, in 1762. In the intervening twelve years 
Gluck had learned a great deal, and this later version 
of the tragic story of Orpheus is a dramatic and 
musical improvement over the earlier production. 

Epic Records has made a sincere and highly sue* 
cessful effort to present Gluck^s opera as it was given 
in 1774, complete with tenor in the role of Orpheus 
instead of a contralto as is usually done today. The 
record'buying public is fortunate that the choice fell 
on the youthful Leopold Simoneau, who is by all 
odds the finest French tenor singing today. He 
brings to the music and to the role of Orpheus a 
magnificent voice and a musical intelligence of a 
high order. His expressive singing and sense of 
values are something all too seldom encountered. 
Almost the same words could be used to describe 
Suzanne Danco's contribution stylish to her finger* 
tips, Mile. Banco is a perfect Eurydice. Pierette 
Alarie (Mme. Simoneau in private life) provides a 
suitable foil for the two lovers, and her clear, light 
soprano is a natural one for the music assigned to 
L" Amour. Hans Rosbaud directs chorus and or* 
chestra in knowing fashion, always in good taste, 
unhurried but never dragging. 

Epic has furnished, in addition to excellent re* 

* Indicates LP 88 1/3 rpm. 
indicate 45 rpm. 


PAGE 10 





cording, a libretto and copious notes that prove to 
be a liberal education in themselves. W, 

Charpentier: Louise (complete). (Sung in French). 

Soloists, Chorus and Orchestra of the Paris Opera* 

Comique conducted by Jean Fournet. 3' 12" discs 

in album (*EPIC SC-6018) $14.94. 

Louise Berthe Monmart (s) 

Julien Andre Laroze (t) 

La Mere Solange Michel (ms) 

Le Pere Louis Musy (bs) 

Charpentier's sole operatic success, Louise, re' 
ceives its first LP recording (the earlier Columbia 
was a dubbing) at the hands of Jean Fournet and 
a cast that numbers twenty eight. The work, ex' 
tremely popular in France where it has received its 
1,000th performance at the Opera'Comique, has 
never been out of the repertoire of that institution. 
It has not, however, enjoyed such popularity else' 
where. Its essentially commonplace story (about a 
sort of early 20th century Parisian teen-ager) and 
music, while contributing immensely to its success in 
some quarters, has also mitigated against it in others. 

The present performance must be considered au- 
thentic, and it actually does reek with atmosphere 
so much so that the piece becomes very persuasive. 
In the title role, Mile. Monmart, a singer new to 
this writer, is excellent as the impetuous, willful and 
delinquent daughter. As Julien, M. Larose displays 
as fine a tenor as one has heard in a long time. He 
turns in an impressive performance. Solange Michel, 
a sometime phonographic Carmen, proves a waspish 
but effective mother. Most surprising was the work 
of the veteran Louis Musy, who delineates the 
role of the father in a masterly fashion. Time has 
delt gently with his voice (he has been singing for 
at least thirty years) and his characterisation is good 

Epic (probably for reasons of economy) ihas sup* 
plied a trilingual libretto and notes [it is amusing 
to see Louise referred to as (1) a Roman musical, 
(2) a Musical Romance and (3) Musik'Roman] 
that are very complete and informative. The recorded 
sound is of the finest; for those who have been wait' 
ing for a good modern recording of Louise here 
it is. W. 

Glinka: A Life for the Tsar (complete). (Sung in 
Russian). Soloists, chorus and orchestra of the 
National Opera (Belgrade) conducted by Oscar 
Danon. 4-12" discs in box (*L-XLLA-43) $19.92. 

Ivan Susanin Miro Changalovich (bs) 

Antonida Maria Glavachevich (s) 

Vanya Militsa Miladinovich (c) 

Bogdan Sobinin Drago Starts (t) 

Russian Soldier Ivan Murgashki (bs) 

Polish Messenger Bogolub Grubach (t) 

Sigismund III Vladeta Dimitrievich (bs) 

A Life for the Tsar, or Ivan Susanin as it is now 
called in USSR and satellite countries (for Tsar's 

are very much in disrepute), achieves its second 
LP performance with this London issue; and it is, 
actually, the first to do the really tremendous work 
any sort of justice. An earlier recording on Van' 
guard (TNR July '53) was poor, both technically 
and artistically. 

One does not have to wait very long, however, to 
realise that something exceptional and very exciting is 
happening here. The overture is a magnificent piece of 
music; then, after some opening passages for chorus, 
Antonida comes on stage and signs a fiendishly diffi' 
cult rondo aria in a clear, high soprano that is both ac" 
curate and beautiful. She is followed by Susanin him" 
self (Miro Changalovich) who displays a fine bass. 
Then, after sundry choral episodes, comes Bogdan 
Sobinin, the second hero, as it were, who proves to be 
a really fine tenor, one Drago Starts. He kept remind" 
ing this writer of Guiseppe di Stef ano, not so much by 
his vocal quality as by che intelligence of his approach 
to the music and by his altogether admirable ex' 
pression and clear diction. 

Obviously space will not permit a recounting of 
all the opera's delights. It must suffice to say that 
they are many too many, in fact to be assimilated 
in one hearing. Ivan Susanin is a work to be heard 
and savored many times; London's fine sound, Oscar 
Dane's spirited direction plus a libretto that gives 
original Russian, phonetic Russian and English en' 
ables the listener to understand what is going on. 
The set is recommended to the jaded opera lover 
and to all who have more than average musical 
curiosity. W. 

Operatic Recital Victoria de los Angeles (soprano) 
with the Orchestra of the Rome Opera House 
conducted by Guiseppe Morelli. 142" disc (*V' 
LM-1920) $3.98. 

CONTENTS: Ernani Sorta e la notte (recit.) 
. . . Ernani! Ernani, involami (aria); Otello Era 
piu calmo (recit.) . . . Piangea cantando (aria); 
Otello Ave Maria; Eoheme Si, mi chiamano Mimi 
& Addio di Mimi; Mefistofele L'altra notte in fondo 
al mare; Cenerentola Nacqui all' affanno e al pianto; 
Cavalleria Rusticana Voi lo sapete; La Wally Eb' 
ben? ne andro lontana. 

Operatic Recital. Inge Borkh (soprano) with the 
Vienna Philharmonic Orchestra conducted by Jo' 
sef Krips. M2" disc (*L-LL-1536) $3.98. 

CONTENTS: Salome Ah! du wolltest inich . . . 
(closing scene); Oberon Osean! du ungeheuer!; 
Ah, perfido, Op. 65 (Beethoven). 

This writer is hard put to remember a disc that 
offered so much for such a modest price as this 
collection of operatic arias by the incomparable 
Victoria de los Angeles. Nearly all the music is 
thrice familiar; yet Miss de los Angeles manages to 
impart something new, something different, never 
being arbitrary, never wilful nor does she indulge 
in any musical sabotage she achieves her effects by 
a combination of brains and vocal endowment that 



indicates LP 33 1/3 rpm. 
Indicate* 45 rpm. 






arc, to say the least, unique. She makes Elvira's 
curiously unurgent plea for elopement sound so 
magnificent that one overlooks its inordinate length, 
while her Desdemona makes all the others seem pale 
by comparison. Her Mimi is very well known, but 
what a L'altra none she sings! And, to top off every 
thing, she outdoes the legendary Supervia in the 
finale to Cenerentola. Her breath-taking version of 
this sparkling music differs somewhat from others 
this writer has heard, and the whole effect is one 
tihat may be best described as magical sheer wiz" 
ardry. Mascagnfs Voi lo sapete provides a little 
breathing space (for the listener, at least), and the 
disc ends with a stirring performance of the moving 
and persuasive Ebbene? 7s(e andro lontana from "La 
WaUy." Certainly this is a record that deserves the 
appellation of "Golden Age/* for precious few old 
timers and even fewer present day singers could 
even equal this sort of singing, let alone surpass it. 
This disc, then, belongs in every, but EVERY, col' 
lection, even if it is the only vocal record there. The 
recorded sound is very fine. 

Inge Borkh, aided and abetted by Josef Krips, 
turns in distinguished performances of some standard 
works. Her justly admired Salome is again rep re' 
sented on discs, and the closing scene here recorded 
differs very little from the earlier one with Reiner 
and the Chicagoans (TNR Nov. '56) on Victor. The 
Obcron and the Beethoven scena rank with the finest 
on records, Good sound. W. 


ICrieger: (12) Neu Arien. Margot Guilleaume (so- 
prano), Hans'Peter Egel (alto), Johannes Feyera- 
bend (tenor), Fritz Harlan (baritone); Kara* 
mermusikkreis S check directed by Fritz Neumeyer 
(harpsichord). 142" disc (*D'ARO3055) $5.98. 
Bach: Ich will den Kreuzstab gcrne tragen, BWV. 
56. One side, and Bach: Idi habe genug, BWV. 
82. Dietrich Fischer-Dieskau (baritone) with Ber- 
liner Motettenchor and Kammerorchester con- 
ducted by Karl Ristenpart. 1-12" disc (*D-ARO 
3058) $5.98. (TNR June '52). 
Rathgeber/Seyfert: (11) Lieder from "Ohrcn-vcr- 
gniigendea und Gemuth-ergotzendes Tafelconfect." 
Margot Guilleaume (soprano), Lotte Wolf-Mat- 
thaus (contralto), Bernhard Michaelis (tenor), 
Horst Gunter (baritone), Hans-Olaf Hudemanrt 
(bass); with string trio directed by Willy Spilling 
(harpsichord). 1-12" disc (*D-ARO3060) $5.98. 
Adam Krieger (1634-1666) was a "most excellent 
poet and widely known musicus" according to a con* 
temporary estimate, and was one whose ". . . airs, 
which are full of color, gaiety and youthful fresh- 
ness, will grant immortality to th distinguished mu- 
sician." One cannot but agree with these contem- 
porary opinions, for Krieger, like his famous suc- 
cessor, Schubert, was able to weld text and music 

into perfect unity. "His melodies," writes the author 
of the excellent jacket notes, "suit not only the 
metrum and the build of the verse, but at the same 
time the individual character of the text/' These 12 
lieder from T^eue Arien represent Krieger in his most 
vital and psychologically penetrative aspects. They 
are superbly sung by a group of soloists of whom 
only Margot Guillaume was known to this writer. 
The accompaniments (viols, harpsichord, etc.) are 
wonderful, as is the crystal clear recording. An 
outstanding disc on all counts. 

The two Baoh Cantatas, featuring Dietrich Fischer* 
Dieskau, are refurbished and highly successful re' 
issues of a Decca record reviewed in the June 1952 
issue of THE NEW RECORDS. This present format is 
decidedly superior to the earlier release, and the 
sound has been enhanced by better engineering. The 
performances are authentic and sincere. 

Pater Valantin Rathgerber (1682-1750) and Jor 
hann Caspar Seyfert (1697-1767) are the composers 
represented on the third of these fine Decca Archive 
discs. The music is light-weight (Tafelconfect, as 
the reader can probably guess, means "table-confec- 
tion" a sweet musical dessert for banquets) and, 
while very German and inclined to earthiness, is 
still delightful. The singing and instrumental ac* 
companiments are authentic and beautifully executed. 
This is an unusual record, something for the lover 
of esoterica and, like virtually all of the Archive 
Series, is prepared and annotated in a manner that 
is above reproach. W. 

Rodgers: Cinderella. Julie Andrews, Dorothy Stick' 

ney, Howard Lindsay and the original CBS Tek' 

vision cast with orchestra conducted by Alfredo 

Antonini. M2" disc (*C'OL-5190) $4.98. 

All the reviews of the CBS Color TV show of 

Rodgers and Hammerstein's Cinderella made mention 

of the fact that it didn't take 90 minutes to tell the 

story of Cinderella, her wicked stepmother, et al. 

But all said the music was wonderful, with which 

thought we concur. We laughed out loud at The 

Prince Is Giving a Ball and the Stepsisters' Lament; 

we still do. 

Anyway, here is the 90 minutes cut down to just 
under an hour. Rodgers' music is right up to his 
usual caliber, and it will be interesting to see whether 
a single exposure on television will suffice to make 
any of these great tunes popular. 

Kathleen Ferrier Memorial Album. Kathleen Ferrier 
(contralto) with the London Symphony Orchestra 
conducted by Sir Malcolm Sargent, the Boyd Neel 
Orchestra conducted by Boyd Neel, or Phyllis 
Spurr (piano). 142" disc (*L'IX'l529) $3.98. 
CONTENTS: Gretchen am Spinnrade, Die /unge 

TSforwe, An die Musi\, Der Musensohn (Schubert); 

Widmung, Vol\sliedschen (Schumann) (Spurr). 

Rodelinda Art Thou Troubled? (Handel); Orfeo 

ed Euridice What Is Life? (Gluck); 

* Indicates LP 83 1/8 rpm. 
indicates 45 rpm. 


PAGE 12 





Ombra mai fu (Handel) (Sargent). Elijah O Rest 
in the Lord (Mendelssohn) (Neel). 

Since London is discontinuing its lOinch IP's, 
and since it obviously wishes to retain in its catalog 
these precious Ferrier recordings, it has re-issued 
some of Ferrier's previous ICMnchers onto this 12' 
inch LP. We don't know the fate, yet, of the Broad' 
cast Recital (*L-LS4032, TNR Jan. '55), but we 
trust that it, too, will be either retained or reissued. 

By the way, if there are some London KMnch 
LP's you've been meaning to add to your libraries, 
it would pay you to give your dealer a visit. Many 
a choice item may be lost forever if you do not 
obtain it before the supply is totally non-existent. 


Echoes of Paris, George Feyer (piano) with rhythm 

accompaniment. 142" disc (*VX-VX-25200) 

Echoes of Budapest George Feyer (piano) with 

rhythm accompaniment. 1-12" disc (*VX'VX' 

25450) $3.98. 
Echoes of Childhood. George Feyer (piano) with 

rhythm accompaniment. 1*12" disc (*VX'VX* 

25410) $3.98. 
Heavenly Echoes of My Fair Lady. George Feyer 

(piano) with rhythm accompaniment. 142" disc 

(*VX-VX'25340) $3.98. 
Echoes of Italy. George Feyer (piano) with rhythm 

accompaniment. M2" disc (*VX-VX-25320) 


When ten inches was the size of the great bulk of 
the popular LP's, Vox introduced a series of George 
Beyer's "Echoes of . . ."" With almost no promotion, 
the discs sold like hot cakes, and it was the wonder 
of the trade that an unknown artist could catch 
on like that with so little publicity. 

The discs continued in steady demand. They are 
not much, musically, but they make the most won* 
derful background music ever soft, lilting melodies, 
run together almost as a suite melodies easily iden* 
tified with the country, city, show or whatever it 
was an "echo" of. Evidently wishing to jump on 
the bandwagon in converting to twelve'inchers, Vox 
has issued the present five discs and promises more 
to come. 

Beethoven: Sonata No. 14 in C-sharp minor, Op. 27, 
No. 2 ("Moonlight"). One side, and Beethoven: 
Sonata No. 21 in C, Op. 53 ("WaldstewT). Via* 
dimir Horowitz; (piano). M2" disc (*V'LM- 
2009) $3.98. 

This new recording of the "Moonlight*' Sonata 
was recorded at too low a volume, so that one can' 
not get rid of the surface noise on his disc; we tried 
several copies of this one to be sure, because we 
were surprised that RCA Victor would issue such 

a record. The "Waldstein" Sonata is better, but 
the volume is still too low. This could (and prob' 
ably will) be corrected in future pressings; better 
hear this one before buying. 

Chopin: Etudes, Op. 10. One and one-half sides, 
and Chopin: Allegro de Concerto, Op. 46. Clau' 

dio Arrau (piano). 142" disc (*ANG-35413TP) 
$3.48. M2" factorysealed disc (*ANG-35413) 

Chopin Recital. Byron Janis (piano). 142" disc 

(*V-LM-2091) $3.98. 

CONTENTS: Sonata NO. 2 in B-flat minor, Op. 
35; Impromptu HO. 1 in A'M, Op. 29; Nocturne 
No. 8 in D'flat, Op. 27. NO. 2; Etude NO. 5 m G' 
M, Op. 10, No. 5 ("Black Key"); Mazur\a NO. 45 
m A minor, Op. 67, NO. 4; Scherzo NO. 3 in O 
sharp minor. Op. 39. 

It is interesting to make the one point of com' 
parison possible between these two discs: the * 4 Black 
Key" Etude is played by both Arrau and Janis. 
Janis is mighty fine this young man will undoubt' 
edly go far; only by a very quick change from one 
to the other did we notice the very occasional rough 
spot in Janis' performance that we did not hear in 
Arrays. Arrau being one of our favorites, this is 
high praise, indeed, for Byron Janis. 

Bach: (7) Toccatas. Three sides, and Bach: (4) Fan- 
tasias. Agi Jambor (piano). 242" discs in box 
(*CL-PBR-8354) $7.96. 

CONTENTS: Toccatas tn D minor, E minor, G, 
D, G minor, F+sharp minor, C minor; Fantasias in 
C minor, G minor, A minor, C minor. 

Last October we reviewed Mme. Jambors Capitol 
debut with the word "Preciseness is here coupled 
with placidity' 1 (Bach: 6 Clavier Partitas, *CL'PBR' 
8344). This sentence might well be applied to the 
present set, and to us that seems the ideal way to 
hear Bach. We can brook no fol'de*rol in our 
Bach no ^interpretation." Agi Jambor suits us to a 
44 T," and we therefore recommend this LP set as 
scholarly and most satisfying, 

The Art of Harold Bauer (Vol. 2). Harold Bauer 
(piano). M2" disc (*CAM-GA1>348) $1.98. 
CONTENTS: Novelette in D, Op. 21, NO. 2; 
Fantasiestuc\e t Op. 12 In the Night (Schumann). 
Albumblatt in A, Op. 28, NO. 3; Berceuse, Op. 38, 
NO. 1; An den Fruhhng, Op. 43, NO. 6 (Grieg). 
Waltz in E'flat (Durand). Capricdo in B minor, Op. 
76, NO. 2 (Brahms). Caprice on Airs from M A1' 
ceste" (Saint'Saens). Jesu, Joy of 'M.ans Desiring 
(Bach). Impromptu in A- flat, Op, 90, No. 4 (Schu' 
bert). Cfciir de Lune (Debussy). Fantasie 1m- 
promptu, Op. 66 (Chopin). Kamennoi'Ostrow, Op. 
10, NO. 22 (Rubinstein). 

Those who found Volume 1 of "The Art of 
Harold Bauer" (TNR Jan. '57) interesting will find 

PAGE 13 


Indicates LP 88 1/8 rpm, 
Indicates 45 rpm. 


The Nf w Records 


the present disc equally so. Somewhat archiac re- 
production, compensated for by the low price. 


Band Concert. Regimental Band of the Coldstream 
Guards conducted by Maj. Douglas A. Pope. 1" 
12" disc (*ANG-35370TP) $3.48. 1-12" factory- 
sealed disc (*ANG-35370) $4.98. 
CONTENTS: Fanfare for a Dignified Occasion 
(Bliss); "Figaro" (Mozart arr. Pope); Canada on 
the March (Jaeger); The Bird in the Wood (Le 
Thiere arr . Pope) ; Colonel Bogey on Parade (Al- 
ford); Royal Windsor (Bayco); The Old Cold- 
stream March (Trad. arr. Pope); Dizzy Fingers 
(Confrey); Trombones to the Fore (Scull); Sousa 
Medley (arr. Pope); Nightfall in Camp (Pope); 
Milanollo (Val Hamm). 

Pipes and Drums. 48th Highlanders of Canada di- 
rected by A, Dewar (pipe major) and W. P. 
Elms (drum major). 1-12" disc (*C-CL-972) 

CONTENTS: Meeting of the Waters; Far O'er 
the Sea; Soldier's Return; 71st Highlanders; Lady 
London Reel; Rejected Suitor; Atholl Highlanders; 
Midlothian Pipe Band and the Bugle Horn; Cameron 
Men; My Native Highland Home; Armston Castle 
Reel; Cabar Feidh; Sir Colin Campbell; CoJin's Cat- 
tle; Battle of the Sorame; 48th Highlanders' Inspec- 
tion March; Col. D. M. Robertson; Malay's Fare- 
tyell to the 74th Mormond Braes; Liverpool Horn- 
pipe; Paddy's Leather Breeches; SJ^ye Boat Song; 
My Home; Highland Cradle Song; Highland Laddie; 
Blac\ Bear and Caller Herrin'; Loch Dutch; Haughs 
of Cromdale; Drunken Piper; Stumpie; High Road 
to Linton; Tail Toddle; Kilt Is My Delight; Robin 
Adair; Rowan Tree; Auld Hoose; Minstrel Boy. 
Die schonsten Marsche und Marschlieder. Band of 
the Schutzpolisei (Berlin) with chorus conducted 
by Heinx Winkel. 1-12" disc (*T-LGX-66064) 

CONTENTS: Revue-Marsch; Mein Schlesierland; 
Wien bleibt Wien; Schon bltih'n die Hec^enrosen; 
Regiwentsgruss; Mir hat ein \leines Vogelchen ge- 
sungen; Grass an Oberbayern; Deutschlands Ruhm; 
Im grunen Wald; Unterdew Doppeladler; Lore; Ger- 
mania-Marsch; Schier dreissig Jahre bist du alt; 
Unsere Marine. 

'Twas like welcoming old friends to listen to this 
showpiece for the band of H. M. Coldstream Guards, 
for we well recall the many HMV 78 rpm records 
which found their way into this country via dealers 
who handled such imported items. When you hear 
the multitude of talents exhibited by this stellar 
group, you will understand how its reputation grew. 
There are piccolo solos (The Bird in the Wood), 
i march for band and organ (Royal Windsor), the 
:larinettists' headache (Dizzy Fingers), a fantasia 
for bugle, organ and band (Nightfall in the Camp), 

and the ever-present number featuring a trombone 
quartet (Trombones to the Fore). The Regimental 
Band of the Coldstream Guards is one of the fore- 
most bands in the world today, and it is good to 
have this all too brief sampling of its abilities. 

The Pipes and Drums of the 48th Highlanders of 
Canada have been in existence since the formation 
of the regiment in 1891; we must confess to not 
even having known that there were any Scottish 
regiments in Canada, much less a pipe and drum 
band, but judging from this disc this band might 
just as well have come from Scotland. It plays with 
esprit and a sharpness that will delight all collectors 
of pipe discs. 

The following communication accompanied the 
Telefunken LP: 

'"We believe this brand new Telefunken LP of 
German marches to be one of the most exciting new 
Hi-Fi issues of the year. We hope that you will 
share this enthusiasm with us." 

As this is a very ordinary disc, with a mediocre 
chorus on some of the numbers, we can see no ex- 
cuse for its having been issued. Hi-Fi, Mr. Tele- 
funken, is no excuse for run-of-the-mill issues. 

International Anthems and Songs. Royal Australian 
Air Force Central Band conducted by Squadron 
Leader L. H. Hicks. M2" disc (*EPIC LN- 
3320) $3.98. 

CONTENTS: Star Spangled Banner (U. S. A.); 
God Save the Queen, (England); Advance Australia 
Fair (Australia); Osterreichische Bundesymne (Aus- 
tria); La Brabanconne (Belgium); Hino !N[acional 
Brasileiro (Brawl ); O Canada! (Canada); Czechoslo* 
va\ Statni Hymna (Chechoslovakia); Kong Kristian 
Stod ved Hojen Mast (Denmark); JBI Salam El Gam* 
hoitry JBI Masry (Egypt) ; Maame Laulu (Finland) ; La 
Marseillaise (France); Deutschlandlied (Germany); 
Se Gnorizo Apo Ten Kopsi Tu Spatjie Ten Tromere 
(Greece); Wtlhelrnus van 7s[assouu>e (Holland); The 
Soldier's Song (Ireland); HatiJ^vah (Israel); Inno de 
Mameli (Italy); Kimigayo (Japan); JaVi Eisner Dette 
Landtet (Norway); A Portuguesa (Portugal); Himno 
Wacional Espanol (Spain); Die Stem van Suid Afri\a 
(South Africa); Du Gamla, Du Frid (Sweden) ; Tur\ 
Isti\al Marsi (Turkey); Gimn Sovetsl^ogo Susa 

We suppose that the reason that Epic decided not 
to make this an authentic collection of the national 
anthems of the various countries represented is that 
several countries have not, as yet, decided just what 
their national anthems are; we were shocked to dis- 
cover that the Star Spangled Banner was officially 
adopted as our national anthem only as late as 1931! 
Nevertheless, the songs and anthems here are 
closely associated with the countries indicated in the 
headings (and, in fact, most of them are the official na- 
tional anthems); anyone who habitually entertains 
foreign dignitaries ought to have a copy of this disc 
to slip on at the appropriate time. Others, interested 

* indicated UP 33 1/3 rpra. 
indicates 45 rpm. 


PAGE 14 




in a United Nations potpourri of international music 
will find this music excellently performed. 


Organ Music of Spain and Portugal. E. Power Biggs, 
playing various organs. 1-12" disc (*C-KL-5l67) 
$5.98. ' 

CONTENTS: Partite sopra la aria della folia de 
Espagna (Pasquini); Die nobis, Maria (Gaboon); 
Toccata in D minor (Seixas) (organ in Toledo Ca- 
thedral, Spain). Fantasia in D minor (Carreira); 
Toccata in D minor (Jacinto) (organ at University 
of Coimbra, Portugal). Fantasia primi toni (Santa 
Maria); Paso en do major (Casanovas) (organ in 
Cathedral of El Pilar, Zaragosa, Spain). La Ro- 
manesca con cinque mutanze (Valente); Allegro in 
D (Carvalho) (organ in Royal Palace, Madrid, 
Spain). Verse de 8 toni per do-sol-re (Crus); 
Tiento lleno por B cuadrado (Cabanilles) (organ in 
Cathedral of La Seo, Zaragosa, Spain). Toccata in 
C (Seixas) (organ in Church of the Incarnation 
Lisbon, Portugal). (3) Toccatas (Seixas) (organ at 
National Monument of Mafra, Portugal). 

^ Columbia presents E. Power Biggs in another 
"organ tour," this time to the unusual instruments 
of Spain and Portugal. Much has been heard of the 
famous organs of France, Germany, England, the 
Netherlands, and the Scandinavian countries. This 
is the first time a survey of the Iberian Peninsula 
has been attempted, and the results are as enlighten- 
ing as they are startling. The organs of Spain and 
Portugal are quite unlike those to which we are 
accustomed. Their principal glory is in their unique 
trumpet tone. The famous "en chamade" trumpets, 
which are laid out horizontally, are the feature of 
these organs. They have a rather thin, piercing 
quality and a lot of power, considering their very 
low wind pressure. 

In addition to hearing the organs of Spain and 
Portugal, we hear also on this disc the early mas- 
ters of these countries. Their music is designed for 
the timbres of the organs, notably the trumpet stops, 
and the music sounds well because it is written for 
organs without pedals. No pedals is a characteristic 
of these organs, and consequently the usual organ 
music is useless on such instruments. A glance at the 
heading above will show that four organs in Spain 
and three in Portugal were visited; all are very old 
instruments except one, which represents contem- 
porary Spanish organ building. 

Five pages of pictures and informative notes ac- 
company this disc, a nice custom of the Biggs series 
which enhances the music by enlightening the lis- 
tener. No well rounded library of classical organ 
records could be complete without this fascinating 
disc. It may be the only one to be issued in many a 
year (of these organs), and we are fortunate that 
it is so good a survey of the subject. Needless to 

say, the playing is good; we are happy to say the 
reproduction is amazingly good too, considering the 
difficulties encountered in such projects. A very dif- 
ferent, but highly recommended organ disc. 


Vivaldi trans. Bach: Concerto No. 2 in A minor, 
BWV. 593. And Franck: Choral No. 1 in E. One 
side, and Franck: Choral No. 2 in B minor. And 
Franck: Choral No. 3 in A minor. Jeanne Denies- 
sieux, playing the organ at Victoria Hall, Geneva. 
1-12" disc (*L-LL-1433) $3.98. 
Jeanne Demessieux is a young French girl whose 
organ playing is virtually perfect, technically, re- 
flecting much of the teaching of Marcel Dupre. The 
Victoria Hall organ is an instrument of beautiful, 
smooth, bland tonal quality, which records rather 
well. The reproduction of this disc is good in 
range and amplitude, if a bit distant and lacking 
in bite. The music comprises the three wonderful 
Chorals of Franck and the tuneful, jolly Bach- 
Vivaldi Concerto in A minor. Everything about the 
disc is good; yet it falls far short of being a recom- 
mended buy. What it lacks is just a little of this 
and a little of that to get under the skin and make 
it interesting and exciting. This (Franck) is big, 
broad romantic music that demands some tempera- 
ment and interpretive freedom, some imagination 
and some sweeping arches and graceful curves. It 
can do without the pure, perfect, antiseptic per- 
formance that is letter perfect but minus a message 
from the performer's heart. 

For a strong comparison in these three Franck 
Chorals, we suggest hearing Feike Asma on the 
remarkable organ in The Old Church, Amsterdam 
(*EPIC LC-3051). Here is good, accurate playing, 
with plenty of imagination and a sense of human 
warmth thrown in. Several organists have recorded 
the Bach Concerto with more swing and gusto in 
the opening movement and equally good effect in the 
slow second movement and the bright finale. If this 
attractive young lady ever kicks over the traces and 
lets her hair down, with her phenomenal technique, 
the resulting organ record will be a prize. The 
present one however, could probably be duplicated 
on player rolls, $. 


Complete Works of Webern. Vocal and instru- 
mental soloists, string quartet and orchestra super- 
vised and conducted by Robert Kraft. 4-12" 
discs in box (*C-K4L-232) $23.98. 
CONTENTS: Passacaglia t Op. 1 (O); Entflieht 
auf leichten Kaehnen, Op. 2 (MC); (5) Songs, Op. 
3 (S & P); C>) Songs, Op. 4 (S # P); (3) Move" 
ments for String Quartet, Op. 5 (SQ); (6) Pieces 
Op. 6 (O); (4) Pieces, Op. 7 (V 6? P); (2) Songs, 
Op. 8 (MV & I); (6) Bagatelles, Op. 9 (SQ); (5) 
Pieces, Op. 10 (O); (3) Small Pieces, Op. 11 (Vc 

PAGE 15 


* indicate* LP S3 1/8 nm. 
indicate 45 mm. 




& P); (4) Songs, Op. 12 (S tf P); W Songs, Op. 
13 (S S 1 1); f<5; Songs, Op. 14 (S #1); (5J Sacred 
Songs, Op. 15 (S 6? I); (5) Omens, Op. 16 (S 6? 2 
Qs); (3) Traditional Rhymes, Op. 17 (S 6? I); (3) 
Songs, Op. 18 (S, Cl ff G); f2j Songs, Op. 19 <VQ 
& I); String Trio, Op, 20 (ST); Symphony, Op. 21 
(CO); Slwrtet, Op. 22 (Cl, TS, V 6? P); (3) Songs, 
Op 22 (S tf P) ; Concerto, Op. 24 (I Ens) ; (3) Songs. 
Op. 25" (S 6? P); Das Awgenticht, Op. 26 (MC 6? 
O); Variations for Piano, Op. 27 (P); String Quar- 
tet, Op. 28 (SQ); Cantata NO, 1, Op. 29 (S, MC 
& O); Variations for Orchestra, Op. 30 (O); Can- 
tata Ho. 2, Op. 31 (S, Bs, MC tf O); Orchestration 
of Bach's "Ricercar" (193$) (O); Quintet for 
String Quartet and Piano (1906; (SQ P). 

KEY: (Bs), Bass; (Cl) or (Cls), Clarinet or Clar- 
inets; (CO) Chamber Orchestra; (Ens), Ensemble; 
(G), Guitar; (I), Instruments or Instrumental; 
(MC) Mixed Chorus; (MV), Medium Voice; (O) 
Orchestra; (P), Piano; (S), Soprano; (SQ), String 
Quartet; (ST), String Trio; (TS), Tenor Saxo- 
phone; (V), Violin; (Vc), Violoncello; (VQ), Vo- 
cal Quartet. 

We wish, we had space properly to review this 
set of four LP's containing, we are told, the sum 
total of the musical output of Anton Webern, save 
for his arrangements of music by Schubert, Johann 
Strauss and Schonberg, and his string orchestra ver- 
sion of his String Quartet, Op. 5. Columbia is 
surely to be congratulated for its fortitude in making 
this historic set available, for surely it could not 
ever be a commercial success. And Robert Craft is 
likewise due our thanks for having seen to it that 
the various artists connected with this monumental 
album were dedicated to their tasks and that, ar* 
tistically, this set can stand, as it undoubtedly will 
have to, as the standard for the performance of 
Webern^s works. 

The dynamics of WeberiTs music change from note 
to note; he employs crescendo and dccrescendo for a 
single note (!), such technique being well nigh im* 
possible for the ordinary musician; his metronome 
marks, thinks Mr. Craft, are precise and are to be 
followed exactly. His devout Catholicism and Chris' 
tian mysticism show in his works, particularly in his 
choice of texts for his songs, which represent more 
than half of his total musical output. 

A 30-page booklet accompanies this set, giving a full 
biography of Webern, texts and translations of all the 
vocal works, instrumentation and explanation of all 
works performed. Save for college and other libraries 
wishing to have as complete a representation of re- 
corded performances of classical music as possible, 
this set will, unfortunately, have little appeal; since it 
will probably not be in the catalog very long, those 
interested are urged to investigate it without delay. 


The World's Encyclopedia of Recorded Music 
(3rd Supplement). By Francis F. Clough 
and G. J. Cuming, xxvi -f- 564 pp. Sidg' 
wick and Jackson, Ltd. (London). Price 

Introduction to Opent: a guidebook sponsored 
by The Metropolitan Opera Guild. Edited 
by Mary Ellis Pelt*, xiii -f- 332 pp. Paper 
bound. Barnes 6? Noble, Inc. (New York) . 
Price $1.65. 

Record Ratings: The Music Library Assoafo/ 
tion's Index of Record Reviews. Compiled 
by Kurtz Myers; edited by 'Richard S. 
Hill, viii + 440 pp. Crown Publishers 
(New York). Price $5.95. 

The Guide to Long-Playing Records (Ordhes' 
tral Music). By Irving Kolodin. xii + 
268 + vii pp. Alfred A, Knopf (New 
York). $3.50. 

The Guide to Long'Playing Records (Chamber 
6? Solo Instrument Music) . By Harold C. 
Schonberg. xi -f- 280 + vi pp. Alfred A. 
Knopf (New York). $3.50. 

The Guide to Long'Pki^mg Records (Vocal 
Music). By Philip L. Miller, xvi + 381 
+ xxii pp. Alfred A. Knopf (New York) . 

The World's Encyclopaedia of Recorded Music 
(Including 1st Supplement). By Francis 
F. Clough and G. J. Cuming. 890 pp. 
Sidgwick and Jackson, Ltd. (London). 
Price $17.50. 

The World's Encyclopedia of Recorded Music 
(2nd Supplement) . By Francis F. Clough 
and G. J. Cuming. xxii + 262 pp. Sidg- 
wick and Jackson, Ltd. (London). Price 
NOTE: All the above books thave been reviewed 

in previous issues of The l^cw Records. If your local 

dealer does not stock them, orders addressed to H. 

Royer Smith Co., Philadelphia 7, Pa., will be 

promptly filled. The prices quoted include postage 

to any point within U.S. A. 

The first letters In the record number Indleate the manufacturer: ANG Angel, BG Baeh Guild, C Columbia. CAM Camden, CE Cetra. 
CH Concert Hall Society, CL Capitol. CLA8 Clastle Editions. C8M Colosseum, D Dacca, DT Ducretet-Thomson, EA Experiences 
Anmtymes. ESO Esoteric, FOLK Ethnic Folkways Library, G I OA Gregorian Institute of America, HMV His Master's Volee (England), 
HSHaydn Society; L London Gramophone, LYRLyrf chord, ME Mercury. DCOceanic. OL L'Olseau Lyre, PE Period. PHMPhll- 
harmonia, PLM Polymusic. REN Renaissance, SOT Sounds of Our Times, 8TR Stradivari, T Telefunken, UNI Unicorn, UR Urania, 
Vvirtof, VAN Vanguard, VX Vox. and WEST Westminster. 

* Indicates LP 88 1/8 rpm. 

Indicates 45 rpm. 


PAGE 16 

The New Records 


Issued Monthly by 


"The World's Record Shop" 


VOL. 25, NO. 4 

JUNE, 1957 

By mall to any address 
$1 per year 

short this month to make room for more 
reviews, of which we have plenty. We will 
just mention that Columbia has instituted, for 
the month of June only, a "Buy of Jass" pro' 
motion similar to* its "Buy of Your Dreams" 
(TNR Feb. '57). Forty-four 12-inch jas* IPs 
have been placed in this special promotion by 
such artists as Duke Ellington, Dave Brubeck, 
Louis Armstrong, Erroll Garner, Jay and Kai, 
et al. If you buy one at the regular price of 
$3.98, you may then purchase another at only 
$1.98; in other words, you may buy two (or 
any multiple of two) for $5.96 a pair. There is 
not room to list these 44 selections in THE 
NEW RECORDS, but the publisher has secured 
a supply of brochures outlining the promotion 
and listing all the numbers contained in it; a 
copy of this "Buy of Ja^s" brochure will be 
sent gratis to any reader requesting one. 

The Current Market Price of records is the 
retail price that is charged by most leading 
dealers, including the publisher of this bul- 
letin. When the major companies reduced 
their list prices for LP records, some of the 
smaller publishers reduced only their whole- 
sale prices and did not change their list prices 
(see TNR Mar. "55); thus the Current Mar- 
ket Price came into being. 

Also, from time to time, in order to stimu- 
late business, some companies have drastically 
reduced prices for limited periods. In order 
that our readers may know the Current Mar- 
ket Price, we are indicating in this and future 
issues the prices that are presently in effect; 
and, although we cannot guarantee these 
prices, they should prevail during the current 

NOTE: The Current Market Prices of all 

Mercury 12-inch IP's (10000-, 25000-, 30000-, 
40000-, 50000-, 80000-,, and 90000-series) is 
$3.19; album sets are 20% less than published 
list prices. 

EXCEPTIONS: Mercury has lowered the 
Current Market Price of 30 of its IP's to 
#2.98 until 30 June 1957. The classical discs 
included are: Scheherazade Dorati (*ME- 
MG-50009) ; Pines of Rome &* Fountains of 
Rome Dorati (*ME-MG-50011); Bolero & 
Rhapsodic Espagnole Paray (*ME-MG- 
50020) ; La Fiesta Mexicana Fennell (*ME- 
MG-50084); British Band Classics Fennell 

NOTE: The Current Market Prices of 
Westminster Records are as follows: WN/ 
SWN/XWN'18000 series, #3.19; W-LAB- 
7000 series, #5.95; WL'5000 series (discon- 
tinued), #2.39; WP-6000 series, #3.19; album 
sets, 20% less than published list prices. 


We are continually receiving requests for 
back copies of THE NEW RECORDS. Most of 
the issues published during the last twenty- 
five years are available. The price is lOc 
each. A file of all available issues (at least 
160 copies) is $5. These prices are postpaid 
within U.S.A. 

NOTE: Those persons interested in recent 
recordings only may secure all of the issues of 
the last three years beginning June 1954 
(36 copies) at tie special price of $2 (post- 
paid within U.S.A.). 


Puccini: Tosoi (highlights). Tebaldi, Carnpora, Mas' 
cherini, Corena, et al; Chorus and Orch. of Ac- 
cademia di Santa Cecilia, Rome Erede. 1-12" 
disc (*L-LL-1649) $3.98. (TNR Feb. '53). 


The TSiew Records 


Russian Ballet. Philharmonia Orchestra-Markevitch. 
142" disc (*ANG-35153TP) $3.48. 1-12" fac- 
tory sealed disc (*ANG-35153) $4.98. (TNR 
Feb. '55) (see also TNR Mar. '57). 
CONTENTS: Le Pas d'Ader (Prokofiev); Ki\i< 

mora (Liadov); PetroucfiJ^ (3) Dances (Stra- 

vinsky ) . 

Verdi: Aida (highlights). Tebaldi, del Monaco, Stig' 
aani, Gorena, et al; Chorus and Orch. of Acca* 
demia di Santa Cecilia, Rome Erede, 142" disc 
(*L-LL4648) $3.98. (TNR Feb. '53). 


Following our practice, we are listing below the 
latest batch of "Sampler" LP releases which have 
recently been made available. Since readers of THE 
NEW RECORDS are already familiar with such discs 
and aware that "Sampler" releases are always limited 
editions, those interested should make their selec- 
tions without delay. 

Tchaikovsky: Concerto in D, Op. 35. Erica Morini 
(violin) with the Philharmonic Symphony Or* 
chestra of London conducted by Artur Rodsinski. 
142" disc (*WEST'XWN-18397) $3.98. 

Current Market Price: #1.98. 

Rachmaninoff: Concerto No. 2 in C minor, Op. 18. 
One side, and Tchaikovsky: Concerto No. 1 in 
B-flat minor, Op. 23. Edith Farnadi (piano) with 
the Vienna State Opera Orchestra conducted by 
Hermann Scherchen. 142" disc (*WEST-XWN- 
18578) $3.98. 

Current Market Price: #1.98. 

Dvorak: Symphony No. 5 in E minor, Op. 95 

("From the New World*'). Philharmonic Sym' 
phony Orchestra of London conducted by Artur 
Rodzinski. 142" disc (*WEST'XWN-18295) 

Current Market Price: #1.98. 

Beethoven: Symphony No. 5 in C minor, Op. 67. 

Philharmonic Symphony Orchestra of London 
conducted by Hermann Scherchen. (TNR Jan. 
"55). One side, and Haydn: Symphony No. 100 
in G ("Military"). Vienna Symphony Orchestra 
conducted by Hermann Scherchen (TNR May 
'51). 142" disc (*WEST-XWN48579) $3.98. 
Current Market Price: #1.98. 


Bartok: Concerto for Orchestra. I/Orchestre de la 
Suisse Romande conducted by Ernest Ansermet. 
142" disc (*L-LL4632) $3.98. 

Bartok: (5) Hungarian Sketches. And Bartok: (6) 
Hungarian Dances. One side, and Kodaly: Hary 
Janos Suite. Minneapolis Symphony Orchestra 
conducted by Antal Dorati. 142" disc (*ME'MG- 
50132) $3.98. 

Current Market Price: #3.19. 

None but the "heavyweights" seems disposed to 

tackle the Bartok Concerto for Orchestra, and they 
seem to enjoy the task. Ormandy, Reiner, van 
Beinum, von Karajan, and Dorati have published 
estimable accounts of the work; and now one of the 
most intellectual of all conductors has a hand at 
unravelling the complicated strands of this score. A 
brilliant work that is a grateful vehicle for virtuoso 
orchestras, the Concerto finds more than competence 
in this reading, for this able orchestra under Anser- 
met reaches many thrilling moments. There are pas- 
sages in this work which Ansermet dashes off in the 
most brilliant manner, yet there is never a moment 
that is not soundly conceived and set forth faithfully 
to the composer's wishes rather than for rhetorical 
effect. One cannot but admire a performance such as 
this. Anyone who does not feel this is the best re- 
cording of the work would have to admit that it is 
the most revealing statement of the score. The re- 
production is wonderfully clear and transparent, as 
if to mirror Ansermet' s reading with the greatest 

A lifelong promoter of music by ibis native Hun* 
garian composers, Dorati here provides the first re- 
cording of Bartok's Hungarian Sketches. These are 
the composer's orchestral transcriptions of five earlier 
piano pieces. They are very clever, amusing pieces 
in descriptive orchestration, and they hold the at- 
tention well. It is a suite that should prove popular 
in the concert 'hall with symphonic audiences 
where has it been for twenty-six years? Bartok's 
well known Roumanian Foli^ Dances complete this 
side, in sparkling readings and brilliant reproduction. 

The "A" side of this disc is the popular feature 
work Hdry Janos Suite which Dorati plays up to the 
handle and which Mercury has recorded with the 
limit of decibel endurance. Some other enthusiastic 
conductors have committed this work to discs, in- 
cluding Ormandy; and the roguish Hary may feel 
proud in having stirred up such competition. It is 
in the wonderful dance movement Intermezzo (which 
has no connection with the story, but provides the 
best music in the suite) that we always separate the 
men from the boys. Ormandy still holds uncontested 
first place for the man who can rattle this movement 
off in the most thrilling manner. His Intermezzo is 
still the most hair-raising 1 and for our money his 
Hdry Jdnos is still the best (*C-ML-4306) (TNR 
Aug. "50). If you are primarily interested in the Bar- 
tofc numbers, be assured that DoratoTs Hdry Jdnos 
is highly acceptable on this disc, E. E. SHUPP, JR. 

Schuman: Credendum. Philadelphia Orchestra con- 
ducted by Eugene Ormandy. One side, and Kirch- 
nere Piano Concerto. Leon Kirchner (piano) with 
the Philharmonic- Symphony Orchestra of New 
York conducted by Dimitri Mitropoulos. 1-12" 
disc (*C-ML-5185) $3,98. 

William Schuman's Credenduw ("Article of 
Faith") is generally believed to be the first sym- 
phonic composition to have been commissioned by 
a department of the United States Government, hav- 

* Indicates LP 83 1/3 rpm. 
indicates 45 rpm. 






ing been commissioned by the U. S. National Com' 
mission for UNESCO through the Department of 
State. This, indeed, is a signal honor for a one' 
time writer of popular songs for vaudeville and 
night club acts. 

The work is in three sections, played on this disc 
without interruption. The first movement, Declara* 
tion, is scored almost entirely for winds and percus* 
sion, with occasional support from the string basses. 
The theme of the second movement, Chorale, starts 
in the strings, progressing through the brasses, then 
pits the woodwinds against the orchestra as the 
music becomes very intense, the movement ending 
quietly with the opening theme. The Finale opens 
with scherzo'like material for strings, bassoons and 
bass clarinet; like the second movement, the intensity 
becomes almost unbearable as the composer marshalls 
his forces, having the tympani and other percussions 
try (seemingly) to outshout the rest of the orchestra. 

Whether or not you will like this music will, of 
course, depend upon your personal taste. Credendum 
is, at times, bombastic and dissonant; yet some of 
the string passages are the most beautiful of poetry. 
You may be assured that Eugene Ormandy and the 
marvelous Philadelphia Orchestra give this piece all 
they've got, and that Columbia has reproduced their 
performance to perfection. 

Since the New York Philharmonic' Symphony Or' 
chestra premiered Leon Kirchner's Piano Concerto, 
and since the composer is at the keyboard in this 
recording, one may be certain of hearing a definitive 
performance on the present disc. The piano is not 
treated as the dominant instrument, accompanied by 
the orchestra, but rather the work is symphonic in 
nature a symphony for piano and orchestra. The 
orchestra is a good deal larger than one finds the 
better-known concertos scored for particularly the 
percussion section. 

The Concerto is in three movements: Allegro, 
Adagio and Rondo. There are a multitude of 
rhythms and cross'rhythms; there are snatches of 
pretty tunes, pastoral phrases, loud crashing chords 
a seemingly heterogeneous collection of passages, 
yet all very neatly hung together. 

The investigation of this record is indicated for 
the musically adventurous. We rather feel that most 
persons interested will wish to hear each work sev 
eral times before deciding definitely to add the disc 
to their collections; nevertheless, this is some of the 
great music of our day, made available to the vast 
majority of persons solely through the phonograph. 

Britten: Young Person's Guide to the Orchestra. 

Concert Arts Orchestra conducted by Felix Slat' 
kin. One side, and Dohnanyi: Variations on a 
Nursery Theme. Concert Arts Orchestra con' 
ducted by Felix Slatkin, with Victor Aller (piano). 
1-12" disc (*CL'P-8373) $3.98. 

Musical jollity abounds on this Capitol LP, fea' 

turing Britten's witty demonstration of the instni' 
ments of a symphony orchestra (subtitled Variations 
and Fugue on a Theme of Purcell) on the one side, 
and Dohnanyf s warmlyhumored, multi'hued treat- 
ment of Tunn^Je, Turin^Ie, Little Star. Superb per- 
formances on both sides, with the finest reproduce 
tion ever; but if you like to compare before you 
buy, check the Dorati'Minneapolis version of the 
Britten (*ME-MG-50047, TNR Nov. '55) and the 
Katchen-Boult in the Dohnanyi (*L'LL-1018, TNR 
Mar. '55). 

Beethoven: Symphony No. 5 in C minor, Op. 67. 
One side, and Mozart: Symphony No. 41 in C, 
K. 551 ("Jupiter"), pro Musica Symphony, Vi' 
enna, conducted by Jascha Horenstein. 1-12" 
disc (*VX-PL'10030) $4.98. 

Mozart: Symphony No. 25 in G minor, K. 183. 
One side, and Mozart: Symphony No. 40 in G 
minor, K. 550. Philharmonia Orchestra conducted 
by Otto Klemperer. 1-12" disc (*ANG-35407TP} 
$3.48. 1-12" factory-sealed disc (*ANG-35407) 

Beethoven: (12) Deutsche Tanze (German Dances, 
Grove's No. 140). One side, and Mozart: (12) 
Deutsche Tanze, K. 586. Pro Musica Orchestra, 
Stuttgart, conducted by Edouard van Remoortel. 
1-12" disc (*VX-PL40100) $4.98. 

The Beethoven Fifth is a grand and marvelous 
work, evergreen in popularity, and deserving of 
many fine recordings. These it has had, with at 
least eight IP's of decent merit now available among 
nearly two dozen, and yet another respectable read' 
ing is added to the list with tke Horenstein version. 
Horenstein has a good forward motion, not rushed 
but not overwrought or pompous. The Vienna Pro 
Musica plays with admirable discipline, and the re* 
cording is good. Maybe not the greatest of them all, 
it is nevertheless a thoroughly worthwhile perform' 
ance. Overside is Mozart's big one, the "J u prt er " 
which has also had many LP performances but not 
many good ones. This is one of the better edition*. 
Like the Fifth, Horenstein's "Jupiter" ihas fine clar' 
ity and detail, with inner voices prominent but not 
overshadowing. It is strong without being vicious, 
always retaining a certain Mozartean sweetness and 
grace. We do not recall a "Jupiter" more enjoyable 
than this one; if there are three or four as good, 
there are certainly none better. We can recommend 
it highly and urge Mozart fanciers to be sure to 
hear it. 

Of all the Mozart Symphony >[o. 40 recordings 
you are likely to hear, none will ever exceed the 
Klemperer reading for solid value, justice, and 
logic, in addition to which it is the loveliest or' 
chestral playing of them all. It is downright sweet, 
but not for a moment saccharine; it is just sublimely 
beautiful music every minute. Remarkable insight 
and detail are always evident. We could ask for 



* indicates LP 33 1/3 . 
indicates 45 rpm. 





nothing more in a Mozart !N[o. 40 and can give it 
our most earnest blessing. The earlier G minor, TN[O, 
25* is also given a sterling reading with a large 
measure of point and spirit. It emerges as a better 
work than it is usually considered. Here is truly a 
treasurable disc, 

The promising young conductor, Edouard van Re' 
moortel, whom we have previously admired in these 
columns., offers the popular Mozart and Beethoven 
German Dances in crisp, clear readings. The re" 
cording is a shade bold and strident for the material 
at hand, but it is also effective and revealing. An 
enjoyable disc, if it does not prove to be too much 
of the same thing for you. E. E. SHUPP, JR. 

Brahms: Symphony No. 1 in C minor, Op. 68. Sym- 
phony of the Air conducted by Igor Markevitch. 
M2" disc (*D-DL-9907) $3.98. 

Brahms: Variations on a Theme by Haydn, Op. 56a 

("St. Antoni Chorale"). One side, and Schubert: 
Symphony No. 8 in B minor ("Unfinished"). 
Philharmoma Orchestra conducted by Herbert 
von Karajan. M2" disc (*ANG-35299TP) $3.48. 
M2" factory-sealed disc (*ANG-35299) $4.98. 
Schulbert: Symphony No. 9 in C ("The Great C 
major"). Bamberg Symphony conducted by Jonel 
Perlea. M2" disc (*VX-PL-10200) $4.98. 
The Symphony of the Air, formerly the NBC 
Symphony, never had it as good on records as it has 
with this release on Decca. The disc states "Recorded 
for Deutsche Grammophon," and wherever the re* 
cording was made there is the characteristic spacious 
hall sound and lush tonal quality we like to hear 
on a symphonic recording. No previous recording by 
the orchestra ever sounded like this disc, which 
may prove several points we have made many times 
before in these columns. Markevitch tries nothing 
unusual and ends up by giving a good straightfor- 
ward reading of this venerable work, one of (his best 
phonographic efforts to date. This is a fine disc 
which we can recommend; it ranks with the three or 
four best versions on LP. Tne Symphony of the 
Air deserves a new lease on life with such an issue. 
Decca's program notes, as usual, give a few words 
about the performing artists all program notes 

Angel is now following a liberal policy of re- 
recording and duplicating many of the standard 
repertoire items in their catalog. Rather hard on 
the heels of a splendid recording of the Brahms 
Haydn Variations by Klemperer we find another by 
von Karajan. That makes it nearly unanimous for 
Angel, for with the exception of Walter's reading, 
the two best are now on Angel. We thought Klem- 
perer's was exceptional, and we think von Karajan^s 
is mighty fine, too. Von Karajan is a bit more lyrical 
and pliant; Klemperer, a little crisper and tighter; 
neither is too much so, and both are wonderful 
listening. Klemperer's coupling is a masterly reading 
of the ]S[oblissimd Visione by Hindemith; von Kara- 

jan's coupling is the perennial favorite, Schubert's 
Unfinished Symphony, beautifully performed in a 
solid, traditional manner. Both feature superb repro- 
duction and angelic playing by the Philiharmonia 

Schubert's Great C major has had one truly out- 
standing reading, Furtwangler (*D'DL-9746); very 
few others have ever approached it. Perlea and the 
Bamberg Symphony turn in a competent perform- 
ance, well recorded, but it is not ahead of a couple 
of other LP's and not in the same league with Furt- 
wangler. Perlea 1 s conception of the music is sound; 
however the Bamberg orchestra has not the smooth 
weight and the ensemble to put this over effectively. 


Chavez: Sinfonia No. 5 for String Orchestra. One 
side, and Ben-Haim: Concerto Grosso for String 
Orchestra. MGM String Orchestra conducted by 
Lder Solomon. 1-12" disc (*MGM-E-3423) $3.98. 
Egk: French Suite after Rameau. One side, and 
Hartmann; Symphony No. 6. RIAS Symphony 
Orchestra (Berlin) conducted by Ferenc Fricsay. 
1-12" disc (*D'DL-9861) $3.98. 
Hovhaness: Concerto for Viola and Strings ("Ta- 
lin"). One side, and Hindemith: Trauermusik 
("Music of Mourning"). And Partos: Yiskor ("In 
Memoriam"). Emanuel Vardi (viola) with the 
MGM String Orchestra conducted by Izler Solo- 
mon. 1-12" disc (*MGM-E-3432) $3.98. 
The works by Chavez and Ben-Haim, though 
strikingly different in mood, share a basic quality of 
neo-classicism. The Chave? work, particularly, is 
much less based upon folk themes than some of his 
previous works. We found it very listenable and 
continuously interesting. Paul Ben-Haim belongs to 
the school of "Eastern Mediterranean 1 ' Israeli com- 
posers, having fled to Palestine from Germany in 
1933. His Concerto combines the oriental mood with 
traditional Western techniques, to produce an inter- 
esting effort. 

The Decca disc is Volume II of a set titled "New 
Directions in Music and Sound," an attempt by 
Deutsche-Grammophon to give hearing to the major 
works of contemporary German composers. The 
French Suite after Rameau is in five short move- 
ments. The debt to Rameau is more by implication 
than by imitation, though the style of the work owes 
a debt to the French school. Hartmann's Symphony 
is described by the jacket notes as "massive, com- 
plex, even sprawling in its conception." We think 
that the third adjective may be the closest to the 
truth. The disc will be of greatest interest to col- 
lectors of modem music who seek to know what 
has been going on in Germany since the recent war. 
The works on the latter MGM disc share a unity 
of theme, an idea for pairing that many record 
firms could profitably adopt. The Hovahness work, 
possibly the most successful o-f the three, is typical 
of this Armenian-American composer. The present 

* indicates LP 33 1/3 rpm. 
indlcat&i 45 rpm. 







recording is the first appearance of a Partos piece on 
LP. Hindemith's work, composed on the occasion 
of the death of George V in 1936, is in four short 
sections, closing on a chorale of the familiar 
Doxology. N. 

Balakirev: Symphony No. 1 in C. Royal Philhar- 
monic Orchestra conducted by Sir Thomas Bee' 
cham. 1-12" disc (*ANG-35399TP) $3.48. 1-12" 
factory-sealed disc (*ANG-35399) $4.98. 
Borodin: Symphony No. 1 in E-flat. One side, and 
Rimsky-Korsakov: Capriccio Espagnol. Philhar- 
monia Orchestra conducted by Alceo Galliera. 
1-12" disc (*ANG-35346TP) $3.48. M2" fac- 
tory-sealed disc (*ANG-35346) $4.98. 
Sir Thomas* second orchestral recording for Angel 
is not quite the marvel of taste, finesse, and fine son' 
ics that distinguished his Schubert-Grieg release of 
last year. However, a first recording of even a minor 
symphonic work, played by a conductor of Bee- 
chain's stature, becomes a musical event of some im- 
portance. The symphony itself, as might be expected, 
is characteristic of the Russian nationalistic school 
at its best; it occupied Balakirev at odd times over 
a period of forty years. It makes very interesting 
listening for anyone, and if you happen to be a 
Beecham fan, you will certainly want to add this 
to your collection. 

The Borodin Symphony jNJo. 1 (as revised by 
Glasounov and Rimsky-Korsakov) is another of those 
Russian works that were written by "somebody 
else.' 1 Galliera and the Philharmonia play the work 
with a suitable vitality and freshness. It is a very 
appealing score, and the recording is excellent. As a 
second-side filler, the Rimsky Cappricio is more 
than adequate. N. 

Tchaikovsky: Symphony No. 1 in G. Op. 13 ("Win- 
ter Daydreams'*). Vienna Philharmusica Sym- 
phony conducted by Hans Swarowsky. 1-12" disc 
(*UR-UR-8008) $3.98. 

Tchaikovsky: Romeo and Juliet (Overture-Fantasia). 
One side, and R. Strauss: Tod und Verlkarung, 
Op. 24. Philharmonia Orchestra conducted by 
Alceo Galliera. 1-12" disc (*ANG-35410TP) 
$3.48. 1-12" factory-sealed disc (*ANG-35410) 

For the Tchaikovsky fan who has been holding off 
to wait for a good First Symphony, the time may 
now be right. The reproduction of the present disc 
leaves nothing to be desired, and Swarowsky's read- 
ing of this early work seems to register in all the 
right places. Written when the composer was 28, 
the symphony gives more than just a suggestion of 
the mannerisms that would eventually characterize 
the mature composer. In spite of the subtitle "Win- 
ter Dreams,'" the work is not intensely programmatic. 
Surely this disc is of more consequence than, for 
example, the twenty-fifth version of the Romeo and 

Juliet; it's time that all the recording companies 
reach now and then for the lesser works of the 
major composers. 

Galliera's version of the Romeo and Juliet is ade- 
quate in every way. It equals many others, but does 
not surpass the best. Our own favorite remains the 
recent Munch-Boston release for RCA Victor (*V- 
LM-2043). The surprise of the Angel record is the 
magnificent presentation of the Strauss tone'poem, 
second to none in sonic splendor and among the 
very best interpretively as well. Paradoxically, Death 
and Transfiguration is more closely patterned after 
its literary source (a poem by Alexander Ritter) 
than any of Strauss' compositions. Yet it is the one 
that could best survive without any program. The 
development of the musical elements and their fusion 
with the poetic elements is so successful as to make 
the actual text superfluous. Highly recommended, 
even if it means having another Romeo and Juliet 
on the shelf. N. 

Steinberg Conducts Wagner. Pittsburgh Symphony 

Orchestra conducted by William Steinberg. 1-12" 

disc (*CL-P-8368) $3.98. 

CONTENTS: Parsifal Prelude and Good Friday 
Spell; Siegfried Idyll, Die Meistersinger Prelude 
(Act I). 

This is not Steinberg's first Wagner LP (see *CL- 
S-8185, TNR May '53). We recall that that record 
sold very well among those collectors specialising in 
Wagner's orchestral music, and in spite of the many 
recent competitive issues (TNR Feb. & Mar. '57), 
we see no reason why the present disc will not be 
greeted with an equal reception. It is wonderful. 

Tchaikovsky: Nutcracker Suite, Op. 7la. One side, 
and Chabrier: Espana. And Ponchielli: La Gio- 
conda Dansa della ore ("Dance of the Hours"). 
And Suppe: Morning, Noon and Night in Vienna 
- Overture. Royal Philharmonic Orchestra con- 
ducted by Sir Thomas Beecham. 1-12" disc (*C- 
ML-5171) $3.98. 

Current Market Price: $2.98. 

Rossini: Guglielmo Tell Overture. And Rossini: 
H Barbiere di Siviglia Overture. And Donizetti 
La Figlia del Reggimento Overture. I/Orchestre 
des Concerts Lamoureux conducted by Paul van 
Kempen. One side, and Tchaikovsky: Marche 
Slav, Op. 31. And Strauss: Radetzky March. And 
Schubert: Marche Militaire in D. Concertgebouw 
Orchestra of Amsterdam conducted by Paul van 
Kempen. 1-12" disc (*EPIC LC-3349) $3.98. 

Current Market Price: $2.98. 
We guessed it would be only a matter of time 
before the perennial favorite, T^utcmc\er Suite, 
would appear on a Columbia "Buy of the Month." 
We are forced to admit that only Sir Thomas could 
make this chestnut interesting again for us; he 
wrings every last drop from this score, as he does 
from those of the three popular works on the other 



* Indicate* LP 33 1/3 rpm. 
Indicate* 45 rpm. 



R* cords 


side, so that even our jaded ears were thrilled. A 
nice record and an excellent buy. 

Epic offers rousing performances of a half dozen 
famous and best'loved pieces that should make this 
disc a best-seller particularly as Epic has made it 
a "High Fidelity Hit of the Month" (same idea as 
Columbia's "Buy of the Month") at the special 
price of $2.98 for this month only. 

Grand Tour. Philharmonic-Symphony Orchestra 
conducted by Andre Kostelanets. 1-12" disc (*C- 
CL-981) $3.98. 

CONTENTS; Espana (Chabrier); Little Train of 
the Caipira (Villa-Lobos); Blue Danube Waltz, Op. 
314 (Strauss); Lotus Land (Cyril Scott); 1 Amor 
Bru/o Ritual Dance of Fire (Falla); Slavonic Dance 
No. 10 in JS minor, Ojb. 72, No. 2 (Dvorak); Pomp 
and Circumstance March in D, Op. 39, >{o. 1 (El- 

More hot weather music by a past master at this 
sort of thing. Kostelanetz; leads us on a pleasant 
musical trip around the world which you may enjoy 
any time, right in your own living room. 

A Hi-Fi Carnival with Strauss. Vienna State Opera 
Orchestra conducted by Anton Paulik. 142" disc 
(*VAN-VRS-498) $4.98. 
CONTENTS: Bahn Frei, Op. 45; Urn die Wette, 

Op. 241 (E. Strauss). Acceleration Waltz, Op. 234; 

Wiener Blut, Op. 354; S'giebt nur a Kaiserstadt, 

s'giebt nur a Wien; Postilion d'amour, Op. 317; 

Sturmisch in Lieb' un Tanz, Op. 393; Par Force, 

Op. 308 (J. Strauss, Jr.); Dehrien Waltz, Op. 212; 

Mein Lebenslauf ist Lieb und Lust, Op. 263 (Josef 


Viennese Night at the "Proms." Halle Orchestra 
conducted by Sir John Barbirolli. 1-12" disc 
(*ME-MG'50124) $3.98. 

Current Market Price: #3.19. 
CONTENTS: Der Zigcunerbaron Overture; Die 
Fledermaus Overture; Tales from the Vienna 
Woods; Blue Danube Waltz; Pizzicato Pol\a; Per* 
petual Motion; Annen Pol\a; Radetz\y March. 
Waldteufel Waltzes. Philharmonia Promenade OP 
chestra conducted by Henry Krips. M2" disc 
(*ANG-35426TP) $3.48. M2" factory-sealed 
disc (*ANG-35426) $4.98. 

CONTENTS: Les Patineurs; Mon Reve; Estudi' 

ana; Grenadiers; Pomone; Esfrana, 

Strauss: Die Fledermaus Overture. And Strauss 

arr. Ormandy: Die Fledermaus Suite. One side, 

and Josef Strauss: Music of the Spheres, Op. 25. 

And Josef Strauss: Sword and Lyre, Op. 71. And 

Strauss: A Thousand and One Nights, Op. 346. 

Philadelphia Orchestra conducted by Eugene Or* 

mandy, M2" disc (*C'ML-5166) $3.98. 

Concerts in the park, or "Pops" concerts as we 

know them here, are known as the "Proms" in Eng' 

land (because the audience is free to ^promenade" 

during the performance). Whatever you call them, 
these four discs are chock full of just the sort of 
numbers as you might hear at such concerts; all are 
well played, beautifully reproduced and will provide 
delightful summertime listening. 

Dance to the Music of Lester Lanin. Lester Lanin 
and his Orchestra. 142" disc (*EPIC LN-3340) 

Current Market Price: $2.98. 

CONTENTS: Hight and Day; Something's Gotta 
Give; I Could Have Danced All "Night; 32 others. 
Meyer Davis Invites You To Dance. Meyer Davis 
and his Orchestra. 142" disc ^ABC-PARA- 
MOUNT 176) $3.98. 

CONTENTS: Lady Is a Trdmjb; Just in Time; 
You re the Cream in My Coffee; 22 others. 

You are, if we can believe Epic's notes, at the 
debut of Gail Whitney, daughter of Mr. and Mrs, 
Cornelius Vanderbilt Whitney, when you play this 
record. Lester Lanin's is a "society" orchestra, the 
idol of debs and dance instructors for "correct"" 
dance music. Epic is making it available at the spe- 
cial price of $2.98 for this month only. 

In exactly the same vein is the Meyer Davis LP, 
except that it is evidently a studio job, rather than 
having been recorded "on location/' as it were. On 
Lanin's record you can hear the murmur of the 
dancers between numbers; not so on Davis 1 . 


Mozart: Concerto No. 17 in G, K. 453. One side, 
and Mozart: Concerto No. 25 in C, K. 503. Ru- 
dolf Serkin (piano) with the Columbia Symphony 
Orchestra conducted by George Ssell. 1-12" disc 
(*C-ML-5169) $3.98. 

Mozart: Concerto No. 21 in C, K. 467. One side, 
and Mozart: Concerto No. 27 in B-flat, K. 595. 
Rudolf Serkin (piano) with the Columbia Sym- 
phony Orchestra conducted by Alexander Schnei' 
der. 1-12" disc (*OML-5013) $3.98. 
Mozart: Concerto in E-flat, K. 365. Emil Gilels and 
Yakov Zak (pianos) with the State Orchestra of 
the USSR conducted by Kiril Kondrashin. One 
side, and Saint-Saena: Carnival of the Animals. 
Emil Gilels and Yakov Zak (pianos) with the 
State Orchestra of the USSR conducted by Kurt 
Eliasberg, with Daniel Shafran (violoncello). 
1-12" disc (*MONITOR MC-2006) $4.98. 
Columbia is having something of a Serkin cele- 
bration with the release of a number of discs by this 
distinguished artist. Included are the two discs listed 
above of four Mozart concertos. With the excep- 
tion of a INfr. 20, this is about the best opportunity 
we have had to judge Serkin as a Mosart player, and 
the lists are the richer for these fine additions. J^os. 
17 and 25, with cadenzas by Robert Casadesus and 
with Szell conducting, are uniformly beautiful in 
conception and execution. Serkin is no believer in the 

indicate* LP 38 1/3 rpm. 
indicated 45 rpm. 







tiny, harpsichord, tinkle type of Mozart playing; 
which is not to say that he hammers Mozart. His 
playing has a convincing ring to it, and always a 
feeling of freshness and inspiration that are engross^ 
ing. He is a great artist, with individuality, and also 
a sense of Tightness. 

Much the same impression is gained from the disc 
with "Njos. 21 and 27 (the same pairing issued by 
Columbia of Casadesus a few years ago). This time 
Alexander Schneider ""leads'" the orchestra not con' 
ducts we are told, but leads with a violin, in the olden 
style. It sounds good, and there is a broad feeling 
of freedom within the obvious rapport of the soloist 
and players. It is a fascinating disc that should ap* 
peal to most persons interested in Mozart piano con' 
certos. Both discs are splendidly recorded, with per' 
feet balance between solo piano and orchestral 

The two top Soviet pianists collaborate in a per" 

formance of the tuneful Mozart Two'Piano Concerto, 

also listed as being on Period disc 601, and probably 

the same tape. Reproduction is not U.S.A. 1957 

variety, but it is fairly good. The same two pianists, 

Gilels and Zak, join in a performance of Saint' 

Saens' lovely Carnival of the Animals. We had a 

feeling the players were not relaxed enough in this 

jocular score, it all seemed rather stiff and controlled. 

We prefer Slatkin (*CL<P-8270) (TNR Oct. '54) 

for execution and reproduction. Here is a disc that 

is certainly not bad, but it is just as surely not 

really top notch, so we prefer to look around for 

something better. E. E. SHUPP, JR. 

Kirchner: Piano Concerto. Leon Kirchner (piano) 

with the Philharmonic' Symphony Orchestra of 

New York conducted by Dimitri Mitropoulos. One 

side, and Schuman: Credendum. Philadelphia Or' 

chestra conducted by Eugene Ormandy. I* 12" 

disc (*C'ML-5185) $3.98. 

NOTE: For review of this disc see under OR' 

Hovhaness: Concerto for Viola and Strings ("Ta' 
lin"). One side, and Hindemith: Trauermusik 
("Music of Mourning"). And Partos: Yiskor ("In 
Memoriam"). Emanuel Vardi (viola) with the 
MGM String Orchestra conducted by Izler Solo' 
mon. 1-12" disc (*MGM-E-3432) $3.98. 
NOTE: For review of this disc see under OR' 


Vital! trans. Respighi: Chaconne. Jascha Heifetz 
(violin) and Richard Ellsasser, playing the organ 
at Little Bridges Hall, Hollywood (Calif.). And 
Castelnuovo-Tedesco: The Lark. Jascha Heifete 
(violin) and Emanuel Bay (piano). One side, and 
Faure: Sonata No. 1 in A, Op. 13. Jascha Heifetz 
(violin) and Brooks Smith (piano). 142" disc 
(*V'LM-2074) $3.98. 
Vitalfs (16604711) Chaconne is almost as old 

as the violin itself. Originally written for violin anc 
figured bass, it was rescued from oblivion by thi 
German violinist, Ferdinand David, who edited i 
for violin and piano and published it in 1867; fev 
violinists since that time have omitted it from theij 
repertory. But we must confess to never having 
heard Respighfs transcription of it for violin anc 
organ. It is magnificent! Victor's jacket notes states 
that this transcription **. . . explores the technical 
possibilities of the violin beyond the limits known 
in Vitalfs time." But in the hands of Heifetz, this 
display piece becomes a thing of great beauty, and 
the depth of the resplendent organ accompaniment 
makes the work almost symphonic. 

Castelnuovo'Tedesco's The Lar\ is a first record' 
ing; although it is a pleasant enough work, it may 
well be the last recording of it. Many violinists have 
essayed Faure's Sonata ?^o. 1 on LP discs, and 
Heifetz;" 1 is as good as any, better than most. But 
anyone's reason for buying this record is the sen' 
sational recording of the Chaconne; don't miss this 

Boccherini: Quintetto No. 3 in E minor, Op. 50. 

Frits; Worsening (guitar) with string quartet. One 
side, and Boccherini: Concetto in D, Op. 34. 
August Wenninger (violoncello) with the Con' 
cert Ensemble of the Schola Cantorum Basiliensis 
conducted by Joseph Bopp, 1-12" disc (*D'ARO 
3057) $5.98. 

Marais: Suite No. 4 in D. August Wenninger (viola 
da gamba solo), Hannelore Muller (viola da 
gamba) and Fritz; Neumeyer (harpsichord). One 
side, and Couperin: Pieces for Harpsichord Set 
No, 8. Fritz; Neumeyer (harpsichord). 142" disc 
(*D-ARC-3056) $5.98. 

FrescobaJdi: Toccate d'lntavolatura. Fritz; Neumeyer 
(harpsichord). One side, and Frcscoibaldi Organ 
Pieces. Eduard Muller, playing the organ of the 
"Silver Chapel" at Innsbruck. 142" disc (*D' 
ARC-3054) $5.98. 

The three Archive Series albums listed above are 
in the same exalted tradition that restores one's 
faith in (1) the phonograph as a musical instni' 
ment, (2) record companies and (3) music in 

Now, if that seems a little extravagant, just look 
at what has been done! The Boccherini disc offers 
two works by this unknown composer, unknown that 
is to the general musical public except for the 
ubiquitous minuet (from this general stricture one 
expects the phonophfle): a first recording of the 
D major 'Cello Concerto and a unique quintet for 
guitar and string quartet. Musically, both works are 
charming; they are beautifully played and flawlessly 
recorded. There are scholarly notes and much extra' 
musical information. 

Next is a record concerned with, and here one 
quotes, "Western Europe from 1650 to 1750." The 
composers are Marin Marais (1656' 17 28) who was 



* Indicates LP 83 1 /3 rpm. 
indicates 45 rpm. 


The lS(ew Records 


"ordinary of the King's Chamber for the bass viol," 
the King, in this instance being none other than the 
14th Louis, Lc Rot soliel; and Francois Couperin 
("Le GrancT) (1668-1733). To be completely hon- 
est, your correspondent found the Marais a bit mo- 
notonous (Alice^s "muchness" kept coming to mind) 
a personal fault, admittedly; but the playing of 
the fifteen pieces that comprise the Suite by Wen- 
zinger, Neumeyer and Miiller is accurate and stylish. 
Herr Neumeyer plays the ten Couperin items with 
all the wit and charm that they demand. Exciting 
sound here. 

The Italian Seicento is represented by the mighty 
Girolamo Frescobaldi (1583-1643). This one left the 
writer virtually speechless. The organ pieces are 
played on a delightful organ of Italian origin in the 
"Silver Chapel" at Innsbruck even the instrument 
and location are musical and classic! The harpsichord 
Toccate are played on an old 17th Century Cem- 
balone built by Francesco Nobili and it has a 
noble sound. The net result of this disc, then, is to 
transport the listener back to the Seicento, a glorious 
period in Europe, a spectacular one in Italy. Here 
again, the scholarly notes and related information 
add immeasurably to the listener's understanding and 
enjoyment. W. 

Mozart: Quartet No. 15 in D minor, K. 421. One 

side, and Mozart: Quartet No. 16 in E-flat, K. 

428. Smetana Quartet. 1-12" disc (*ANG-4500Q) 

Galuppi; String Quartet in G minor. And Boccher- 

ini: La Tiranna Spagnola, Op, 44, No. 4. One 

side, and Cambini: String Quartet in G minor. 

Quartette Italiano. 1-12" disc (*ANG-45001) 


Boccherini Quintets (Vol. I). Quintetto Boccherini. 
1-12" disc (*ANG-45006) $3.98. 
CONTENTS; Quintet in A, Q. 28. Allegretto, 
Ojx 10, Ho. 5"; Quintet in P, O. 41, HO. 2; 11 Ballo 
Tedesco, Op. 29, Tvfo. 6. 

Boccherini Quintets (Vol. II). Quintetto Boccher- 
ini. 1-12" disc (*ANG-45007) $3.98. 
CONTENTS: Quintet in D, Op. 11, HO. 6 
("I/Uccelliera"); Grave in D minor, Op. 41; Quin- 
tet in A, Op. 40, Ho. 4; Quintet in A minor, Op. 
10, Ho. 1 Largo; Quintet in A, Op. 13, HO. 5 

With these four discs, Angel launches its "Li- 
brary Series.** Its package is designed, says Angel, 
"like a good book, to withstand the wear and tear 
of constant handling and, at the same time, to 
make an attractive and dignified addition to the 
music-lover's library shelf." And so it is; the pack- 
age is somewhere between the "Thrift Pack" (now 
called the "Standard Package" a misnomer, we 
feel, because it is standard to no manufacturer save 
Angel) and the de luxe factory-sealed editions. The 
cover is plain, the back contains sparse, yet basically 

informative notes, and the price ($3.98) falls be- 
tween the $3.48 Thrift Pack and the $4.98 factory- 
sealed edition. 

The Smetana Quartet makes its American debut 
in the first record in the series, playing two lovely 
Mozart Quartets to perfection . . . The capita] 
Quartetto Italiano, previously introduced on Angel's 
regular series, performs some early Italian chamber 
works with elan; these almost unknown works will 
prove interesting to collectors of music of the period 
Two volumes of Boccherinf s works for string 
quintet complete the offering. The Quintetto Boc- 
cherini has specialized in Boccherini Quintets since 
one of its members discovered, in Paris, a complete 
collection of the first editions of Boccherinfs 150 
Quintets, providing a repertoire of some 30 programs 
in which no single item need figure twice. The present 
discs represent the American debut (on discs) of this 
fine group; we trust it will create new interest in the 
music of this great and sadly neglected composer. 


House of the Lord. Roger Wagner Chorale directed 

by Roger Wagner. 1-12" disc (*CL-P-8365) 


CONTENTS: Lord's Prayer (Malotte); Hospodi 
Pomilui (Lvovsky); Eili t Eili (trad.); Enite, Enite! 
(trad.); A Mighty Portress Is Our God (trad.); 
Panis Angeizcus (Franck); Kol Hidrei (trad.); Were 
Tow There? (trad.); Ave Maria (Schubert); Oh, 
God, Our Help in Ag'es Past (Watts or Croft) ; Tu Es 
Petrus (Palestrina); Prayer of Thanksgiving (trad.). 

It would seem that the Roger Wagner Chorale 
can sing anything from spirituals and folk songs to 
Bach cantatas. Here it essays a heterogeneous group 
of religious melodies Protestant, Roman Catholic, 
Russian Orthodox, Greek Orthodox, Anglican, Jew- 
ish, and the ubiquitous spiritual. The talent here is 
remarkable; sincerity is the keynote to the success 
of this disc, and that quality is evident to anyone 
hearing this disc. If you would like a recording of 
some beautiful choral music of churches other 
than your own, you will be well pleased with this 

Orff: Carmma Burana. (Sung in Latin). Agnes Gie- 
bel (soprano), Marcel Cordes (baritone), Paul 
Kuen (tenor), Chorus of the West German Radio 
and Cologne Radio Symphony Orchestra con- 
ducted by Wolfgang Sawallisch. 1-12" disc 
(*ANG-35415TP) $3.48. 1-12" factory-sealed 
disc (*ANG-3541S) $4.98. 

This is the second recording of OriFs entertaining 
opus, and it is a technical improvement over the 
earlier Decca recording, although artistically this lis- 
tener is inclined to prefer the Jochum version, de- 
spite the presence of composer Orff at the Angel 
recording sessions. Agnes Giebel is a fine soprano 

* Indicates LP 38 1/8 rpm. 
lndlcati 45 nnu 







but no match for Elf ride Trotschel, Marcel Cordes 
is a first rate baritone, and Paul Kuen is the same 
tenor as was used in the older recording. The prm- 
cipal difference lies in the attitudes of the con- 
ductors Sawalhsch tends to stress the rhythmic as- 
pects of the score, while Jochum rather played them 
down, laying emphasis on the melodic elements. One 
supposes Sawallisch had the composer's blessing and 
so comes closer to OrfFs intentions; but this listener 
still prefers the less barbaric approach. Angel's fac- 
tory sealed package contains the texts and transla- 
tions along with informative notes. The review of 
the Decca recording is contained in THE NEW RE- 
CORDS for December 1953 which review also con- 
tamed some detailed information on the music. W. 

Bach: Cantata No. 1 ("Wie schon leuchtet der Mor- 
genstern"). Gunthild Weber (soprano), Helmut 
Krebs (tenor), Herman Schey (bass); Berlin Mo- 
tettenchor and Berlin Philharmonic Orchestra 
conducted by Fritz Lehmann. One side, and Bach: 
Cantata No. 4 ("Christ lag in Todesbanden"). 
Helmut Krebs (tenor), Dietrich Fischer-Dieskau 
(baritone); Chor der Staatlichen Hochschule fur 
Musik Frankfurt am Main and Orchester des 
Bachfestes Gottingen 1950 conducted by Fritz 
Lehmann, with Maria Jung (organ). 1-12" disc 
(*D-ARC-3063) $5.98. 

Bach: Cantata No. 21 ("Ich hatte wiel Bekummer- 
nis"). Gunthild Weber (soprano), Helmut Krebs 
(tenor), Herman Schey (bass); Berliner Motet- 
tenchor and Berlin Philharmonic Orchestra con- 
ducted by Fritz Lehmann, with Karl Stems 
(oboe). 1-12" disc (*D-ARC-3064) $5.98. 

Bach: Cantata No. 19 ("Es erhub sich ein Streit"). 
One side, and Bach: Cantata No. 79 ("Gott, der 
Herr, ist Sonn' und Schild"). Gunthild Weber 
(soprano), Lore Fischer (contralto), Helmut 
Krebs (tenor), Herman Schey (bass); Berliner 
Motettenchor and Berlin Philharmonic Orchestra 
conducted by Fritz Lehmann. 1-12" disc (*D- 
ARC-3065) $5.98. 

Bach: Cantata No. 39 ("Erich dem Hungrigen dein 
Brot"). One side, and Bach: Cantata No. 105 
("Herr, gehe nicht ins Gericht"). Gunthild 
Weber (soprano), Lore Fischer (contralto), Hel- 
mut Krebs (tenor), Herman Schey (bass); Ber- 
liner Motettenchor and Berlin Philharmonic Or- 
chestra conducted by Fritz Lehmann. 1-12" disc 
(*D-ARC-3066) $5.98. 

Bach: Cantata No. 170 ("Vergnugte Ruh\ beliebte 
Seelenlust"). Elisabeth Hongen (contralto) and 
Bayerisches Staatsorchester Miinchen conducted 
by Fritz Lehmann, with Heinz Schnauffer (or- 
gan). One side, and Bach: Cantata No. 189 
("Meine Seele ruhmt und preist"). Walther Lud- 
wig (tenor) with instrumental accompaniment 
conducted by Fritz Lehmann. 1-12" disc (*D- 
ARC-3067) $5.98. 
The collection of Bach cantatas offered in Decca's 

Archive Series are for the most part not recent 
recordings. Generally, they date from 1950 to 1952, 
and while they are completely adequate sonically, 
they may not represent the best reproduction pos- 
sible five to seven years later. The pairing of Can" 
tatas ?sfo. 1 and "No. 4 is easily the best choice from 
the collection. The artistry of Messrs. Fischer-Dies- 
kau and Krebs place this disc well ahead of any of 
the others. Aside from the excellence of the solo 
voices, these two performances have a vitality not 
evident in the remaining ones. (We particularly re- 
call the 1949 Vox St. Matthew Passion that em- 
ployed the same two singers under Lehmann's direc- 
tion. The present effort attains the same high level 
as that early LP milestone.) 

The scholarly presentation of the Archive packag- 
ing documentation, etc. may be the reason for a 
slight disappointment in these discs. Such exterior 
perfection promises equal quality within. While none 
of the cantatas listed here receive performances that 
could be called either poor or bad, we confess to 
having found them less than exciting and we like 
Bach! N. 



Tchaikovsky: Pique Dame (complete). (Sung in 
Russian). Soloists, Chorus of the Yugoslav Army, 
Childrens Chorus of Radio Belgrade and Orches- 
tra of the National Opera, Belgrade, conducted 
by Kreshimir Baranovich. 4-12" discs in box 
(*L-XLLA-44) $19.92. 

Hermann Alexander Marinkovich (t) 

Count Tomsky Jovan Gligor (bt) 

Prince Yeletsky Dushan Popovich (bt) 

Chekalinsky Drago Petrovich (t) 

Sunn Alexander Veselinovich (bs) 

Countess Melanie Bugarinovich (ms) 

Liza Valeria Heybalova (s) 

Governess Maria Verchevich (ms) 

Ritnsky-Korsakov: The Snow Maiden (complete). 
(Sung in Russian). Soloists, Chorus and Orches- 
tra of the National Opera, Belgrade, conducted 
by Kreshimir Baranovich. 5-12" discs in box (*L- 
XLLA-45) $24.90. 

Snegurochka Sofiya Jankovich (s) 

Lei Militza Miladinovich (ms) 

Kupava Valeria Heybalova (s) 

Tsar Berendei Stepan Andrashevich (t) 

Mizgir Dushan Popovich (bt) 

These are the sixth and seventh Russian operas 
to be issued by London, the previous five being 
Khovantchina (*L-XLLA-29, TNR Nov. '55), 
Prince Igor (*L-XLLA-30, TNR Nov. '55), Boris 
Godounov (*L-XLLA-31, TNR Jan. '57), Eugen 
Onegin (*L-XLLA-41 9 TNR Feb. '57), and A Life 
for the Tsar (*L-XLLA-43, TNR May '57). With 
the exception of Bons Godounov (which offered in- 
explicably inferior reproduction), all of them have 



* Indicates LP 33 1/3 rpm 
Indicates 45 rpm. 




proved to be excellent recordings, both artistically 
and mechanically. The present two belong with the 
majority; they are wonderful. 

Pique Dame, of course, has little competition in 
the LP catalogs; the previous Colosseum recording 
may be dismissed summarily because of totally in' 
adequate reproduction, and the Concert Hall version 
(TNR July '54) runs a poor second to the present 
brilliant performance. The principals will be gen- 
erally known to possessors of London's previous re* 
cordings of Russian operas. Alexander Marinkovich 
and Valeria Heybalova as Hermann and Lisa, the ill- 
fated lovers, turn in fine performances; the always 
reliable Melanie Bugarinovich as the Countess (the 
Queen of Spades) remains true to form. One feature 
not always noted in Russian opera recordings is the 
ease with which one can distinguish one singer from 
another as he follows the libretto; London's engi' 
neers have done an amazing job in capturing the 

Bnegurochl^a, or "The Snow Maiden," stars Sofiya 
Jankovich, who sang one of the lesser roles in the 
Khovantchina recording. Mme. Jankovich is the pos' 
sessor of a light, musical voice; if, at first, it sounds 
nasal to you, you may be sure that this is due to the 
Russian Language and that this quality is not at all 
offensive as the opera progresses. Valeria Heybalova 
appears again, this time as the spurned bride-to-be, 
Kupava, and the strong'voiced Dushan Popovich is 
the spurner, Mizgir; they are both excellent. 

As has been noted in these columns many times 
before, it is the conductor who makes or breaks any 
operatic performance, and to Kreshimir Baranovich 
must then go a large measure of praise for present' 
ing both Pique Dame and The Snow Maiden in the 
best possible light. The choral and concerted nunv 
bers in both sets sparkle; the choruses have been re- 
hearsed to razor-sharpness; and the orchestra is evi- 
dent where it should be without being obtrusive. 

Excellent libretti, featuring Russian, phonetic Rus- 
sian and English translations accompany both sets, 
making it particularly easy, as we have noted, for the 
uninitiated to follow the proceedings. The ffrr sound 
is of the very best. J. 

Smetana: The Bartered Bride (complete). (Sung in 

Czech). Soloists, Chorus and Orchestra of the 

Slovenian National Opera conducted by Dimitri 

Gebre. 3-12" discs in box (*EPIC SC-6020) 


Krusina Yekoslav Yanko (bt) 

Ludmilla Bogdana Stritar (ms) 

Marenka Vilma Bukovetz (s) 

Micha Vladimir Dolnichar (bs) 

Hata Elza Karlovatz (ms) 

Vaaek Yanez Lipushchek (t) 

Jenik Miro Brajnik (t) 

Kecal Latko Koroshetz (bs) 

Since its first performance in 1S66 The Bartered 
Bride has captivated audiences with its rollicking 
good humor and genuine Slavonic spirit. Smetana 

was interested in folk music to the extent that he 
did much research along that line, a fact which is 
clearly evident throughout this opera. 

The story itself evokes a large amount of jollity, 
and the score is filled with vivacity from the over- 
ture to the finale. Although Epic does not supply 
information about the leading singers on this re- 
cording, it is evident that they have had much ex- 
perience with The Bartered Bride and that they are 
convinced of the fact that the work which they are 
giving has a great deal to offer. Vilma Bukovetz, the 
Marenka, and Miro Brajnik, the Jenik, are especially 
effective as they go through the pseudo-tragedy of 
love gone wrong. The rest of the cast is equally ef- 
fective with the genuine good humor of the plot, as 
well as the native folk tunes involved. 

The conductor, Dimitri Gebre, paces the orchestra 
in spirit with the comedy. The sound is especially 
noteworthy. All this results in one fact of the sev- 
eral recordings now on the market, this is the one 
to buy. P, 

Cornelius: The Barber of Bagdad (complete). 
(Sung in German). Soloists, Philharmonia OP- 
chestra and Chorus conducted by Erich Leins- 
dorf. 2-12" discs (*ANG-35394/5TP) $6.96. 2- 
12" discs in factory-sealed album (*ANG- 
3553B/L) $10.98. 

Abul Hassan Oskar Czerwenka (bs) 

Baba Mustapha .Gerhard Unger (t) 

Margiana Elisabeth Schwarzkopf (s) 

Bostana , Grace Hoffman (c) 

Nureddin Nicolai Gedda (t) 

1st Muezzin Eberhard Wachter (bt) 

2nd Muezzin August Jaresch (t) 

3rd Muezzin Rudolf Christ (t) 

Caliph Hermann Prey (bt) 

Were you ever disappointed after looking forward 
to something (in this case, hearing a certain opera) 
with a great deal of anticipation trying to imagine 
how it would sound, reading glowing descriptions of 
the music how funny it was, how cleverly con- 
structed and (a sure trap for this writer) how the 
composer admired Berlioz and how Berlioz" opera, 
Benvenuto Cellini, influenced the score; and finally, 
to cap the climax, it appears in a recorded version 
by a favorite conductor? 

Your correspondent, as you can easily surmise, 
has just gone through this experience with some very 
melancholy results; he was, to put it bluntly, disap- 
pointed and chagrined. But even allowing for over- 
anticipation, something obviously is amiss. The 
vaunted humor of the score and libretto seemed 
flat-footed and simian the alleged sparkle just did 
not appear. Who is to blame for this state of af- 
fairs? The cast? Conductor? Cornelius? Or this re- 
viewer's premature enthusiasms? Perhaps the 
"blame"* may be divided equally, The Barber of 
Bagdad has had a checquered career on the Conti- 
nent and never had any degree of success in this 

* indicates LP 58 1/8 rpm. 
indicates 45 rprn. 


PAGE 10 




country. Despite the obvious unfairness of such com' 
parisons, two other operatic barbers (the same bap 
ber, to be sure, but two different episodes) keep in' 
truding: Mozart's and Rossini's. Abul Hassan Ali 
Ebn Bekar is a pale, twittering fellow compared 
with the boisterous and vital Figaro, and Oskar 
Czerwenka does not have the vocal equipment or 
imagination to rise above the music's limitations. 
Nicolai Gedda's light tenor is employed tastefully 
and accurately as Nureddin, but he, too, is earth- 
bound. Margiana (hard "g") has the advantage of 
Elizabeth Schwarzkopf's lovely soprano, but the 
character remains two'dimensional. 

It seems useless to continue. The great hopes 
aroused in this writer's mind about Cornelius' Bar* 
ber of Bagdad never materialized. Erich Leinsdorf 
conducts with a reasonable degree of accuracy and 
feeling, but the affair just does not come off. The 
prospective purchaser is advised to hear the set first. 
Good sound throughout, and there is an excellent 
libretto and informative notes with the factory 
sealed package. W. 

Wagner: Die Meistersinger (highlights). Annelies 
Kupper (soprano), Herta Topper (contralto), 
Josef Herrmann (baritone), Wolfgang Windgas' 
sen (tenor), Richard Holm (tenor) with chorus 
and orchestra. M2" disc (*D-DL-9895) $3.98. 
Weber: Der Freischiitz (highlights). Rita Streich 
(soprano), Wolfgang Windgassen (tenor), Anny 
Schlemm (soprano), Hermann Uhde (bass'bari' 
tone) with chorus and orchestra. 1'12" disc (*D' 
DL-9896) $3.98. 

Wagner: Tristan und Isolde (highlights). Astrid 

Varnay (soprano), Margarete Klose (contralto), 

Wolfgang Windgassen (tenor), Kim Borg (bass), 

Herta Topper (contralto) with chorus and or' 

chestra. M2" disc (*D-DL-9897) $3.98. 

The long playing record lends itself admirably to 

the "Highlights" sort of disc in that, instead of 

snippets, one can have whole arias and complete 

scenes. Unfortunately, however, here as elsewhere 

the chain is no stronger than its weakest link and 

the weak link in two of these three records under 

consideration is the fellow who selected the material. 

For example, in the Freischutz disc, the most ex* 

citing scene, that of the Wolfs Glen, is conspicuous 

by its absence, while in the Tristan und Isolde the 

Liebesnacht music is omitted and the Liebestod is 

represented in an orchestral version! Someone struck 

out with the bases loaded here. The Meistersinger, 

on the other hand, is very tastefully arranged and 

includes a lovely Preislied, the Quintet and the 

Wahnmonolog, among other items. 

The tenor for all these records is the excellent 
Wolfgang Windgassen, who is in good voice for all 
his arias. Astrid Varnay and the veteran Margarete 
Klose are adequate as Isolode and Brangane; Kim 
Borg is a superior Mark. Josef Herrmann proves to 
be an outstanding Sachs; Rita Streich is a first' 

class Annchen, while Anny Schlemm is an undistin' 
guished Agathe. Most of the conducting is done by 
Ferdinand Leitner there are a few excerpts directed 
by Arthur Rother. 

Frankly, this writer was genuinely disappointed in 
all but the Meistersinger record. The recorded sound 
is good but in no way exceptional. There are ade' 
quate jacket notes. W. 

Pergolesi: H Maestro di Musica. Elisabeth Soder' 
Strom and Karin Sellergren (sopranos); Arne 
Ohlson (tenor); Carl' Axel Hallgren (baritone); 
Drottningholm Theater Chamber Orchestra con' 
ducted by Lamberto Gardelli. M2" disc 
(*WEST'XWN-18262) $3.98. 

Current Market Price: #3.19. 
From Sweden, Westminster brings American mu' 
sic lovers a first recording of a little opera buff a en' 
titled II Maestro di Musica that is still attributed to 
Pergolesi (17104736), although modern musico' 
logical research has pretty well established it to be 
largely the work of Pietro Auletta (1698'1771). 

It turns out to be a well sung, finely recorded lit' 
tie intermezzo of the sort that used to be performed 
between the acts of old opera seria. The singers, all 
members of the Drottningholm Palace Theatre, have 
good, if in no way exceptional, voices. Arne Ohlson, 
as Maestro Lamberto, proves to have, in addition 
to a pleasant tenor, a sense of humor and a sure 
feeling for the theatre, all of which make his per' 
formance a good one. Mmes. Sellergren and Soder' 
strom and M. Hallgren are also reliable artists whose 
characterizations are expert. Mo. Gardelli (obviously 
an Italian import) directs with taste and a firm hand. 
One leaves the disc, however, with the feeling that 
the Drottningholm Palace Theatre's resources could 
have been expended in a better, stronger musical 
cause. W. 


Music from Vienna. Hilde Gueden (soprano) with 

the Vienna State Opera Orchestra conducted by 

Wilhelm Loibner or Kurt Adler. 1-12" disc (*L- 

LL-1323) $3.98. 

CONTENTS: Dubarry Ich schenk' mein Hers 
(Millocker); Land of Smiles Homeland (Lehar); 
Giuditta Meien Lippen sie kussen so Heiss (Le- 
har) ; Grafin Maritza selections (Kalman) ; Czardas* 
fursten selections (Kalman); Paganini selections 
(Lehar); (15) Viennese folk songs. 

Hilde Gueden certainly has an affinity for this 
sort of music, as was amply demonstrated by her 
two 10'inch LP's entitled "Memories of the Vienna 
Theatre" (TNR June '55). The present disc couples 
selections from six Viennese operettas most popular 
on the Continent with fifteen "folk" songs of 
Vienna; if a glass of wine or a stein of beer with this 
record seems a propos to you, we're certain that 



' indicates LP 38 1/3 rpm. 
indtcatoi 45 rpm. 





neither London Gramophone nor Miss Gueden will 

Schubert: Lieder. One side, and Schumann: Liedcr. 

Kirsten Flagstad (soprano) accompanied by Ed' 
win McArthur (piano), M2" disc (*L-LL-1546) 

CONTENTS: Dem Unendlichcn; Der Erl\dnig; 
Am grabs Anselmos; Des Madchens Klage; Avc 
Mana. (Schubert). Der Nyssbttum; Die Soldaten- 
braut; Meine Rose; Liebeslied; Die Lotosblume; 
Widmung; Erstes Grim; In der Premde (Schumann). 
Faure: La Bonne Chanson, Op. 61. One side, and 
Schumann: Liederfcreis, Op. 39. (TNR June '53). 
Suzanne Danco (soprano) accompanied by Guido 
Agosti (piano). M2" disc (*L-LL4324) $3.98, 
The first of these two discs devoted to lie der 
raises a pretty problem for your correspondent. To 
put it bluntly, he admires Kirsten Flagstad as a 
Wagnenan soprano but is definitely cool towards her 
as a singer of the Schubert and Schumann lied. She 
sings without two cents worth of feeling but with 
a thousand dollars worth of intelligence and dra- 
matic resolution. This, however, is hardly the treat' 
ment for Schubert and Schumann, and consequently 
Der JSrl^onfg, Der T^ussbaum and Widmung to 
mention but a few fall rather flat. Wholehearted 
(on-e hesitates to say indiscriminate, but that is what 
one really means) admirers of the great Norwegian 
soprano will not be bothered by such details, and 
for them the disc will be an unqualified success. The 
recorded sound is good, with the voice well forward. 
Mile. Danco is much more this writer's cup of tea. 
Both sides of this 12" record are reissues of earlier 
10" releases. The Faure cycle is exquisitely sung in 
an understanding and very Gallic mann-er. Mile. 
Danco proves herself to be sympathetic, and she 
yields readily to musical inspiration. As for the 
Schumann opus, one can only repeat what was said 
when this writer reviewed the original record it 
is a poised, polished and highly successful projection 
of the song cycle. The tapes have been re'engineered, 
and the new sound is thoroughly satisfactory. 


Strauss: One Night in Venice (highlights). Soloists, 
Vienna Chamber Choir and Vienna Symphony 
Orchestra conducted by Rudolf Moralt. 1-12" 
disc (*EPICLO3324) $3.98. 

Mendelssohn: A Midsummer Night's Dream Over* 
ture and Incidental Music, Op, 61, Rita Streich 
(soprano), Diana Eustrati (mezzo-soprano), 
RIAS Chamber Choir and Berlin Philharmonic 
Orchestra conducted by Ferenc Fricsay. M2" 
disc (*D-DL-9846) $3.98. 

Most of Johann Strauss" operettas after Die Fleder' 
mnus and Ziegeunerbaron seem to be variations on 
the themes of the two best known works. One >{igJit 
in Venice is no exception here are the same catchy 
tunes (only no longer new), the waltxes, marches 

and quadrilles. All that is missing is the spark o 
genius that fired the earlier works. Soloists includ 
such well known names as Waldemar Kmentt am 
Kurt Preger, and all are good; they enter into th 
spirit of the affair, and Rudolf Moralt keeps every 
thing in hand. Epic's sound is very fine and th< 
discs can be recommended for the operetta anc 
musical comedy clientele there is little in it for th 
serious music lover. 

Mendelssohn's Incidental Music to A Midsummer 
Tvjight's Dream has received many recordings, but 
this recent Decca issue 'has a lot of merit. First, all 
the music is here on one disc the rather short vocal 
passages are entrusted to Rita Streich, a really first' 
class soprano as readers of this column well know, 
and Diana Eustrati, a personable mewo. Both acquit 
themselves in fine fashion. Second, Herr Fricsay 
directs the superb Berlin Philharmonic Orchestra in 
a brisk and businesslike manner; he never allows the 
music to drag. The marvelous overture is handsomely 
done; and the other pieces, some familiar and others 
not so well known, are all played with meticulous 
attention to detail There are good notes, an at' 
tractive jacket and fine sound. A real bargain at 
its modest price. W. 

Songs of the Sea. Alan Mills (vocals) with the 
"Shanty Men" and Gilbert Lacombe (guitar). 1- 
12" disc (*FOLK'FA'2312) $5.95. 

The thirtytwo sea chanteys (or "sea shanties," as 
they are also known) give an excellent representa' 
tion of the various types of chanteys there were. 
Anyone who has ever had anything to do with the 
running of a modern ship will -have great difficulty 
understanding how an old sailing vessel ever man- 
aged to get underway. Raising the anchor, setting 
the sales, steering everything was accomplished by 
manual labor. Since it was often necessary to have 
a gang of men doing the same job at the same time 
(weighing anchor alone must have taken quite a 
handful), it was essential that all -hands pull (or 
push) at the same time; a good shantyman was 
worth his weight in gold, for by singing the chantey 
and having the crew join in, he kept them together 
to t?he rhythm of the song. 

The very excellent and scholarly notes in the 
booklet accompanying this record will explain to the 
hearer the different types of chanteys and give the 
words to all those sung. Alan Mills is a true folk 
singer, and the mood and spirit are authentic. Be' 
sides perserving a lost art, this disc is lots of fun. 
Reproduction is crisp and clear. 

Weill; Die sieben Todsunden ("The Seven Deadly 
Sins"). (Sung in German). Lotta Lenya with sup' 
porting cast and orchestra conducted by Wilhelm 
BruckepRuggerberg. 142" disc (*C-KL-5175) 

The musical stage sensation of the 1933 Paris 

* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 


PAGE 12 





season was Die sieben Todsunden, a story danced 
and sung to lyrics by Bertolt Brecht, music by Kurt 
Weill, and choreography by George Ballanchme, all 
newly arrived in France. Star of the spectacle was 
Lotte Lenya, Kurt Weilfs wife, who immediately 
won universal acclaim as a singing-actress of extraor' 
dmary talent. She repeated the performance in the 
summer of 1956 in a Hamburg recording studio for 
another in her retrospective series of Weill musical 
albums which began with the "Berlin Theatre 
Songs" (*C-KL-5056, TNR Jan. ^56). 

The story is set in a half'real, half-mythological 
jazzy America; its theme is that of the "Siamese 
Sisters that exist, indissolubly linked, in the nature 
of every woman/" Two sisters, both named Anna, 
go out into the world to earn money with which 
their family is to build a house in Louisiana. In 
their travels they are confronted with the seven 
deadly sins: Idleness, Pride, Anger, Greed, Lust, 
Avarice and Envy. 

Though sung in German, both German and Eng- 
lish texts are included in a folder which accom- 
panics this disc; those interested will find both re' 
cording and performance exemplary in every respect. 

Schumann: Liederkreis, Op. 24. One side, and Wolf: 
Morike Lieder. Gerard Souzay (baritone) accom' 
panied by Dalton Baldwin (piano). I'll" disc 
(*L-LL-1476) $3.98. 

Martin: (6) Monologues from HofmannsthaTs "Jed- 
ermann." One side, and Schubert Recital. Heinz 

Rehfuss (baritone) accompanied by Frank Martin 
(piano). 1^11" disc (*L-LL-1405) $3.98. 

Wanderer, Op. 65, ?Sfo. 2; Totengrdbers Heimweh; 
Auf der Donau, Op. 21, Tsfo. 1; Fischerweise, Op. 
96, 7^[o. 4; Derzurnenede Barde, Gruppe aus dem 
Tartarus, Op. 24, Tsfo. 1. 

Songs of Debussy. One side, and Lieder of Brahms 
and Wolf. Suzanne Danco (soprano) accompanied 
by Guido Agosti (piano). 142" disc (L-LL- 
1329) $3.98. (TNR July '51). 

The present writer has often extolled Gerard 
Souzay's artistry, and the present disc offers nothing 
to make him change his tune. The singer's phrasing, 
his careful and distinct enunciation and general 
musicianship are all of the highest order. Conse' 
quently when these many talents are brought to 
bear on the Schumann Lieder\reis (not the familiar 
Opus 39, but a lesser known at least to your cor- 
respondent Opus 24) the results are interesting, 
both musically and artistically. The same applies 
to the Wolf Mori\e Lieder that receive their finest 
LP performances. Danton Baldwin is a tower of 
strength at the piano and contributes measurably 
to the disc's success. Fine sound texts and trans- 

The Rehfuss recording proved a disappointment 

to this listener. The selection of Schubert songs is 
certainly off the beaten track (even Der Wanderer 
is not the famous one, but a virtually unknown 
"brother"), but, unfortunately Rehfuss sings them 
in an ordinary manner and with an ordinary voice. 
Martin's (1890- ) setting of six monologs from 
Everyman (Hofmannsthafs version to be sure) seem 
to have lost all their original import and bite in 
translation. Both ideas presented on this disc, while 
intrinsically good, miss fire. Better hear this one 
first; no texts, good sound. 

The Danco recording is a re-pressing and re- 
engineering of two earlier 10" discs. The new dress 
is most becoming and the reader is referred to the 
July 1951 issue of THE NEW RECORDS for com- 
ment and the list of contents. W. 

Mozart: (12) Songs and (2) Comic Ensembles. 

Margot Guilleaume (soprano); Lotte Wolf-Mat- 
thaus (contralto); Helmut Krebs and Fritz Wun- 
derlich (tenors); Hans Giinter Nocker (bass); 
and Fritz Neumeyer (piano). 1-12" disc (*D- 
ARC-3061) $5.98. 

CONTENTS: Das Veikhen, K. 476; Das Lied 
der Trennung-, K. 519; Als Luise die Brief e ihres 
ungetreuen Liebhabers verbrannte, K. 520; An 
Chloe, K. 524; Abend em pfindung, K. ?23; Die ihr 
des unermesslichen Weltalls, Kantate, K. 619; War* 
nung, K. 433; Der Zauberer, K. 472; Die betrogene 
Welt, K. 474; Die AJte, K. 517; Die Werschwei- 
gung, K. 418; Lied der Freiheit, K. 506 (songs). 
Caro mio Druc\ und Schluc\, K. 57la (comic quar- 
tet). Das Bandel, K. 441 (comic trio). 

This writer has repeatedly sung the praises of the 
Archive Series (Decca) and, like the children in the 
old story, "here we go again." Certainly, despite the 
excellent Vanguard disc of the Mozart songs as sung 
by the delicious Anny Felbermeyer, this record, too, 
belongs in every representative collection if only for 
the fact that a man's voice is used in the songs 
whose text requires it and also for the 18th cen- 
tury piano used for the accompaniments. 

Miss Guillaume, the possessor of a beautiful lyric 
soprano, sings Das Veikhen and Der Zauberer 
(among others) in a manner that stamps her a musi- 
cian as well as an uncommonly fine artist. Messrs. 
Krebs, Wunderlich and Nocker also perform in fault- 
less fashion as does Lotte Wolf-Matthaus in the 
humorous Der AJte. 

Particularly fine and for musical reasons as well 
as for their novelty are the so-called "comic" trio 
and quartet both of them caricatures of Mozart's 
own operatic style the trio, especially, could have 
been lifted from Le J<[ozze di Figaro. The "comic" 
effect lies only in the text and humorous, perhaps, 
would be a better description. 

As is usual with the Archive Series, the notes, 
recording and texts are all models of their kind. 
Mozarteans should not miss this one. W. 

PAGE 13 


* Indicates LP 83 1/3 *pm. 
Indicates 45 rpm. 






Beethoven: Sonata No. 14 in Csharp minor, Op. 
27, No. 2 ("Moonlight"). And Beethoven: So- 
nata No. 8 in C minor, Op. 13 ("Pathetique"), 
And Beethoven: Sonata No. 23 in F minor, Op. 

57 ("Appassionata"). Rudolf Serkin (piano). 1- 

12" disc (*OML-5164) $3.98. 
Schubert: Moments Musicaux, Op. 94 (complete). 

One side, and Schuibert: Sonata in C (unfinished). 

Rudolf Serkin (piano). 1-12" disc (*C-ML-5153) 


No fewer than six other pianists have issued a 
recording of these same three Beethoven sonatas, the 
first in our recollection being Badura-Skoda (now 
*WEST-XWN-18274, TNR Nov. '54). We should 
have thought this would be enough; our recom- 
mendations would be Badura-Skoda if you like the 
"poetic" approach or Kempff (*D-DL-9864, TNR 
Feb. '57) if you prefer the stolid, Germanic tradi- 
tion . . . Moments Musicaux is another piece that 
has been oft-recorded, but here Serkin has not the 
caliber of competition he does on the Beethoven, 
and his work impresses us as the best available. 
Schubert seems to have had a habit of not finishing 
things. The present Sonata is a four-movement work, 
but the last two movements lacked a few bars to 
make them whole. However, we are told that the 
first two movements represent the finest music in the 
score, and it is only these two which are presented 
here; although the work adds to Schubert's re- 
corded repertoire, it is mostly recommended as a 

Brahms Recital. Malcusynski (piano). 1-12" disc 

(*ANG-35349TP) $3.48. 142" factory-sealed 

disc (*ANG-35349) $4.98. 

CONTENTS: Variations and Fugue on a Theme 
by Handel, Op. 24; Intermezzo in E'flat minor, Op. 
118, Mo. 6; Rhapsody Xo. 2 in G minor, Op. 79. 
Brahms RecitaL Leon Fleisher (piano). 1-12" disc 

(*EPICLO3331) $3.98. 

CONTENTS: Variations and Fugue on a Theme 
by Handel, Op. 24; Waltzes, Op. 39. 

In expressing an opinion in favor of Leon Fleisher 
over Malcusynski in the Variations and Fugue on a 
Theme by Handel, we can assure our readers of a 
completely unprejudiced choice. And the surprise 
was certainly ours, for Malcusynski is one of our fa- 
vorites. For laughs, we asked our wife to put these 
discs on our phonograph, one after the other, so 
tihat we couldn^t see which was playing, and we 
would choose "blind," as it were. And Fleisher was 
our choice on two different such occasions. We pre- 
dict a great future for this young man (see TNR 
Apr. '57 under CONCERTO for his first American 
recording) and urge all devotees of piano music to 
investigate this new Epic disc. 

Villa-Lobos: Bachianas Brasileiras No. 2. One side, 
and Albeniz: Rhapsodic Espagnole, Op. 70. Fe- 

licja Blumental (piano) with the Filarmonica Tri- 

estina conducted by Luigi TofFolo. And Saint* 

Saens: Wedding Cake, Op. 76. Felicja Blumental 

(piano) with I Musica Virtuosi di Milano. 1-12" 

disc (*VX-PL- 10070) $4.98. 

If readers wish an insight into the abilities of 

Felicja Blumental (London spelled it "BhunenthaT 

then), they are referred to the October 1955 issue 

of THE NEW RECORDS, when her readings of Ta- 

vares' Concerto in Brazilian Themes and Pad-crew- 

ski's Fantasie Polonaise were released (*L-LL-1104). 

One won't learn much from this poorly reproduced 

LP by Vox altogether unacceptable in this day and 

age, even disregarding its premium price. 


The Wedding Album. Richard Ellsasser, playing the 

organ of the John Hays Hammond Museum, 

Gloucester, Mass. 1-12" disc (*MGM-E-3398) 


CONTENTS: Because; With This Ring I Do 
Thee Wed; This The Moment Divine; Lohengrin 
Wedding March; I Love You Truly; 0, Promise 
Me; O Perfect Love; Till Death Do Us Pan; The 
Lord's Prayer; A Wedding Prayer; Midsummer 
Right's Dream Wedding March; This Is for AI- 
GUT: Springtime Suite. Richard Ellsasser, playing 

the organ of the John Hays Hammond Museum, 

Gloucester, Mass. 1-12" disc (*MGM-E-3296) 

Hi-Fi Holiday for Organ. Richard Ellsasser, playing 

a theatre organ. M2" disc (*MGM-E-3490) 


CONTENTS; Our Waltz; California Melodies; 
Holiday for Strings; Dance of the Spanish Onion; 
I've Been Away Too Long; Manhattan Square 
Dance; Gay Spirits; 4:20 A. M.; Serenade to a 
Lemonade; Magic Music Box; The Mas\ 'Waltz; 
Deserted City, 

Richard Ellsasser's Wedding Album should prove 
just the ticket for a home wedding; it's even pro- 
grammed correctly. Three "prelude" pieces, the pro- 
cessional, romantic background music while the 
preacher reads the service and the happy couple ex- 
change vows (you'll have to rehearse this until the 
ceremony is timed to the record), the recessional 
and one number to entertain the guests for a minute 
or two to give the bride and groom time to get away 
all these numbers follow in logical sequence, and 
all that's required is for one of the guests to keep 
his eye om the volume control of your phonograph. 

Ellsasser next turns his attention to Michael Carr's 
not-too'Original Springtime Suite. A few of the 
titles of the dozen sections of fchis suite should give 
the reader some idea of what to expect; Very 

* Indicates LP 33 1/8 rpm. 
Indicated 45 rpm. 


PAGE 14 


The Nm Records 


Springy Feeling, Love Laughs at Apnl Showers, A 
Young Man's Fancy, and Easter Waltz are repre* 
sentative. Light stuff, but well played with marvelous 

The music of David Rose has certainly captured 
the public's fancy. If you liked Ellsasser's treatment 
of Leroy Anderson's tunes (*MGM'E'3174), you'll 
think the present disc is pretty slick. 


Bach: (6) English Suites. Ralph Kirkpatrick (harp- 

sichord). 3-12" discs (*D-ARO 3 068/70) $17.94. 

CONTENTS: Suites J^os. 1 in A, BWV. 806 
and 2 in A minor, BWV. 807. (*D'ARO3068) 

Suites Hos. 3 in G minor, BWV. 808 and 4 
in F, BWV. 809. (*D-AR(>3069) $5.98. 

Suites J^os. 5 in E minor, BWV. 810 and 6 in D 
minor, BWV. 811. (*D-ARG-3070) $5.98. 

The format and packaging of the Decca Archive 
Series attains such a high level of order, system, and 
documentation that it would seem impossible after all 
of this to find a poor performance contained therein; 
so far we 'haven't. Personally, we happen to be per' 
feet victims for the impressively careful way in which 
this series has been presented. Such odd bits of in* 
formation as where and exactly when a particular 
recording was made, the exact performance times of 
each work, etc., all serve to enhance the value of 
the set, in our estimation. 

Mr. Kirkpatrick is eminently qualified to do justice 
to these works, though they are not the very best of 
Bach's harpsichord music. The registrations employed 
by the performer have been recorded with remark' 
able fidelity, showing more variety of sound than is 
customarily heard in harpsichord recording. The 
readings are models of the style, every ornamenta^ 
tion a triumph of brittle perfection. Six of these are 
a little too much for any single sitting; we suggest 
you take them in small doses. For the student of 
Bach's keyboard music, there is little probability of 
any substantial improvement over the present set, 
Other available choices, however, manage to include 
the Suites on two discs instead of the three required 
here. N. 

Early English Keyboard Music. Paul Wolfe (harpsi- 
chord). M2" disc (*EA-0013) $4.98. 
Frescobaldi Recital. Paul Wolfe (harpsichord). 
142" disc (*EA-0022) $4.98. 
CONTENTS (3) Gaillards; Partite 12 sopra Varia 
de Ruggiero; Canzona Seconda; Partite 6 sopra 
Varia di Follia; Canzona Quarta; (4) Correnti; Can- 
zona Prima; Partite 11 sopra Varia, di Monicha. 
History of the Dance Form (Vol. 2). Erna Heiller 
(harpsichord). M2" disc (*UNMJNLP4027) 

A new label appears this month, Experiences 

Anonymes, the evident aim of which is to explore 
the musical unknown (unknown to records, any- 
way). The services of an excellent harpsichordist, 
Paul Wolfe, have been secured in presenting its first 
two discs, the Early English Keyboard Music and the 
Frescobaldi Recital. 

Despite the obvious sincerity and the undeniable 
technique of the artist, we rather feel that most per- 
sons will allow that a little of this sort of thing goes 
a long way. An hour of short pieces by such little 
known composers as Richard Edwards, William 
Munday, John Redford, and William Blitheman 
seems to take about 135 minutes. A pavan and A 
Fansye by a composer identified only as Newman, 
plus Ut Re My Fa Sol La by William Byrd stood 
out to us; the rest seemed quite ordinary. 

Even the Frescobaldi Recital suffers from the same 
fault too much of what will prove to be a good 
thing only to scholars of the period. Frescobaldi has 
his niche among ancient composers, and Mr. Wolfe 
does his very best to sustain our interest; but it's 
just too long. 

To be truthful, we didn't realize what was wrong 
with the first two discs until we played the third, 
the Unicorn one, on our turntable. W'hat a dif- 
ference! Erna Heiller plays 13 bourees by com- 
posers such as Lebague, Fischer, Pachelbel, Tele- 
mann, Fux, Muffat, Bach and some others; though 
there is still a certain amount of sameness, the 
sprightly dances are quite captivating. If you liked 
Vol. I of this series (TNR Mar. '56), you'll surely 
eat this one up. 


Bach: (6) Sonatas for Violin Solo. Nathan Milstein 
(violin). 3-12" discs in box (*CL-PCR-8370) 

CONTENTS: Sonata J*o. 1 in G minor ("Sonata 
No. 1"); Sonata T^o. 2 in B minor ("Partita No. 1"); 
Sonata J^o. 3 in A minor ("Sonata No. 2"); Sonata 
HO. 4 in D minor ("Partita No. 2"); Sonata J^o. 5 
in C ("Sonata No. 3"); Sonata !N>. 6 in E ("Partita 
No. 3"). 

Milstein is the latest to tackle these fiendishly dif- 
ficult works, and we must say that he comes close to 
erasing Heifets (*V'LM-6105, TNR Jan. '54) from 
our memory. 

These works, it may surprise some to learn, were 
popular in their day (they were written circa 1720). 
Part of this popularity was probably due to the great 
esteem in which they were held by the leading 
violinists, who felt that to master them was to prove 
their ability. Mendelssohn and later Schumann wrote 
piano accompaniments to these works to make them 
more acceptable for public performance; but, thanks 
to Joachim, who refused "with bleeding heart" to 
play the Sonatas to Schumann's accompaniments, 

PASE 15 


indicate* If 88 1/8 tpm. 
indicates 45 rpra. 



violinists even down to today spurn any accom- 
paniments whatever. 

The Sonatas and Partitas tax not only the artists 
virtuosity, but his spirit as well. In spite of the 
fertile inventiveness of Bach's mind, it is still a 
major accomplishment to keep these solo violin 
pieces always interesting for over two hours at a 
stretch. Heifetz did it, Schroeder (TNR Jan 54) 
and Telmany! (TNR Mar. '55) failed (though both 
used the Vega Bach bow); and now Milstein has 
done it again, with gorgeous Capitol reproduction 
We'd still like to reserve a few superlatives until 
Francescatti is given a chance at this set; his sam- 
pling (TNR Feb. '55) showed great promise. J. 


Great Artists at Their Best. Various Instrumentalists 

M2" disc (*CAM-CAL<351) $1.98. 

CONTENTS: Lisst: Etude in D-flat (H. Bauer); 
F aur _ arr Casals: Apres itn Reue (Feuermann tf 
Rupp); Couperin: Le Carillon de Cythere (Paderew- 
ski)- Saint-Saens: The Swan (Primrose tf Stimer); 
Strauss: Blue Danube Waltz (Lhcvinne); Brahms: 
Hungarian Dance HO. 1 in G minor (Monm Bal- 
sam)- Bernstein: (7) Anniversaries Nos 4-7 
(Bernstein); Francisqufr arr. Grandjany: Le Tresor 
d'QrbhtePav&ne et Bransles (Grandjany); R 
Strauss: Der Rosen\avalier 'Waltzes (Luboshutai 
Nemenoif ) . 

Mementos of instrumentalists from the deep and 
more recent past will be found on this moderately 
priced Camden LP; reproduction varies from fair to 
poor, but we should point out that for solo instru' 
ments, even poor reproduction is not as noticeable 
as it would be on orchestral recordings. 

Music of India. Dr. Gaurang Yodh (sitar); Dinesh 
Patel (tabla). 2-12" discs in folder ("'WEST' 
XWN-2210) $7.96. 

Current Market Price: $638. 

Music of India (Vol. II). Ravi Shankar (sitar); 
Chatur Lai (tabla); Pradyot Sen (tamboura). 
M2" disc (*ANG-S5468TP) $3.48. M2" fac- 
tory-sealed disc (*ANG-35468) $4.98. 

Interested readers are referred to our April 1956 
issue, where we described Vol. I of the Angel series, 
Music of India. We shall resist the obvious remark 
of preferring the Angel disc to the Westminster set 
because it is shorter, and state only that, if you 
purchased the earlier issue (*ANG'35283) and can 
still stand more of this, the present brace of re' 
cordings of ragas should more than satiate your 


The World's Encyclopedia of Recorded Music 
(3rd Supplement). By Francis F. Clough 
and G. J. Cuming. xxvi + 564 pp. Sidg' 
wick and Jackson, Ltd. (London). Price 

Introduction to Opera: a guidebook sponsored 
by The Metropolitan Opera Guild. Edited 
by Mary Ellis Pelts;, xiii + 332 pp. Paper 
bound. Barnes 6s? Noble, Inc. (New York). 
Price $1.65. 

Record Ratings: The Music Library Associa- 
tion's Index of Record Reviews. Compiled 
by Kurtz, Myers; edited by Richard S. 
Hill, viii + 440 pp. Crown Publishers 
(New York). Price $5.95. 

The Guide to Long'Playing Records (Orches' 
tral Music). By Irving Kolodin. xii -f 
268 + vii pp. Alfred A. Knopf (New 
York). $3.50. 

The Guide to Long-Placing Records (Chamber 
6? Solo Instrument Music) . By Harold C. 
Schonberg. xi + 280 + vi pp. Alfred A. 
Knopf (New York). $3. 50. 

The Guide to Long-Playing Records (Vocal 
Music). By Philip L. Miller, xvi + 381 
+ xxii pp. Alfred A. Knopf (New York). 

The World's Encyclopaedia of Recorded Music 
(Including 1st Supplement). By Francis 
F. Clough and G, J. Cuming. 890 pp. 
Sidgwick and Jackson, Ltd. (London). 
Price $17. 50. 

The World's Encyclopaedia of Recorded Music 
(2nd Supplement). By Francis F. Clough 
and G, J. Cuming. xxii + 262 pp. Sidg- 
wick and Jackson, Ltd. (London). Price 
NOTE; All the above books have been reviewed 

in previous issues of The 7s[eu> Records. If your local 

dealer does not stock them, orders addressed to H. 

Royer Smith Co., Philadelphia 7, Pa., will be 

promptly filled. The prices quoted include postage 

to any point within U.S.A. 

Thn first letters In the record number Indicate the manufacturer: ANG Angel, BG Bach Guild, C Columbia, CAM Camden, CE Cetra, 
CH Concert Hall Society, CL Capitol. CLAS Classic Editions, C8M Colosseum, DDecca, DT Ducretet-Thomson, EA Experience* 
AnonvmosESO Esoteric, FOLK Ethnic Folkways Library, G 10 A Gregorian Institute of America, HMV His Master's Voice (England), 
Hsi-Haydn Society? L- -London Gramophone, LYR LyHchord, ME Mercury, OC Oceanic, OL~L'Ofseau Lyre, PE Period, PHM Phil- 
harmonla PLM Polymusie, REN Renaissance, SOT Sounds of Our Times, 8TR Stradivari, T Telefunken, UNIUnicorn, UR Urania, 
V Victor, VAN Vanguard, VXVox, and WEST Westminster. 

* indicate* LP 83 1/3 rpm. 
Indicates 45 rpm. 


PAGE 16 

ike New Records 


Issued Monthly by 




VOL 25, NO. 5 

JULY, 1957 

By mail to any address 
$1 per year 

SO MANY OF OUR readers have writ- 
ten asking us about this and that record 
club that we believe that it might be of value 
if we gave our opinion of record clubs in gen" 
eral. At once we must say that only those clubs 
that are backed by old established record man- 
ufacturers, book clubs, or book publishers should 
be considered. Quite a number of so-called 
"clubs'" offering fantastic premiums and/or 
complicated memberships rules have already 
come and gone. Additional ones are contimi' 
ally cropping up from time to time. If you 
are not sure that the club you are considering 
is backed by a financially sound company of 
good reputation, it would be well to inquire 
about it through your local Better Business 

Now as to the clubs whose responsibility and 
ethics are unquestioned: there is no doubt in 
our mind but that in many cases they serve 
a very useful purpose. This is particularly true 
in the case of a person who is just starting a 
record library and does not have access to 
dealers in large shopping centers. The clubs 
usually recommend fine versions of the most 
popular items in the various categories, and 
the bonus records are generally of excellent 
value. Just one word of caution: 'be sure to 
return your notification card promptly if you 
do not wish to receive the monthly selection. 
If you don't say "NO," it comes automatically 
and you'll soon find that you have a lot of 
records that are not of real interest to you. 
When we were first married and had no li- 
brary of any consequence, we joined a "book" 
of-the-month" club, and we know from ex- 
perience that we bought a lot of books that 
we never even opened. As our library grew 
and we became more discerning, we soon 
found that we were much better off to give 

up the "free bonus" books and buy just the 
books that we required to develop our library. 
This will pretty generally apply to those per- 
sons building a record library. Good record 
clubs can be of great help in starting a record 
library and are economically worth while; but 
after your library is well started, you will very 
likely be better off to buy just the records you 
require you may pay a litle more per record, 
but you will have just the items that are of 
interest to you; and, in the long run, we doubt 
that you will spend any more per year for 
records than you did under the club plan. 

The Current Market Price of records is the 
retail price that is charged by most leading 
dealers, including the publisher of this bul' 
letin. When the major companies reduced 
their list prices for LP records, some of the 
smaller publishers reduced only their whole' 
sale prices and did not change their list prices 
(see TNR Mar. '55); thus the Current Mar- 
ket Price came into being. 

Also, from time to time, in order to stimu- 
late business, some companies have drastically 
reduced prices for limited periods. In order 
that our readers may know the Current Mar- 
ket Price, we are indicating in this and future 
issues the prices that are presently in effect; 
and, although we cannot guarantee these 
prices, they should prevail during the current 

NOTE: The Current Market Prices of all 

Mercury 12-inch LP's (10000-, 2500O, 3000O, 
40000', 50000-, 80000-, and 90000-series) is 
0.19; album sets are 20% less than published 
list prices. 

NOTE: The Current Market Prices of 
Westminster Records are as follows: WN/ 



SWN/XWN-1800G series, #3.19; W-LAB- 
7000 series, #5.95; WL-5000 series (discon- 
tinued), #2.39; WP-6000 series, #3.19? album 
sets, 20% less than published list prices. 


We are continually receiving requests for 
back copies of THE NEW RECORDS. Most of 
the issues published during the last twenty- 
five years are available. The price is lOc 
each. A file of all available issues (at least 
160 copies) is $5. These prices are postpaid 
within U.S.A. 

NOTE: Those persons interested in recent 
recordings only may secure all of the issues of 
the last three years beginning July 1954 
(36 copies) at the special price of $2 (post- 
paid within U.S.A.). 


Russian Ballet. Philharmonia Orchestra-Marfcevitck 
142" disc (*ANG-35152TP) $3.48. 1-11" fac- 
tory-sealed disc (*ANG'55153) $4,98. (TNR 
Feb. '55) (see also TNR Mar. "51). 
CONTENTS: Swan Lake (Tchaikovsky); Lc$ 

Sylphides Mazurka (Chopin); Les Femmes de 

Bonne Humeur (Scarlatti arr. Tommaami); Three- 

Cornered Hat Miller's Dance (Falla). 


Following our practice, we are listing below the 
latest batch of "Sampler" LP releases which have 
recently been made available. Since readers of THE 
NEW RECORDS are already familiar with such discs 
and aware that "Sampler" releases are always limited 
editions, those interested should make their selec- 
tions without delay* 
Orchestral Music of Bach. Orchestra of the Vienna 

State Opera, 1-12" disc (*VAN-SRV-i05) $1,98. 

CONTENTS: Brandenburg Concerto T^o. 2 in F; 
Concerto NO. 2 in E for Violin and Orchestra; Suite 
7$o. 2 in B minor for Orchestra; Suite M>, 3 in D 
for Orchestra Air ("Air for G String"). 
Music at M. I. T. 1-12" disc (*UNRJNSR-1) $1.98. 

CONTENTS: Sonata NO. 30 in E, Op. 109 
(Beethoven) (Ernest Levy, piano); Concerto in B 
for Organ and Orchestra, Op. 4, NO. 2 (Handel) 
(Lawrence Moe, organ, with ordbu); Brass Suite, Op. 
24 (Beresowski) (brass ensemble). 
Show Tune Treasury. Various vocalists with instru- 
mental accompaniment*. 1-12" disc (*WALDEN 

S-l) $1.98. 

CONTENTS: Loadin* Time; I Can't Get Started; 
A Fine Romance; Easy to Remember; Fun to be 
Fooled; Why Shouldn't I?; Up with the Lar\; Soon; 
Can I Leave off Wearin My Shoes?; N^e Worfc If 

Tou Om Get It; A Foggy Day; Hit the Road to 

Chopin; Concerto No. 1 in E minor, Op. 11. One 

side, and Chopin: Concerto No, 2 in F minor, 

Op, 21. Branca Musulin (piano) with the Sued' 

deutscher Rundfunk Orchestra conducted by Hans 

Muller-Kray. 142" disc (*PE-SPL-306) $1.98. 

Folk, Pops *n* Jazz Sampler, Various folk and jaw 

artists. 142" disc (*ELEKTRA SMP-3) $1.98. 

CONTENTS: Midnight Special (Josh White); 

Lass of the Low Countrie (Cynthia Gooding); 900 

Miles (Clarence Cooper); Sacramento (Ed Me* 

Curdy); Soleares (Flamenco guitar); Blac\ is the 

Color (Susan Reed); Hard, Ain't It Hard? (Glen 

Yarbrough); Coo Coo Calypso (N. Y. Jaw Quap 

tet); Come Rain or Come SJu'ne (4 French Horns); 

Ugh! (Jaw Messengers); The Wail (Norene Tate); 

Blue Chip* (N. Y. Jaw Quartet); S\ylar\ (T. 

Charles, vibraphone). 


Beethoven: Symphony No. 3 in E-flat, Op. 55 
("Eroica"). Symphony of the Air conducted by 
Igor Markevitch. 142" disc (*D'DL-9912) $3.98. 
Rouasel: Symphony No. 3 in G minor, Op. 42. One 
side, and Roussel: Symphony No. 4 in A, Op. 53. 
L'Orchestre de la Suisse Romande conducted by 
Ernest Ansermet. 142" disc (*L-LL4495) $3.98. 
Tchaikovsky: Symphony No. 6 in B minor, Op. 74 
("Pathetique""). ITOrchestre de la Suisse Rc>' 
mande conducted by Ernest Ansermet. 142" disc 
(*L-LL4633) $3.98. 

We gave a warm welcome to Markevitch and the 
Symphony of the Air for their recent issue of the 
Brahms First Symphony (TNR June '57), and now 
it is our pleasure again to praise their performance 
of the great "Eroica." Here is a reading of stature 
and of decent breadth, but with plenty of forward 
motion. The playing is very fine and nicely finished. 
About the only complaint could be somewhat too 
much bass tone (the Brahms had plenty, this seems 
to have even more); however we were able to re* 
duce the bass adequately in reproducing the record. 
It is such a pleasant experience to hear the old 
NBC orchestra with a luscious quality of tone that 
an excess of bass is easily forgivable. 

The two records by Suisse Romande Orchestra 
conducted by Ernest Ansermet again reveal this 
conductor to be one of the podium thinkers of our 
day. Ansermet has few peers when it comes to re* 
vealing the inner contents of a score, and along 
with Beecham, Toscanim, and possibly one or two 
others at times, Ansermet can take a score apart and 
put it together before your eyes (or rather, ears) in 
a unique manner. Like Beecham, he is unique in 
that we are not aware of the "p art8 " but only of 
the finished product; yet he has examined these 
pieces closely all the time the score was unfolding. 

* Indicate* LP 88 1/8 rpm, 
indicate* 45 rpm. 







Such is the case with the Roussel symphonies, which 
here emerge with greater stature than we can pre* 
viously recall. These rarely recorded works are now 
preserved on discs in a manner we doubt could be 
bettered. Each is a fine work, by a gifted composer; 
we hope their popularity increases. Reproduction of 
this disc is elegant, and it is highly recommended in 
every way. Even the program notes arc first class. 
Hardly one to wear his heart on his sleeve, An' 
sennet would not seem to be the ideal choice for 
a recorded "Pathetique," yet this performance 
emerges as one of the really great readings of the 
work which we have on discs. The score itself is a 
masterpiece, and Ansermet interprets it meticulously, 
with a generous amount of emotional feeling that 
rings true and serves rather than swerves the score. 
Even the Suisse Romande takes on a character of 
tone and style for this work quite different from the 
Roussel symphonies, and proves itself a most versa' 
tile orchestra. Splendidly recorded, this is indeed a 
jewel among the many recorded versions of the work, 
probably the best, certainly the best poised and the 
most just statement of the music. 


Sibelius: The Oceanides, Op. 73. And Sibelius: 
Symphony No. 7 in C, Op. 105. One side, and 
Sibelius: Pelleas and Melisande, Op. 46. Royal 
Philharmonic Orchestra conducted by Sir Thomas 
Beecham. 1-12" disc (*ANG-35458TP) $3.48. 
M2" factory-sealed disc (*ANG-35458) $4.98. 

Commissioned in 1913 for an American music fes' 
tival, Sibelius himself conducted the premiere in 
June of 1914 at Norfolk, Conn., scoring a notable 
success with The Oceanides. The composer has 
pointed out that the title derives from the mythology 
of Homer, and not from the Kalevala. It is said that 
he was not primarily painting seascapes in tone, but 
was bent on conjuring up visions of nymphs sport' 
ing on the crests of mighty waves. There are plenty 
of excellent seascapes nevertheless, and there are 
surely many moments linked to mythology when the 
flutes portray sea'nymphs. It is a charming score, all 
too brief, yet always fascinating. Beecham directs a 
superlative performance of exquisite sensitivity. 

Beecham'' s talents serve the Sibelius Seventh Sym' 
phony well. Not an easy symphony to put over, it 
is very compact, being in one long movement sub' 
divided into four parts much as the usual symphonic 
movements. Beecham seems bent on holding things 
down all along the way, and the rather quiet and 
perplexing ending to the symphony leaves one with 
the impression that Sibelius might have been as 
serene without being so sombre. The reproduction is 
a bit mysterious and distant. It all adds up to a work 
that we do not cherish too dearly, but that we feel 
has had a knowing performance by a great con' 

The Faure and the Sibelius suites from Pelleas et 
Melisande are an interesting study of different ap' 

preaches to the same theme. Taken individually, 
Sibelius* pieces are each gems; the suite as a whole 
is, to us, too sombre and mournful, where a gen- 
eral impression of being wistful, delicate, and ten' 
der would have been more pleasant. This is true of 
the melodies and harmonies rather than the scoring, 
which is uniformly delightful and appropriate. For 
those who like the Sibelius treatment, the Beecham 
performance will be most welcome, with its uncanny 
balance and delicacy. No one exceeds Beecham in 
tone painting of this type; Angel's reproduction is 
a model of good texture here, better than in the 
symphony. E. E. SHUPP, JR. 

Carpenter: Adventures in a Perambulator. One side, 
and Phillips: Selections from McGuffcy's Readers. 
Eastman'Rochester Symphony Orchestra con* 
ducted by Howard Hanson. M2" disc (*ME' 
MG-50136) $3.98. 

Current Market Price: #3.19. 

Creston: Dance Overture. And Hively: Summer 
Holiday. One side, and Haufrecht: Square Set. 
And Sanjuan: La Macumba. Orchestra of the Ac' 
cademia Nasionale de Santa Cecilia, Rome, con' 
ducted by Alfredo Antonini. 1-12" disc ^COM- 
POSERS CRI'lll) $4.98. 

Carpenter's thoroughly enjoyable Adventures re' 
ceives its second and better LP recording. This is 
another one of those children's works that is just 
too good to save for the kids. The overside work 
by Phillips was prompted (the notes tell us), not 
from McCuffey's readers, but from the Grant Wood 
painting "The Midnight Ride of Paul Revere," 
which has become the title of the third part of this 
suite. The other sections are based on Holmes' "The 
One Horse Shay" and Longfellow's account of John 
Alden and Priscilla. All in all, a most enjoyable disc, 
and superlatively recorded. 

All the titles on the Composers Recordings disc 
have at least a casual association with the element 
of dance. The works by Haufrecht and Sanjuan 
represent their first appearance on LP. Like the pre" 
vious releases on this label, the present disc offers 
an opportunity to hear contemporary efforts at com" 
position, performed and recorded under ideal cir" 
cumstances. Most enjoyable work on this disc for 
us was Hively's Summer Holiday, a nostalgic sug' 
gestion of a Paris vacation of the composer's youth. 


Mozart: Symphony No. 38 inD,K. 504 ("Prague"). 
One side, and Mozart: Symphony No. 39 in E- 
flat, K. 543. Bamberg Symphony Orchestra con' 
ducted by Joseph Keilberth. 1-12" disc (*T-LGX- 
66054) $4.98. 

There are now at least three first-class pairings of 
the lovely Mozart 38th and 39th: Leinsdorf 
(*WEST'XWN-18116, TNR May '56), Horenstein 
(*VX-PL-9970, TNR Dec. '56) and the present 
recording. Horenstein's graceful readings we must 



* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 



Re cords 


overlook because of the inferior reproduction; it is 
not downright bad, but with the intense competi- 
tion among the record manufacturers these days, 
anything less than perfect should disqualify any 

This leaves either Leinsdorf or Keilberth in this 
coupling, and we are going to choose Keilberth in 
spite of our previous praise for Leinsdorf. "Deli' 
cious" is the first word that came to our mind. Keil- 
berth gives us a performance that is light, airy, with 
a deceptive ^tossed off" quality which, on deeper 
consideration, is really a serious introspection into 
the music at hand. It is indescribably lovely; we do 
not recall anything quite so captivating under Keil- 
berth's baton. 

The reproduction is that of Telefunken of old; 
this company is quite capable of superb recording 
engineering, and when you hear an example of its 
best, you are hearing today's finest. A wonderful 
disc! J. 

Dello Joio: Meditations on Bcclesiastes. Oslo Phil' 
harmonic Orchestra conducted by Alfredo Anto- 
nini. One side, and Wigglesworth: Symphony No. 
1, Vienna Orchestra conducted by F. Charles Ad- 
let. 1-12" disc (^COMPOSERS CRI-110) $4.98. 
McBride: Punch and the Judy. And Qaflin: Fish- 
house Pundhu Vienna Orchestra conducted by JF. 
Charles Adler. One side, and Moore: Cotillion 
Suite. Oslo Philharmonic Orchestra conducted by 
Alfredo Antonini. 1-12" disc (^COMPOSERS 
CRI-107) $4.98. 

Cowell: Symphony No. 10. One side, and Cowell: 
Hymn and Fuguing Tune No. 2. And Cowell; 
Ballad. And Cowell: Fiddler's Jig. And Cowell: 
Hymn and Fuguing Tune No. 5. Vienna Orches- 
tral Society conducted by F. Charles Adler. 1-12" 
disc (*UNI-UNLP-1045) $3.98. 
As we write comes the announcement that Nor- 
man Dello Joio's Meditations on Ecclesiastes has 
been awarded the Pulitzer Prise for an American 
composition. The work is balletic in conception, hav- 
ing been interpreted by Jose Limon. The text for 
the 'program* is the familiar passage: 

"To everything there is a season . . 
And a time to every purpose 

under the heaven . . . 
A time to be born . . . 

And a time to die . . ." 

This is a work well worth hearing and, unlike 
so many contemporary efforts, seems to gain merit 
with repeated hearings. Structurally, it consists of a 
theme and variations ten of them linked to the 
text begun above. 

The symphony by Wigglesworth is semi-classical 
in its design, continuously tuneful and uncompli- 

The duplicate use of the word "Punch*' in the 
titles on the second disc is the only relationship 
noticeable. The McBride work was composed, orig' 

inally with narration, for Martha Graharn's dance 
group and relates to the famous puppets whose 
origins are obscure. Avery Claflin, who attracted a 
qualified fame for his modern madrigal, Lament for 
April 15, has named his short orchestral sherso for 
an unbelieveably potent drink which dates back to 
1732. (Note to topers: the recipe is on the record 

The selections from Henry CowelFs music on the 
last disc are devoted largely to his recent composi- 
tions in the field of American folk themes. Of par- 
ticular interest are the hymns and fuguing tunes, a 
crude form of counterpoint arising from late eigh- 
teenth century church music in the American col- 
onies. N. 

Weber: (6) Overtures. Berlin Philharmonic Or- 
chestra conducted by (1) Frits; Lehmann or (2) 
Eugen Jochum, or the Bamberg Symphony Or- 
chestra conducted by (3) Fritz Lehmann or (4) 
Ferdinand Leitner. 1-12" disc (*D-DL-9906) 
CONTENTS: Der Freischutz Overture (1); 

Oberon -Overture (2); Preziosa Overture (3); 

Euryanthe Overture, Jubel Op. 59, Peter Schmoll 
Overture (4). 

(5) Concert Overtures. (1) Barnberg Symphony 
Orchestra or (2) Berlin Philharmonic Orchestra 
conducted by Fritz; Lehmann. 1-12" disc (*D- 
DL-9905) $3.98. 

CONTENTS: Manfred (Schumann) (1); Rosa- 
munde (Schubert), Magic Harp (Schubert), Heb- 
rides ("FingaTs Cave") (Mendelssohn), Calm Sea 
and Prosperous Voyage (Mendelssohn) (2). 

Rossini: (6) Overtures. (1) Berlin Philharmonic 
Orchestra or (2) RIAS Symphony Orchestra 
conducted by Ferenc Fricsay, 1-12" disc (*D-DL- 
9902) $3.98. 

CONTENTS: Overtures to Barber of Seville, 
Thieving Magpie (2); Semiramide, Signer Bruschino, 
Italian Woman in Algiers, Silken Ladder (1). 

We shall state at the outset that all of these over- 
tures are superbly reproduced, and if any of the 
collections listed above appeals to you, you should 
not hesitate to add the disc to your collection, for 
the performances are, in every way, adequate. 

We cannot help wondering, however, as we note 
tihe various orchestras and conductors featured on 
each of these discs* that the actual recording of the 
numbers must have been sort of a hodge-podge af- 
fair, "Here," the producer must have said, "we have 
an orchestra and a tape recorder set up. Let's re* 
cord a bunch of stuff, in case the boss ever wants 
to issue it on a record." This, apparently, goes on 
all over Europe; then, comes a time when (. g.) 
Decca wishes to issue a recording of six Rossini 
Overtures, and voila! There they are, all neatly pre- 
served on tape. In the old (pre-LP) days, this sort 
of thing would be saved for "fillers" to complete the 

* Indicates LF 33 1/8 rpm. 
l*<Hc*te 41 Bm. 







odd side of an album set; nowadays, however, with 
the seemingly eternal demand for new hi'fi LP's, 
they are apparently quite self-sustaining, and col' 
lections of this type are continual sellers. 

Symphonic Dances. Hollywood Bowl Symphony Or' 
chestra conducted by Felix Slatkin. 1*12" disc 
(*CL'P-8369) $3.98. 

CONTENTS: Sleeping Beauty Walts (Tchai' 

kovsky); Comedians Galop (Kabalevsky) ; J^orwe^ 

gian Dance T^o. 2 (Grieg); Schwanda Polka 

(Weinberger); Pavane pour une Infante defunte 

(Ravel); Red Poppy Sailor's Dance (Gliere); 

L'Arlesienne Suite Farandole (Bizjet); Le Cd 

Navarraise (Massenet); Sylvia Pizzicato Polka 

(Delibes); Gayne Sabre Dance (Khachaturian); 

Samson et Dalilah Bacchanale (Saint'Saens). 

Liszt: Hungarian Rhapsody No. 2 in C-sharp minor. 

And Kodaly: Dances from Galanta. One side, and 

Liszt: Hungarian Rhapsody No. 1 in E. RIAS 

Symphony Orchestra conducted by Ferenc Fricsay. 

And Liszt: Hungaria (Symphonic Poem No. 9). 

Bamberg Symphony Orchestra conducted by Fer/ 

dinand Leitner. M2" disc (*D'DL-9870) $3.98. 

A lot of popular music on the Capitol disc, with 

mirror'clear reproduction , . . Decca^s reproduction 

has been improving of late, as hearers of the Liszt' 

Kodaly disc will notice; if there be a collector who 

doesn't already have all of these works in his library, 

this new recording of them should fill his bill. 

Saint-Saens: Symphony No. 3 in C minor, Op. 78. 

Vienna Philharmusica Symphony conducted by 
Hans Swarowsky, with Prof. Franz Eibner, play 
ing the organ of the Grosser Musikvereinssaal of 
the Musikverein (Vienna). I* 12" disc in box 
(*UR'UX-105) $4.98. 

We now have half a dozen LP's of the Saint' 
Saens organ symphony from which to make a choice. 
Five of them, including the present set, have ap' 
pealed to us, leaving only the Van Otterloo version 
which we did not care for. The Munch set is a few 
years old, and while the reproduction was good for 
its day (and is still rather thrilling), most persons 
will prefer one of the newer ones for recording 
quality. Bour and Cluytens each did well with the 
music, many persons being particularly fond of the 
Cluytens version and its good reproduction (*ANG 
35336). We found the Toscanini edition one of 
the conductor's best phonographic efforts (*V-LM' 
1874), and despite its origin of recording, a most 
satisfactory reproduction. We still think Toscanini 
is the preferable edition, with the decision between 
it and the Cluytens. 

The present set is pressed on clear red vinyl and 
features very quiet surfaces. As for the sound itself, 
it leaves a little to be desired. At first, the sound 
seems good, but one soon realizes that there is some* 
what too much bass, particularly when the organ is 
sounding. There is not enough good organ tone 

present, probably because the organ is distant. Fur' 
thermore there is too much hall echo, very notice' 
able at times. Swarowsky does well with the score, 
his contribution is very fine, and the orchestra plays 
well. Better microphoning and reproduction could 
have made this an outstandingly good version; how' 
ever, better ones 'exist, and it is those which we 
recommend. S. 

Dvorak: Symphony No. 2 in minor, Op. 70. Ber' 

lin Philharmonic Orchestra conducted by Ferdi' 

nand Leitner. 1-12" disc (*D-DL-9909) $3.98. 

Dvorak: Serenade in E, Op. 22. One side, and 

Vaughan Williams: Fantasia on "Greensleeves." 

And Vaughan Williams: Fantasia on a Theme by 

Tallis. Boyd Neel Orchestra conducted by Boyd 

Neel. M2" disc (*UNHJNLP-1044) $3.98. 

If the familiar "New World" is Dvorak"^ American 

symphony, the lesser-known Symphony 7x[o. 2 could 

be called this composer's German symphony. This is 

a thoroughly ingratiating work, one that should 

place high on anyone's list of romantic symphonies. 

Despite the number, the work dates from 1885, and 

is a product of the composer's maturity. Decca's 

recordings of the Berlin Philharmonic have been of 

conspicuous quality, and conductor Leitner shows 

them at their best. 

The earlier Dvorak Serenade, which appears on 
the Unicorn disc, was the work that won him recog* 
nition from Brahms et al. when it was written in 
1875. It compares favorably with the string sere' 
nades of Tchaikovsky and Elgar. In five short move- 
ments, the dominant impressions of the work are its 
freshness and tuneful themes. 

The traditional pairing of the Vaughan Williams 
Fantasias receive competent performances by the 
Boyd Neel ensemble, and are abetted by superior 
engineering. The perpetually lovely Greensleeves 
is drawn from Vaughan Williams' opera on the 
Falstaff story, Sir John in Love; the Tallis theme is 
drawn from a 1567 Metrical Psalter, as revised by 
the composer. N. 

Shostakovich: Symphony No. 10 in E minor, Op. 
93. Philharmonia Orchestra conducted by Efrem 
Kurtz. 1'12" disc (*V-LM-2081) $3.98. 
Of his later works, the Symphony 7<[o f 10 written 
in 1953 is undoubtedly one of Shostakovich's finest. 
Prevailingly sombre, it has an honesty and direct" 
ness associated with the best of his earlier works, 
and lacks the bombastic trash that was used as a 
fabric for some of his music written to please the 
U.S.S.R. higher'Ups. The Symphony >(o. 10 is 
once again Shostakovich speaking as an honest 
musician, and a very great composer, in a language 
he feels, with a result that is worth hearing by 
everyone. We would like to think that this sym- 
phony is one which will live on in the repertoire of 
symphonic music for many years, joining other great 
symphonies including Shostakovich's own First and 



* indicate! LP 33 1/3 rpm. 
indicates 45 rpm. 


The ISf 



Several previous recordings include one by Mi- 
tropoulos (*C'ML4959), who gave the 10th its 
premiere in the Western world, and one by Ancerl 
and the Csech Philharmonic (*D-DL-9822). Both 
are good readings, Mitropoulous being particularly 
dramatic. The present disc brings Efrem Kurtz back 
to the recording studios with the superlative Phil' 
harmonia Orchestra, This is by all odds the greatest 
performance Kurtz has committed to discs, for his 
reading of the Shostakovich 10th is indeed mag' 
nificent from start to finish. The serene sections of 
the work have beautiful atmosphere and the agitated 
sections have a colossal drive as well as clarity and 
balance. Always good on rhythms (from his ballet 
conducting days), Kurtz makes much of the unique 
Shostakovich rhythmic patterns. In all, we were 
highly impressed with the disc and quite thrilled 
with it. For the music and the performance, we 
recommend this disc enthusiastically. 


Rimsky-Korsakov: Scheherazade* North German 

Symphony Orchestra conducted by Wilhelm 

Rorh. M2" disc (*SOMERSET P-2600) $1.98. 

Surely the talking point of this Somerset record 

is its low price. No one, we feel, would expect a 

$1.98 performance of Scheherazade to be the equal 

of Steinberg or Ormandy at $3,98 each. So if we 

say that this is the best recording of the work avail' 

able at $1.98, we shall have told the truth but not 

the whole truth. 

Somerset LP's feature high fidelity recording, 
while many $1,98 discs do not. They are not made 
of pure vinylite and have a slight surface hiss not 
found on higher priced LP's, Their jackets are in 
every way the equal of others in construction; notes, 
however, are sparser. The playing of the North Ger* 
man Symphony Orchestra is fair not as poor as 
the Vox fiasco under Ladis (TNR Aug. ^55), now 
happily withdrawn, but certainly not the equal of 
the Pittsburgh Symphony or the Philadelphia Or" 
chestra. This Scheherazade is of about the quality 
that one finds coming from many of the record 
clubs (ColumbiVs excepted, of course): reasonably 
high fidelity, pretty fair performance, low in price. 

Though this Somerset LP is less than half the 
price of standard brands of Long Playing records, 
the saving is only $2; one must decide whether it 
is worth this two dollars more to get a really defini* 1 
tive performance. Our observation: Somerset should 
stick to pop, mood and specialty items (like its very 
fine minstrel show, reviewed elsewhere in this 
issue); it will have difficulty competing in the clas- 
sical field. 

Arnold: Homage to the Queen. Philharmonia Or" 
chestra conducted by Robert Irving, 1*12" disc 
(*V'LM'2Q37) $3.98. 
The ballet Homage to the Queen was written dur* 

ing April and May of 1953 and was presented on 

2 June, the night of the coronation of Elizabeth II, 
by the Sadler's Wells Ballet Company. Briefly, the 
idea of the ballet was to present the four elements 
(Earth, Water, Fire and Air) paying homage to the 
newly crowned Queen. We are told that Malcolm 
Arnold is a trumpet player, which probably explains 
his affinity for fanfares, with which this score is re- 
plete. It is pleasant enough, and the expert Phil- 
harmonia Orchestra under Robert Irving plays it to 
the hilt; nevertheless, we couldn't warm up to the 
music and we doubt that repeated hearings would 
change our opinion. Lots of gravy but not enough 

Stravinsky: L'Oiseau de Feu (Suite). One side, and 
Tchaikovsky: Romeo and Juliet (Overture'Fan- 
tasia). Philharmonic Symphony Orchestra of New 
York conducted by Leonard Bernstein. 1*12" disc 
(*OML-5182) $3.98. 

Current Market Price: #2.98. 

As we look over the list of past Columbia "Buys of 
the Month," we are moved to remark that anyone 
who has them all surely has an excellent basic library. 
A promos of our editorial, here is one * 4 club w one need 
not even join: no post cards, no keeping track of 
bonuses due. One need only go (or write) to his 
dealer, order the current "Buy of the Month," and 
he saves one dollar on each one. The present disc 
is no exception to the others: popular works, bril' 
liant reproduction, superb performances. A grand 

Bocchcrini: Symphony in A. One side, and Boccher- 
ini: Symphony in C minor. Scarlatti Orchestra con" 
ducted by Franco Caracciolo. M2" disc (*ANG* 
35384TP) $3,48. 142" factory-sealed disc(*ANG- 
35384) $4.98. 

Vivaldi: Concerto in C for Flute, Strings and Con- 

tinuo. And Telemann: Concerto in A minor for 2 

Flutes, 2 Violins, Viola, Bass and Cembalo. And 

Telemann: Concerto in B-flat for 2 Flutes, 2 

Violins, Viola, Bass and Cemfbalo. Vienna Phil' 

harmusica Symphony conducted by Paul Anger. 

One side, and Haydn: Concerto In D for Flute 

and Strings. Scheck-Wensinger Chamber Group. 

142" disc (*UR'UR-8005) $3.98. 

Star attractions in flhis group are the two Boccher* 

ini Symphonies -lovely Italianate melodies, one after 

another, spill from this disc as cooling water from 

a fountain. These are first LP recordings of these 

works, so far as we can learn, and they are most 

welcome , . . Urania's slipshod identification and 

non-informative notes do not tell us very much about 

what we are hearing on its disc, nor have we 

ever been able to discover any information about 

the "Vienna Philharmusica Symphony/* which aeems 

to record exclusively for Urania. The music is pretty 

enough, the performances are pedestrian, the repro' 

duction is of the very best. 

* Indicate* LP 88 1/8 rpm. 
indicate* 45 rpm 







Deli>es: Coppelia. One side, and Delibes: Sylvia. 

Orchestre du Theatre national de FOpera con- 
ducted by Andre Quytens. M2" disc (*ANG- 
35416TP) $3.48. 1-12" factory-sealed disc 
(*ANG-35416) $4.98. 

Tchaikovsky: The Sleeping Beauty Aurora's Wed' 
ding. One side, and Tchaikovsky: Swan Lake 
Black Swan Scene. Minneapolis Symphony Or* 
chestra conducted by Antal Dorati. 1-12" disc 
(*ME-MG-50118) $3.98. (TNR Apr. & Nov. 


Current Market Price: #3.19. 

Certainly there is little need for another (!) 
recording of Coppelia and Sylvia, and AngeFs offers 
nothing that can't be found in the several others 
already available; if you are considering the addi' 
tion of either of these numbers to your library, we 
suggest the more complete versions on RCA Victor 
(*V-LM-2035 and *V-LM-2036, TNR Dec. '56). 

Mercury has taken excerpts from its two wonder- 
ful sets of the complete Swan La\e and Sleeping 
Beauty (TNR Apr. & Nov. *55) and coupled them 
on the present disc; magnificent reproduction! 


Dvorak: Concerto in A minor, Op. 53. One side, 
and Goldmark: Concerto in A minor, Op. 28. 

Bronislaw Gimpel (violin) with the Southwest 

German Radio Orchestra conducted by Rolf Rein- 

hardt. 1-12" disc (*VX-PL- 10290) $4.98. 

For us, the feature of this record is the "B" side, 

the performance of the Goldmark Violin Concerto. 

Of all the unjustly neglected violin concertos, this 

one surely heads the list. For sheer listening pleas' 

ure, it is a delight. It moves onward with melodic 

appeal and unflagging interest. At least it does in 

this performance. The second movement, Andante, 

is a fine piece of lyrical writing with broad appeal. 

The finale is a sparkling affair which brings this fine' 

work to a typical concerto close with a shower of 

violinistic sparks which we all love to hear. 

If some will still argue that this is not really 
great music, we will reply that Bronislaw Gimpel 
makes a great case for it in this reading. There is 
no lingering around with the tempting romantic 
phrases of the work, yet there is a loving touch 
throughout that bespeaks a sound feeling for the 
music. We believe this is by far the best perform- 
ance we have heard of the work and can only hope 
that its conviction will tempt some others to take 
up the cause and play it once in a while. The or- 
chestral accompaniment is perfectly adjusted and 
nicely played; the reproduction is sweet as a nut. 
We urge anyone who likes violin concertos not to 
overlook this highly enjoyable recording. 

As for the Dvord\, we must confess it just did 

not register after hearing the Goldmark. There is a 

lot of pre-echo on this side, the reproduction is a 

, bit strident, and the Dvorak Violin Concerto is 

one of his least appealing works to this listener. 
Magyar, Martsy, and Oistrakh each have readings 
of this work, in case you want to compare. For us, 
the Goldmark is easily worth the price of the disc. 


Dvorak: Concerto in B minor, Op. 104. One side, 
and Faure; Elegie in C minor, Op. 24. Janos 
Starker (violoncello) with the Philharmonia Or' 
chestra conducted by Walter Susskind. 1-12" disc 
(*ANG-35417TP) $3.48. 1-12" factory-sealed 
disc (*ANG-35417) $4.98. 

Khachaturian: Concerto in D. Ruggiero Ricci (vio' 
lin) with the London Philharmonic Orchestra 
conducted by Anatole Fistoulari. 1-12" disc (*L- 
LL-1537) $3.98. 

The Dvorak 'OJJo Concerto is considered by 
many to be the prime masterwork among 'cello con- 
certos. Dvorak was the first romantic composer to 
create a masterpiece in this form. Many of the 
great 'cellists of our day have committed the work 
to discs, including Casals, Cassado, Fournier, Na- 
varra, and Rostropovich. (Janigro's on Westminster 
is now deleted). Starker is numbered among the top 
"cellists also in spite of the fact that he is in his 
early thirties. A Hungarian with a European back- 
ground, he came to our shores as first 'cellist with the 
Dallas Symphony in 1948, and he has held a similar 
post in the Metropolitan Opera and Chicago Sym- 
phony orchestras. He is now an American citizen, and 
often appears in recital and as soloist with American 
and European orchestras. This recording was made 
in London in 1956 at the time of his debut there. 
He plays the "Lord Aylesford," the largest instru- 
ment ever built by Stradivarius, dated 1696. His 
playing of the Concerto, and also of the lovely 
Faure Elegie, shows a beautiful tone and a secure 
technique. We would say that Starker and Suss- 
kind offer one of the best versions, backed up with 
fine Angel reproduction, and most persons will find 
it preferable to the Fournier or Navarra editions. 

The Khachaturian Violin Concerto is finding a 
few more champions these days, and we are glad 
because from our first hearing we felt this was a 
work with popular appeal. Speaking of Khacha- 
turian, the album notes writer states "His prefer- 
ence for using extended lyrical themes has resulted 
in a certain amount of criticism of his handling of 
form; and it is certainly true he is very much a 
rhapsodist in his large-scale compositions, and al- 
lows his melodic invention a rein which is incompati' 
ble with formal conciseness. For this reason, much 
of his music is difficult to analyze in accordance 
with classical procedures, but its appeal to the lis- 
tener is very direct." 

Appeal it has, and Ricci and Fistoulari put it over 
well. There is not quite the abandon we find in the 
Magyer reading (*EPIC LC-3080) and not quite 
the polish of Oistrakh (*A>JG-35244), but it is 
competent and holds interest. The reproduction is 



* indicate! LP 33 1/3 rpm. 
indicate* 45 rpm. 


The ISiew Records 


good; if it errs, it is in not favoring the violin quite 
enough. E. E. SHUPP, JR. 

Solisti di Zagreb Play Vivaldi, Solisti di Zagreb 

conducted by Antonio Janigro. I'll" disc (*BG- 

BG-560) $4.98. 

CONTENTS: Concertos in E minor for Bassoon 
and Strings; in G for Strings ("Alia Rustica"); in 
F for Oboe and Strings; in D minor for Oboe and 
Strings. Sinfonia >{o. 1 in C. Sinfonia ?sfo. 2 in G. 
Solisti di Zagreb Play Bach. Solisti di Zagreb con" 

ducted by Antonio Janigro, I'll" disc (*BG- 

BG-562) $4.98. 

CONTENTS: Double Concerto in D minor for 
Violin, Oboe and Strings; Triple Concerto in A 
minor for Flute, Violin, Harpsichord and Strings. 

The Solisti di Zagreb derives its name from 
Radio Zagreb (Yugoslavia), under whose auspices 
Antonio Janigro, the distinguished "cellist, formed 
the group, (Remember Janigro's magnificent re- 
cording of the Dvorak 'Cello Concerto, TNR Jan. 
'54?) Each member is a soloist in his own right, 
and the group might be compared to I Musici or the 
Virtuosi di Roma. 

The group is joined, on the Vivaldi disc, by 
Andre Lardot (oboe), Rudolf Klepac (bassoon) 
and Anton Heiller (cembalo) to give us superb 
readings of four chamber concertos and two sin* 
fonias. Lardot and Heiller also appear on the Bach 
LP, as does Werner Tripp (flute), rendering very 
satisfying performances of the works listed. Those of 
us who can't get enough of this sort of music will 
find the investigation of this brace of discs very re- 
warding; the reproduction is of today's very best. 

Vivaldi: Concerto in C for Hute, Strings and Con- 
tinuo. And Telemann: Concerto in A minor for 2 
Flutes, 2 Violins, Viola, Bass and Cembalo* And 
Telemann: Concerto in B-flat for 2 Flutes, 2 Vio- 
lins, Viola, Basa and Cembalo. Vienna Philhar' 
musica Symphony conducted by Paul Anger. One 
side, and Haydn: Concerto in D for Flute andl 
Strings. Scheck- Wenninger Chamber Group. 1- 
12" disc (*UR-UR-a005) $3.98. 
NOTE: For review of this disc see under OR' 


Mendelssohn: Concerto No. 1 in G minor, Op. 25. 
One side, and R. Strauss: Burleske in D minor. 

Poldi Mildner (piano) with the RIA8 Symphony 
Orchestra conducted by Artur Rother. 1-12" disc 
(*T-LGX-66062) $4.98. 

Lots of things we do need, but a new recording 
of Burle$\e we surely don't need, what with two. fine 
ones having been released only last April (TNR 
Apr. *57); and, as both "S" (see TNR Jan. "56) 
and "NT (see TNR Nov. % 56) have pointed out, 
the logical coupling to Mendelssohn's Concerto ?s[o. 
1 is obviously his Concerto 7s[o. 2. But the present 
recording fails, not due to poor coupling or because 

we have enough recordings of the works, but it just 
doesn't have it. The piano playing is accurate, but 
sterile; the conducting is well, just conducting. No 
spark, no specialness to warrant preserving this per* 
formance on discs. 

So if you wish the Mendelssohn, choose either 
Gianoli (*WEST-XWN-18Q43) or Katin (*L-LL- 
1453); if the Burleske is your cup of tea, choose 
Weber (*D-DL-9900) or Serkin (*C-ML-5168). 


Brahms: Schicfcsalslied, Op. 54 ("Song of Destiny' 1 ). 
(Sung in English). Beecham Choral Society and 
Royal Philharmonic Orchestra conducted by Sir 
Thomas Beecham. And Brahms: Akademische 
Festouvertiire, Op. 80. Royal Philharmonic Or- 
chestra conducted by Sir Thomas Beecham. One 
side, and Liszt; Psalm XIII ("Lord, How Long?"). 
(Sung in English). Walter Midgley (tenor), Bee- 
cham Choral Society and Royal Philharmonic Or- 
chestra conducted by Sir Thomas Beecham, 1-12" 
disc (*ANG-3540QTP) $3.48, M2" factory- 
sealed disc (*ANG-3540Q) $4,98. 
Sir Thomas Beecham's readings of the Brahms 
works are beautifully realised and magnificently re- 
corded. The present disc is every bit as fine as his 
previous efforts for Angel. We are not quite con- 
vinced of the value of having the Song of Destiny 
in English; the words are not clear anyway, and 
the lush blend of sound from the orchestra and 
chorus make words almost unnecessary. 

The Academic Festival Overture never had it so 
good. It takes a performance such as this to restore 
such an old war-horse to its proper stature, and Sir 
Thomas has a long-standing reputation for doing 
these things. 

The Liszt work was new to us. We listened to it 
quite a number of times, and our estimation of it grew 
with each hearing. It is an extended cantata for tenor 
solo, chorus, and orchestra. We are inclined to dis- 
regard the sacred compositions of Liszt, though they 
formed a significant part of his published works. 
Music lovers owe a debt of gratitude to Sir Thomas 
for presenting this relatively obscure work in such a 
thrilling performance. Recommended highly. N. 

Paray: Mass for the 500th Anniversary of the Death 
of Joan of Arc. Frances Yeend (soprano), Fran- 
ces Bible (mezzo-soprano), David Lloyd (tenor), 
Yi'Kwei-Sze (bass); Rackham Symphony Choir 
and Detroit Symphony Orchestra conducted by 
Paul Paray. 1-12" disc (*ME-MG-50128) $3.98. 
Current Market Price: #3.19. 
This is the first LP performance of Paul Paray's 
Mass which was premiered in 1931 in the Rouen Ca- 
thedral. The distinguished soloists, the Rackham Synv 
phony Choir and the Detroit Symphony Orchestra 
under the direction of the composer himself make 
this a recording of interest. 

* Indicate* LP 38 1/3 rpm. 
Indlcntfla 45 rpm. 






The performers acquit themselves admirably in 
this endeavor. Frances Yeend, Frances Bible, David 
Lloyd and Yi-Kwei-Sse all have had distinguished 
careers in the fields of operatic as well as religious 
music and bring sensitive interpretations to the solo 
parts. There is good balance between the soloists, 
chorus and orchestra; and the sound is excellent. 
Made in the new Henry and Edsel Ford Auditorium 
in Detroit, this disc could hardly ask for better 

The prime thing to be considered in a first re' 
cording of a contemporary work which is compara- 
tively unfamiliar is, however, not so much the acous- 
tics and interpretations as it is the music itself. One 
must ask himself whether or not he wishes to invest 
in a recorded work which has not yet become estab' 
lished. This reviewer would suggest, therefore, that 
the recording be heard before it is bought. The Mass 
consists of a K/yrie, Gloria, Sanctus'Benedictus and 
Agnus Dei. There are moments of genuine pathos in 
each of these, but the work seems uneven. After a 
moving passage, such as sections of the Kyrie, there 
are passages which seem somewhat labored, con' 
structed with a paucity of inspiration. Although the 
work as a whole is effective, it is not unreservedly so. 

Investigate this, then, in order to discern what 
the soloists and orchestra can do with a work which 
may have genuine appeal. P. 

Palcstrina: Le Vergini (8 Spiritual Madrigals). One 
side, and Palestrina: Stabat Mater. And Palcstrina: 
Super Humina Babylonis. Choir of the Choral 
Academy, Lecco (Italy) conducted by Guido 
Camillucci. 1-12" disc (*VX-PL-9740) $4.98. 
Mozart: Missa brevis in D, K. 194. One side, and 
Mozart: Mass in C, K. 257. Annelore Cahnbley- 
Maedel (soprano), Margarete Kissel (contralto), 
Gertrud Schretter (contralto) George Maran 
(tenor) and Walter Raninger (bass) with the 
Mosarteums Kammerchor and the Camerate Aca- 
demica des Sahjburger Mosarteums conducted by 
Bernhard Paumgartner, with Franz Sauer (organ). 
142" disc (*EPICLC-3323) $3.98. 
Killmayer: Missa brevis. One side, and Harrison: 
Mass. New York Concert Choir and Orchestra 
conducted by Margaret Hillis. 142" disc (*EPIC 
LC-3307) $3.98. 

The three very different records of liturgical music 
reviewed here offer much food for thought. Pales' 
trina, an acknowledged "old master," is represented 
by a first recording of Le Vergini, a setting of Pet' 
rarch's famous "Song to the Virgin," although for 
reasons best known to himself, Palestrina set only 
the first eight stanzas two stanzas and an epilogue 
are, omitted. The eight "spiritual madrigals," along 
with a setting of the first two verses of Psalm 137 
(Super flumina Babylonis) and the Stabat Mater 
are excellently sung in "editions'* by conductor 
Guido Camillucci. After 42 minutes Palestrina be' 
came a little monotonous, but this listener will readily 

admit that a goodly portion of the trouble could 
very easily rest with himself. 

Mozart's two relatively short Masses are gorgeous 
music, performed in sterling fashion by the soloists, 
chorus and orchestra noted above. Although the 
works are youthful (1774 and 1776 respectively) 
nonetheless they are genuine Mozart (pure gold!) 
exhibiting all his charm, gaiety and profound musical 
thought. This is a first recording of K. 257, the 
second (but the better) for K. 194. The record can 
be recommended without reserve, and not least 
among the set's many merits are Klaus George Roy's 
scholarly, beautifully written jacket notes. 

The two modern church pieces pose a bit of a 
problem. The music is dull the sort that seems to 
be written by the yard, as one used to buy dress 
goods. At the same time, one hates to presume and 
state that Herr Killmayer and Mr. Harrison were 
using the texts as a basis for a musical exercise. Per- 
haps one should leave the music alone and report 
that all concerned with these recorded performances 
do a creditable job with the assuredly difficult scores. 



Schulbert: Quartet No. 14 in D minor ("Death and 
the Maiden" 1 ). Armenian State String Quartet. 
' 142" disc (*ANG-35237TP) $3.48. 142" fac- 
tory-sealed disc (*ANG-35237) $4.98. 
Schubert: Quartet No. 14 in I> minor ("Death and 
the Maiden"). Hollywood String Quartet. 142" 
disc (*CL-P-8359) $3.98. 

Schubert: Quartet No. 2 in C. One side, and Mo- 
zart: Quartet No. 17 in B-flat, K. 458 ("The 
Hunt"). Quartetto Italiano. 142" disc (*ANG- 
35351TP) $3.48. 142" factory-sealed disc 
(*ANG-35351) $4.98. 

Schubert: Octet in F, Op. 166. David Oistrakh and 
Peter Bondarenko (violins); Mikhail Terian (vi- 
ola); Sviatoslav Knushevitzky (violoncello); Jo- 
seph Gertovich (bass); Vladimir Sorokin (clari- 
net); Joseph Stidel (bassoon); and Jacob Shapiro 
(French horn). 1-12" disc (*ANG-35362TP) 
$3.48. 142" factory-sealed disc (*ANG-35362) 

Some fine recordings of Schubert chamber works 
come to us this month, including two new and very 
fine readings of the well-known "Death and the 
Maiden 11 Quartet. Both are excellent; our nod goes 
to the Capitol one, for its more sprightly reproduc- 
tion and the somewhat more assertive playing . , . 
The airy Quartet ?^o. 2 in C reflects the work of 
a 16-year-old boy, yet interestingly foreshadows the 
greater things to come from the pen of Schubert, the 
incomparable melodist; an "only LP recording* 1 and 
worth the investigation of collectors of Schubert 
. , . Unless you are (as we often are) prejudiced in 
favor of the Budapest recording, you will think the 
present Angel record of Mozart's *The Hunt" 1 Quar- 



1 Indicate* tP 33 1/3 rpm. 
indicates 45 rpm. 




tct is the very best available . . . The delightful 
Schubert Octet contains much humor, is obviously 
intended for pure entertainment, and will be warmly 
welcomed by chamber music lovers; the present re* 
cording outclasses all previous ones in matters of 
fidelity, and the presence of David Oistrakh on it 
assures a scholarly, straightforward reading of the 

Mozart: Sonata in F, K. 377. One side, and Mozart: 
Sonata in B-flat, K. 454. Wolfgang Schneiderhan 
(violin) and Carl Seemann (piano). 142" disc 
(*D-DL-9862) $3.98. 

Mozart: Sonata in B-flat, K. 454. One side, and 
Mozart: Sonata in A, K. 526, Arthur Grumiaux 
(violin) and Clara Haskil (piano). 1-12" disc 
(*EPIC LC-3299) $3.98. 

Mozart: Quartet No. 14 in G, K. 387. One side, and 
Janacek: Quartet No. 2 ("Intime Briefe"). Jana' 
cek Quartet. 142" disc (*D'DL-985l) $3.98. 
Were it not that the genius of Mozart pervades 
both pieces, one would hardly guess that the gloomy 
Sonata in F, K. 377 was written by the same com- 
poser as the virtuoso Sonata in B'flat, K. 454. Here 
are two new fine recordings of the K. 454 and one 
each of K. 377 and 1C. 387. Our only preference 
would be in matters of coupling, which must be each 
reader's personal choice , . . The record by the ex* 
cellent Jana&k Quartet might be called an LP with 
a built-in shock absorber provided you play the 
Janacek Quartet ?s[o. 2 first. The jacket notes sug- 
gest that the disc offers examples of the best of 
present-day and "formative" string quartets; this it 
may be, but if the record could be split in half, the 
Mozart side would outsell the Janacek side five to 
one. This LP may be an example of art, but con* 
sidering that lovers of one side would hardly wish 
the other, it strikes us as a poor example of mer" 



Mozart: La Finta Semplice, K. 51 (complete). (Sung 
in German). Soloists, Camerata Academica of the 
Sahburg Mosarteum conducted by Bernhard 
Paumgartner. 242" discs in box (*EPIC SO 
6021) $9.96. 

Rosina Dorothea Siebert (s) 

Fracasso George Maran (t) 

Don Cassandro Alois Pernerstorfer (bs) 

Don Polidoro August Jaresch (t) 

Donna Giacinta Edith Oravez (s) 

Ninetta Karin Kiister (s) 

Simone Walter Raninger (bs) 

In 1768 Leopold Mosart wrote in a letter to his 
Salzburg landlord of plans which he had formed for 
the composition and subsequent performance in Vi- 
enna of an opera buffa by Wolfgang Mosart. The 
work was to be performed by the excellent Viennese 

opera buffa singers of the time and was designed to 
be approximately three hours long. According to 
Leopold Mozart, his plans had excited the entire 
music world of Vienna not to mention the Emperor 
and Empress, who were delighted to have a twelve 
year old boy undertake so outstanding a project. 

For an unknown reason, however, La Finta Scm.' 
pltce did not receive its initial performance in Vi- 
enna but was first given in Sabjburg in 1769 in the 
theatre of the Prince-Bishop's residence. The cast 
was made up of church musicians, and the orchestra 
consisted of chamber music players instead of the 
expert comic artists and experienced orchestra of 
Vienna. Whether it was for this or some undiscov* 
ered reason, the opera subsequently passed into ob- 
livion and was evidently not revived until 1920. 

At any rate La Finta Semplicc is an excellent ex- 
ample of the genius of the young Mozart. It has the 
buoyant lilt, which (has become a trademark of this 
composer, although certainly this cannot be said to 
be a mature work. It is simply indicative of the de- 
lights to come. Although the aria, Marito io vorrei 
cannot possibly evoke the pathos of Dove sono, the 
former is exquisite. 

Epic has assembled a cast of spirited singers to de- 
liver this work, which is a fine study in the evolution 
of a genius. p. 

Gluck: Orpheus and Eurydke (complete). (Sung in 
German). Soloists, Berlin Motet Choir, RIAS 
Chamber Choir, and Berlin Radio Symphony Or- 
chestra conducted by Ferenc Fricsay. 2-12" discs 
in box (*D-DXH443) $9.98. 

Orpheus Dietrich Fischer-Dieskau (bt) 

Eurydice Maria Stader (s) 

Amor Rita Streich (s) 

When "Orpheus and Eurydice" was first per- 
formed in Vienna in 1762, the part of Orpheus was 
assigned to a male contralto. Since that initial per- 
formance, the part has been done by naexzo'sopranos, 
contraltos and in a French version edited by Hec- 
tor Berlioz tenors. Decca now presents the fine 
German baritone, Dietrich Fisoher-Dieskau, in the 
role of Orpheus. 

Because of the outstanding reputation for artistry 
and musicianship which Fischer-Dieskau enjoys, this 
recording is of great interest. Because of the fact 
that Orpheus was last sung at the Metropolitan 
Opera by mezzo-soprano Rise Stevens, this becomes 
an item of curiosity. To one who has frequently ob- 
jected to females who masquerade as males, the re- 
sult is indeed gratifying. Fischer-Dieskau not only 
has a beautiful voice, but also he knows how to do 
justice to the restrained, artful melodies of Gluck. 
This is far from an opera of wild emotions, and 
Herr Fischer-Dieskau succeeds beautifully in his 
delivery of the classical melodic lines. 

The other two singers in the cast are a wise 
choice also. Sopranos Maria Stader and Rita Streich 
become more prominent each year as representa- 
tives of expressive and accurate singing. As Eurydice 

* indicates LP 88 1/8 rpm. 
indicates 45 rpm. 


PAGE 10 




and Amor, respectively, they pour forth exquisite, 
effortless tones so necessary to the clean dramatic 
passion of the music of GlucL 

Although the original performances were done in 
Italian, this recorded version is in German, but with 
no loss in the spirit of the entire work. Ferenc Fric' 
say conducts the Berlin Motet Choir and the Berlin 
Radio Symphony Orchestra in what is by far the 
most successful version of this opera on discs. 


Famous Baritone Arias. Robert Merrill (baritone) 
with the Rome Opera House Orchestra. 1*12" 
disc (*V-LM'2086) $3.98, 

CONTENTS: OteHo Credo in un Dio crudel; 
Trovatore Tutto e deserto (recit.) ... II balen 
del suo sorriso (aria) (with Calabrese); Hamlet 
Brindisi; Traviata Di proven^a il mar; II Barbiere 
di Siviglia Largo al factotum; Andrea Chenier 
Nemico della patria; Herodiade Vision fugitive; 
V Africans Adamastor, re dell' onde prof on de; 
Zaza Zazja, piccola zingara; Rigfoletto Pan siamo 
6? Cortigiani, vil ras&a dannata, 

Operatic Recital. Cesare Siepi (basso) with orches' 
tra M2" disc (*L-LL-1514) $3.98. 
CONTENTS: Le ^ozze di Figaro Se voul bal' 
lara & Non piu andrai & Tutto e disposto; Don 
Giovanni Madamina! il catalogo 6^ La ci darem la 
mano (witfli Gueden) & Finch'han dal vino & Deh, 
vieni alia finestra & Meta di voi; La Forza del Des* 
tino Or siam soli (with Tebaldi) 6? II santo nome 
(with Tebaldi) 6? Non imprecare (with Tebaldi and 
del Monaco). 

Operatic Recital. Giuseppe Campora (tenor) with 
the Orchestra of the Accademia di Santa Cecilia 
conducted by Alberto Erede. One side, and Op- 
eratic Recital. Gianni Poggi (tenor) with the 
Orchestra of the Accademia di Santa Cecilia con- 
ducted by Alberto Erede. (TNR Oct. '54). 142" 
disc (*L-LL-1381) $3.98. 

CONTENTS: Tosca E lucevan le stella; Falstaff 
Dal labbro il canto; Andrea, Chenier Come un 
bel di di maggio; Mefistofcle Dai campi, dai prati 
6? Giunto sul passo estremo; L'Arlesiana E la 
solita storia; Lodoletta Se Franz dicesse il vero . . . 
Ah! ritrovarla (Campora). Luisa Miller Quando le 
sere al placido; II Trovatore Ah! si ben mio & Di 
quella pira; Manon Lescaut Donna non vidi mai; 
Gianni Schicci Firenze e come un Albiero Fiorito; 
Fedora Amor ti vieta (Poggi) (TNR Oct. '54). 

The long playing record may develop into a sort 
of trap for unwary singers, and the first of the op- 
eratic recitals listed here proves to be a prime ex- 
ample of what not to do. Robert Merrill sings all 
the various roles (and it is a series that would tax 
the interpretive powers of a Ruffo, a de Luca or a 
Granforte) in a singularly monotonous fashion. His 
lago, di Luna, Germont, Rigoletto and Hamlet all 
bear a striking resemblance to Robert Merrill. Vo- 

cally, of course, he is excellent in top form one 
might note a fact which only accentuates the disc's 
interpretive shortcomings. This is one for the singer's 
admirers opera lovers should look, or rather listen, 

The Siepi disc is a selection of arias and scenes 
taken from the complete recorded operas in which 
this fine Italian basso has appeared. His work in the 
complete Forza dd Destino (TNR May '56), Le 
Hozze di Figaro (TNR Feb. '56) and other sets 
usually has been admired in these columns although 
one has reservations as to his Don Giovanni, The 
Catalog Aria, is of course, a new recording; it is 
not from the Don Giovanni set. 

Giuseppe Campora sings well enough on the first 
side of the third disc listed here. In fact, this writer 
was decidedly impressed with his work in the Me/iy 
tofele and Andrea Chenier arias. His voice is light, 
pleasant and very Italian, and he can convey the 
emotional content of the music without coming apart 
at the seams. The Poggi arias are transfers from a 
10" disc reviewed in the October 1954 issue of 
THE NEW RECORDS. They sound even better now 
than they did then. W. 

Operatic Recital. Anita Cerquetti (soprano) with 

chorus and orchestra of the Maggio Musicale 

Fiorentino conducted by Gianandrea Gava^eni. 

142" disc (*L'LL-1601) $3.98. 

CONTENTS: Aida Qui Radames verra # O 

patria mia; f Vespri Sicilians Merce, diletti amiche; 

y^orrna Casta diva; Agnes von Hohenstaufen O 

Re dei Cieli (Spontini); Tsfdkucco Ben io t'invenni 

6? Anch'io dischiuso un giorno; Ernani Sorta e la 

notte & Ernani, involami; Toscd Vissi cTarte; La 

Forza, del Destino Pace, pace mio Dio. 

Operatic Recital Anton Dermota (tenor) with the 
orchestra of the Stadtische Oper, Berlin, con' 
ducted by Artur Rother, 1-12" disc (*T-LGX- 
66048) $4.98. 

CONTENTS: UElisir d'Amore Una furtiva lag- 
rima; Tosca Recondita armonia 8 E lucevan le 
stelle; Trouatore Ah! si ben mio; RigoZetto Ella 
mi fu rapita! 6? Parmi veder le lagrime; Eugcn 
Onegin Wohin seid Ihr entschwunden; Die Ent- 
fuhrung aus dem Serail Hier soil ich Dich denn 
sehen & Wenn de Freude Tranen fliessen; Die Zau* 
berftote Wie stark ist nicht den Zauberton; Cosi 
fan Tutte Un aura amorosa; Die Entfuhrung aus 
dem Serail Konstan&e! . . . O wie angstlich. 

Gala Performance. Members of the Metropolitan 
Opera Association with orchestra conducted by 
Hans Jurgen-Walther, M2" disc (*CONCORD 
3003) $3.98. 
CONTENTS: Don Giovanni Brindisi (Jas. 

Pease); Trovatore Miserere (A. DaCosta # V. 

Ruggeri); II Barbiere di Siviglia Largo al factotum 

(F. Valentino); Madama Butterfly Un bel di ved- 



* indicates LP 33 1 

:atei LP 33 1/3 rpm. 
indicates 45 rpm. 


The ISfew Records 


remo (M. Henderson); I Pagliacd Vesti la Giubba 
(A. DaCosta); Bohemc Musetta's Waltz Song (L. 
Hunt); II Trovdtore AI nostu monti (J. McCracken 
& 8. Warfield); Aida Celeste Aida (A. DaCosta); 
Carmen Seguidilla (B. Lewis); Faust LQ veau d'or 
(L. Sgarro); Samson ct Dalila Mon coeur s'ouvre 
a ta voix (S. Warfield 6? J. McCracken); Rigoletto 
-La donna e mobile (R. Schock); Don Giovanni 
La ci darcm 3a mano (J. Pease 6? B. Troxell); Car* 
men Toreador Song (F. Valentino). 

Great acclaim for a dramatic soprano usually re- 
sults from excellence in one of two categories a 
beautiful voice or dramatic fire. Anita Cerquetti, 
who is introduced on this London record, does not 
excel in either department. Her voice can be beau* 
tiful, as in the Costa Diva from "Norxna;" in this 
aria, alone, does she seem to attempt an intelligent 
delivery of what she is singing. In the remainder 
of the selections presented on this recording, she 
might well be doing variations on one operatic 
role, for there is little definition drawn among El" 
vira, Leonora and the other ladies. Although there 
is no doubt that her voice is competent enough to 
negotiate the music, what seems to be lacking is an 
ability to portray character or evidence a genuine 
feeling for the music. The most outstanding thing 
about this particular disc is the fact that here are 
recorded in relatively good sound several arias rarely 
heard on records or in the concert hall. The arias 
from "Nabucco" and "I Vespri Sicilian!," as well as 
the Spontini aria, make this a recording of interest. 

Anton Dermota has been widely praised for his 
excellence in singing Mosart arias. Telefunken offers 
one LP side devoted to Dermota's interpretations of 
four arias, and it must be said that he does adniira* 
ble work in each of these. Such is not the case for 
the reverse side. Schipa had the suave, effortless 
tones suitable to Una furtiva kgrinwt. Di Stefano's 
E lucevan Ic steJle is a joy to hear. In neither of 
these roles does Dermota convince the listener that 
there is an affinity between voice and music. Dermota 
seems to lack vocal focus as well as an idiomatic 
Italian flavor. Although his talents are amply dis- 
played in the Mosart arias, he cannot be praised for 
his work in the Italian repertoire as presented here. 
The aria from "Eugen Onegin" is admirably done. 

The third record in this grouping is labeled "Gala 
Performance.*' That it is a performance is doubtful; 
that it is gala is a misnomer. Had the performers, who 
are identified on this disc as "members of the Metro* 
politan Opera Association," bothered to learn in 
which key they were to sing, the result might have 
been passable, James Pease and Barbara Troxell are 
the only names familiar to us; none of the singers is 
in any way outstanding, and there are more wrong 
notes and singer-conductor warfare than this reviewer 
has ever before encountered. The program is so out- 
standingly familiar that only excellent interpretations 
could possibly make the project interesting; nothing 
of the sort is found here. P. 


Menotti: TJbe Unicorn, The Gorgon and the Manti- 

core. Chorus and instrumental ensemble conducted 
by Thomas Schippers. M2" disc (*ANG-35437- 
TP) $3.48, 1-12" factory-sealed disc (*ANG- 
35437/L) $5.98. 

The last time we reviewed a new work by Gian 
Carlo Menotti was just over two years ago, when we 
reviewed The Saint of Bleeder Street (TNR June 
"*55); the warm welcome we had for the former opus 
is doubled in spades for the present set. 

The Unicorn, the Gorgon and the Manticorc is 
a madrigal fable for dancers, chorus and chamber 
ensemble. It was commissioned by the Elisabeth 
Sprague Coolidge Foundation in the Library of Con" 
gress and was first performed tinder the sponsorship 
of the Foundation in the Library of Congress on 21 
October 1956. The New York premiere, which took 
place on 15 January 1957, was warmly received by 
the critics; and small wonder. 

Although the notes give credit to four soloists, 
their parts are short, the bulk of the tightly woven 
score being for either chorus, chamber ensemble, or 
both together. The story is deceptively simple: a 
strange man is seen parading, by turns, a Unicorn, 
a Gorgon and a Manticore. In each instance he is 
first scorned by the townspeople, but the Count and 
Countess follow the strange one*s lead in fashion, 
so that shortly after the appearance of each fabled 
animal, each person in the whole village is seen 
leading one. One by one the animals belonging to 
"The Man in the Castle,'* as the strange person is 
known, disappear under mysterious circumstances; 
thinking that the Man is doing each in, the towns' 
folk form a committee to stop the killings. When 
they arrive at the castle, they find the Man dying, 
surrounded by his very much alive Unicorn, Gorgon 
and Manticore. The Man, of course, is the Poet; and 
the Unicorn, Gorgon and Manticore are his ideals 
of youth, manhood and old age, respectively. The 
Poet's dying words to the townspeople contain 
the message of the fable: 

"Oh, foolish people 

Who feign to feel 

What other men have suffered, 

You, not I, are the indifferent killers 

Of the Poet's dreams." 

We cannot leave without mentioning that the 
burden of this whole production falls squarely on 
the shoulders of conductor Schippers. He leads the 
small (24 voices) chorus and nine'piece ensemble 
through the taut, economical score, and his forces 
reflect his great enthusiasm for the work. The 
madrigals are indeed lovely, each section being a 
highly polished gem as performed under Schippers* 
direction. Angel's engineers have outdone themselves 
in matters of microphone placement, balance and 

* indicate* LP 83 1/8 ypm. 
indicates 45 rpm. 


PAGE 12 





volume level. It is a pleasure to recommend wide" 
spread investigation of this composer-supervised 
first recording of a new and exciting work from the 
pen of Gian Carlo Menotti. J. 

The Weavers at Carnegie Hall. The Weavers, with 
instrumental accompaniments. I'll" disc (*VAN' 
VRS-9010) $4.98. 

CONTENTS: Darling Corey; Kisses Sweeter 
than Wine; Pay Me My Money Down; Green- 
sleeves; Koc^ Island Line; Around the World (med' 
ley); Wimoweh; Venga Jaleo; Suliram; Sholom 
Chavarim; Lonesome traveller; I Know Where I'm 
Going; Woody's Rag; 900 Miles; 16 Tom; Follow 
the Drinking Gourd; When the Saints Go Marching 
In; I've Got a Home in That Roc\; Hush Little 
Baby; Go Where I Send Thee; Goodnight Irene. 
Promised Land. The Welch Chorale directed by 

James B. Welch. M2" disc (*LYR-LL-64) 


CONTENTS: Promised Land; Ch&rlottown; Shen- 
andoah; Cousin Jedediah; Jesus Bom in Bethlea; 
Kelly Ely; QV Ar\'s A-Mouerin'; Oh! Susanna; 
Poor Wayfarin* Stranger; O Mary, Don't You 
Weep!; I Have a Mother; Lil Liza Jane; Lone 
Prairie; Lamentation over Boston; Gonna Ride up 
in the Chariot; Bethlehem; Swing Low, Sweet Char' 
tot; Were You There?; Steal Away. 

Pete Seeger thus describes the Weavers: "Two 
low baritones (Lee Hays and Fred Hellerman), one 
brilliant alto (Ronnie Gilbert), and a split tenor 
(namely me)." The Weavers set the record bus- 
iness on its ear back in 1950 when Good Wight 
Irene and Tzena, Tzena hit the stores; they have 
been going strong ever since. 

The present recording was made at an actual con* 
cert on Christmas Eve 1955; a little of the applause 
following each number has been retained on the 
disc. This is true folk music, but "arranged" for 
public performance; the Weavers have terrific spirit 
and provide as enjoyable an hour of folk singing and 
playing as you're likely to find on discs. 

We have had occasion to praise several of the 
Welch Chorale records in the past, but this one is 
certainly not up to this group's usual standard. Un* 
less the performing artists can seem to enjoy singing 
folk songs, the songs have no point; the heavy 
handed treatment the Welch Chorale gives these 
numbers squeezes all the life out of them. 

The Wraggle Taggle Gipsies. Alfred Deller (counter 
tenor) with Desmond Dupre (guitar and lute) 
and the Taylor Recorder Consort. M2" disc 
(*VAN-VRS'1001) $4.98. 

CONTENTS: The Wraggle Taggle Gipsies; Lord 
Randall; Flowers in the Valley; Blow Away the 
Morning Dew; Frog and the Mouse; Seeds of Love; 
Sweet England; Dabbling in the Dew; Strawberry 
Fair; Wear London Town; O Who's Going to Shoe 
Tour Pretty Little Foot?; Searching for Lambs; 

Sweet Jane; Just as the Tide Was Flowing (vocal). 
Wolsey's Wilde (Byrd); Fantasia on "Polly Oliver' 
and "Gathering Peas" (Anon. arr. Taylor); Linden 
Lea (Vaughan Williams arr. Taylor); Robin 
(Mundy arr. Taylor) (recorder consort). 

This disc might almost be considered an exten- 
sion of the recital contained on the Vanguard disc 
The Three Ravens (*VAN-VRS-479 9 TNR July 
""56), except that the musical interludes are for a 
consort of recorders instead of for solo lute. Alfred 
Deller's delicate phrasing, scholarly musicianship, 
and knack for being just plain entertaining all shine 
forth on this disc, and it is one to be recommended 
\vithout reservation especially to those who found 
The Three Ravens to their liking. Folk songs and 
Ballads of Elizabethan England in an unique presen* 

A Complete Minstrel Show. Vocal and instrumental 
soloists, quartet, chorus, and sundry and miscel' 
laneous other performers. 1*12" disc (*SOMER' 
SET P-1600) $1.98. 

If you liked Epic's Gentlemen, Be Seated (TNR 
May '56 ), you'll probably want to add this bargain' 
priced (but really hi-fi) LP to your collection in 
spite of the fact that many numbers on the present 
disc duplicate those on Epic's. 

Contained on this Somerset LP are the following 
(numbers marked with an asterisk are also on 
Epic's): Hot Time in the Old Town Tonight*; 
Swanee River; OV Dan Tuc\er*; Mandy Lee*; Old 
Fol\s at Home*; Camptown Races*; La$su$ Tram* 
bone*; In the Evening by the Moonlight*; Oh, 
Susannah; Shine On, Harvest Moon*; Preacher and 
the Bear; Grand Old Flag; Asleep in the Deep; 1 
Wonder Who's Kissing Her 7s[ou;*; Wait 'til the 
Sun Shines, T^ellie; Hello, Ma Baby*; Goodbye, My 
Lady Love*; Jeannie with the Light Brown Hair; 
Sweet Sixteen. 

If you like to sing along with the record, in addi' 
tion to the present record and Gentlemen, Be Seated, 
the following are recommended: Required Singing 
(*EPIC LN-3282, TNR Jan. '57) and Here Comes 
the Showboat (*EPIC LN'3329, TNR Apr. '57). 

Troubador and Trouvere Songs (12th & 13th Cen- 
turies). Russell Oberlin (counter tenor) acconv 
panied by Seymour Barab (viol). M2" disc 
(*EA-0012) $4.98. 

Chansons and Motets of the 13th Century. One 
side, and (2) Organa of TEcoIe de Notre Dame. 
Pro Musica Antiqua directed by Safford Cape. 1' 
12" disc (*D-ARO3051) $5.98. 

(6) Organa of 1'Ecole de Notre Dame. Rusaell 
Oberlin (counter tenor); Charles Bressler, Donald 
Perry (tenors); and Seymour Barab (viol). 1*12" 
disc (*EA-0021) $4.98. 
No record label has ever described so perfectly the 

effect of the music contained thereon. Hearing the 

Troubador and Trouvere Songs in Russell Oberlin's 

PAGE 13 


indicates LP 83 1/8 HUB. 
Indicate 45 rpm. 





fantastic counter tenor is indeed un experience 
ywe.' A particularly satisfying feature of this disc ia 
the unabridged rendering of all the verses of these 
songs. Seymour Barab's viol accompaniment is suita- 
bly inconspicuous. Texts and translations are also 

The Archive disc generally duplicates the ma' 
terials contained on the other two records, but con' 
tains a wider variety of medieval polyphonic forms. 

The performances of the Organa from I/ficole de 
Notre Dame occupy the remaining side of the Decca 
disc, and all of the third record listed above. These 
compositions are drawn from those used at the time 
of the erection of Notre Dame (c. 1160 A.D.). They 
are by two men: Leonin and Perotin, about both of 
whom almost nothing is known. It is especially inter' 
esting to find the element of individual technique of 
such prominence in these early forms. Even to the 
untutored listener, there are readily discernable dif- 
ferences in the works of these two composers. In the 
one Organurn which is duplicated, Sederunt frrincipes, 
the Archive disc achieves the more satisfactory per' 

In all these records, the performances are superior. 
Admittedly, they are for the specialist and/or 
scholar, but to them they will be a complete joy. 



Bach Organ Recital. Anton Nowakowski, playing 

the organ of the Klosterkirche, Sorro, Denmark. 

M2" disc (*T'LGX-66059) $4.98. 

CONTENTS: Toccata and Fugue in D minor, 

BWV. 565; Prelude and Fugue in C, BWV. 545; 

Prelude and Fugue in B minor, BWV. 544; Passa* 

caglia in C minor, BWV. 582; Prelude and Fugue 

in E minor, BWV. 548; Fantasia in G, BWV. 572. 

This disc of Bach organ music presents a group 
of some of the best known organ works played for 
the umpteenth time on records. Generally speaking, 
we would say that its chief attraction would be for 
those who like their Bach in miniature. Here we 
have neat, precise playing on an organ which is 
made to sound rather thin and piping for the most 
part. The organ really has a fairly good ensemble 
when it is permitted to roll out, such as in the 
C major Prelude and Fugue. That does not happen 
too often; and, in fact, it could not happen all the 
time, or the effect would be monotonous. When the 
registration is kept light, it is too thin. The familiar 
Toccata and Fugue m D minor sounds as though 
it were played on a different organ from the fol* 
lowing piece on the disc, the C major already men* 

When the Passacaglia opens up, the registration 
is so weird and "quinty" there is some doubt as to 
what the true pitch line is. With that out of the 
way, Nowakowski proceeds to build a respectable 

if small-scaled edition of the Passacaglia and Fugue 
in C minor always managing to be careful not to 
allow anything thrilling to intrude. The most pre- 
cious cameo comes with the magnificent "Cathedral" 
Prelude and Fugue in E minor (not referred to as 
such in the notes). It would never have acquired 
the "Cathedral" title from this performance, which 
is more like the chapel of a doll's house. This is 
followed with a really fair statement of the Fan* 
tasia in G, where we can hear something that sounds 
like an organ. Nowakowskf s reading of this work is 
steady and noble. 

We are inclined to think this disc is compiled of 
several recording sessions where the microphone 
placement varied as well as the recording character* 
istics. In all, it is not to be recommended. 



"The King and I" and! "Carousel." George Feyer 
(piano) with rhythm accompaniment. 1- 12" disc 
(*VX'PL-21300) $3.98. 

Echoes of Hollywood. George Feyer (piano) with 
rhythm accompaniment. 1-12" disc (*VX'VX' 
25400) $3.98. 

Echoes of Vienna. George Feyer (piano) with 
rhythm accompaniment. 1*12" disc (*VX-VX' 
25250) $3.98. 

Echoes of Spain. George Feyer (piano) with rhythm 
accompaniment M2" disc (*VX"VX-25070) 

Echoes of Broadway. George Feyer (piano) with 
rhythm accompaniment. 1*12" disc (*VX'VX' 
25350) $3.98. 

Five more of the most pleasing background music 
discs in the George Feyer "Echoes of ... " series 
(see TNR May '57 ), guaranteed to make your cock' 
tail taste better and drone of party chit-chat more 

Mozart Piano Musk. Wilhelrn Backhaus (piano). 
,142" disc (*L-LL4399) $3.98. 

CONTENTS: Fantasia in C minor, K. 475; So- 
nata Ko. 10 in C, 1C. 330; Sonata NO. 14 in C 
minor, K. 457; Rondo in A minor, K. 511. 

Mozart Piano Musk. Paul Badura-Skoda and Joerg 
Demus (piano, four hands). M2" disc (*WEST' 
XWN'18045) $3.98. 

Current Market Price; #3.19. 

CONTENTS: Sonata in F, K. 497; Sonata in G, 
K, 357; Sonata in C, K. 521. 

We rather suspect that Wilhelm Backhaus* many 
fans will not hesitate to add the present London 
LP to their libraries; our personal choice would be 

* Indicate* LP 83 1/8 rpm, 
Indicates 45 rpm. 


PAGE 14 


Rtf cords 


Giescking in the two Sonatas (K. 330 and JC. 457,) , 
but he does not offer this coupling and we rather 
feel that no one could quarrel with Backhaus' in* 
terpretations . . . One often comes across works for 
duO'pianists (two artists, two pianos) but almost 
never does one hear works for two artists, one piano 
in recital. However, in the intimate presentations of 
the 18th century, such works were common, and 
Mozart wrote many pieces of this genre. Close rap- 
port and extreme nimbleness is required in playing 
such works, and Badura-Skoda and Demus here 
perform as one man (albeit a man with four hands) 
in these lovely Mozart sonatas. 

Morowitz iji Recital. Vladimir Horowitz; (piano). 

1*12" disc (*V-LM'1957) $3.98. 

CONTENTS: Variations on a Theme by Clara 
Wiec\ (Schumann); Mazur\a in B'flat minor, Op. 
24, Ho. 4 (Chopin); Polonaise<Fanta$ie t Ojx 61 
(Chopin); Sonata in E'flat, Op. 78 (Haydn); Inter- 
mezzo in B'flat minor, Op. 117, >(o. 2 (Brahms); 
Sonata in E, L. 23 (Scarlatti); Etincelles (Mosskow- 
ski) ; Prelude in D, Op. 11 , HO. 5 ( Scriabin) ; Prelude 
in G'sharp minor, Op. 22, 3\[o. 1 (Scriabin); Stars 
and Stripes Forever (Sousa trans. Horowitz). 

We recall the old 78 rpm (vinylite) disc of the 
Stars and Stripes Forever by Horowitz which, much 
to our surprise, became quite a large seller (at $2 
per record); here it is again on an ^actual recital" 
record (the Scriabin numbers were especially re' 
corded for this disc; the others were recorded at a 
recital given some time in the early nineteen fifties). 
If the Stars and Stripes Forever is worth $2, the rest 
of the recital is easily worth the other $1.98! 

Lipatti's Last Recital. Dinu Lipatti (piano). 2' 12" 
discs (*ANG-35438/9TP) $6.96. 242" discs in 
factorysealed album (*ANG'3556B) $9.98. 
CONTENTS: Partita NO. 1 in B-flat (Bach); 
Sonata NO. 8 in A minor, K. 310 (Mozart); Im* 
promptu NO. 2 in E'flat, Op. 90, Tsjo. 2 and Ira* 
promptu 7s[o. 3 in G'flat, Op. 90, No. 3 (Schubert); 
(13) Waltzes (Nos. 1, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 
13, 14) (Chopin). 

When Dinu Lipatti died, at the age of 33, on 2 
December 1950, the world lost a great pianist of 
even greater promise. His handful of LP records 
continue to sell, especially his wonderful coupling of 
the Schumann and Grieg Concertos (*OMI>4525, 
TNR June '52). The present recording, made at 
Lipattfs last recital, was effected by the engineers 
of the Radiodiffusion francaise; considering that con' 
ditions were not those to be found in the recording 
studio, the results are, indeed, excellent. 

Lipatti was one who had decided to study the 
piano repertory segment by segment, not wishing to 
perform a work publicly until he was certain that he 
had mastered it. Accordingly, his repertoire at the 
age of 33 was quite limited and, save for the two 
Schubert pieces, all of the works contained in the 

present recital are already on discs by Lipatti. The 
great value of this set, then, is not so much that it 
adds to the Lipatti dtscography, but that one can 
hear this fine musician in an actual performance, 
knowing that it is not the result of the piecing to' 
gether of bits of tape from several performances by 
some recording engineer to give a "perfect" perform' 
ance. (This is why some artists in recital do not 
sound as good as they have on their discs). 

This set may not set any sales records; yet it is 
to be welcomed by all collectors of Lipatti's discs as 
well as those interested in "performance" recordings 
true mirrors of an artist's abilities. J. 


Banjo and 'Bones in Hi-Fi. Uptown Firehouse Bri' 
gade conducted by Mac Pollack or Allen Roth 
142" disc (*EPICLN-3360) $3.98. 
CONTENTS: Lassus Trombone; Klaxon; Have a 
Little Fun; Dona Do Dat; Lightning Fingers; Shout- 
in Liza Trombone; Mister Joe; Waves; Pahson Trom- 
bone; Chimes of Iron Mountain; Miss Trombone; 
Aunt Hannah. 

Parade of the Banjos. The Internationals. M2" disc 

(*GOLDEN CREST CR-3000) $3.98. 

CONTENTS: Alexander's Ragtime Band; Cali- 
fornia, Here I Come; Pasadena; Dixie; Camptown 
Races; Chinatown, My Chinatown; 22 others. 
American Banjo Tunes and Songs in Scruggs Style. 

15 banjoists. M2" disc (*FOLK-FA-2314) $5.95. 

CONTENTS: Shortnin' Bread; Cac\lin* Hen; 
John Henry; Tur\ey in the Straw; 29 others. 
And the Banjos Sing. John Cali (banjo) with band 

and vocal group. M2" disc (*GOLDEN CREST 

.CR-3016) $3.98. 

CONTENTS: Teaming; Angry; Goo/us; Five 
Foot Two, Eyes of Blue; I Wonder What's Become 
of Sally?; 7 others. 

The first disc listed above really does not belong 
in this group, it being a wonderful collection of 
minstrel band numbers by "Uncle" Henry Fillmore. 
The banjo is only incidentally featured; and watch 
that apostrophe before the word "'Bones" this is 
not a collection of tunes featuring bones players, 
but trombone players . . . The other discs feature 
the banjo. The Internationals is a banjo band, with 
saxophone, string bass and a tinkling piano some* 
times in the background; they play 28 (the jacket 
says 24, but the editor evidently forgot to count 
'em) favorite tunes that most anyone would like . . . 
The Folkways disc is sort of a Hamlet-without'Ham' 
let'SO'Ophelia-will'have'tO'do. Seems a fella' named 
Earl Scruggs developed a 3 'finger style of playing 
the banjo and making it the lead instrument; but 
Earl ain't on this disc. His brother, name of Junie 
Scruggs, is on the record; but he and two of the 
other banjoists don't play "Scruggs" style, nohow. 

PAGE 15 


indicates LP 88 1/3 rpm. 
Indicate! 45 rpm. 




Twelve of "em do foller Earl, tho'; this here's a real 
cornball of a record, with a lotta tunes nobody ever 
heerd of ... The jacket notes describe "And the 
Banjos Sing" best: "Here (John Cali) is surrounded 
by a group of uninhibited singers who sound as 
though they were on a hayride. They . . . brought 
along a tuba, an accordion and . . . supporting nxusi' 
cians who are obviously having a ball.^ Climb on 
board in no time you'll be singing, too," 

Luening & Ussachevsky: A Poem in Cycles and 
Bells. Tape Recorder and Members of the Royal 
Danish Radio Orchestra conducted by Otto Lin- 
ing. And UssacKcvsky: A Piece for Tape Re- 
corder. And Luening & Ussachevsky: Suite from 
"King Lear." Tape Recorder (solo). One side, 
and Bergsma: The Fortunate Islands, Orchestra 
of the Accademia Nazionale di Santa Cecilia 
(Rome) conducted by Alfredo Antonini. 1-12" 
disc (*COMPOSERS CRM12) $4.98. 
With the advent of the tape recorder, with its un<- 
canny ability to distort the sounds it picks up, thus 
creating new sounds, the composer of today has a 
virtually limitless source of sounds which he may 
incorporate into his compositions. There will be 
those who, upon hearing Side One of this disc, will 
hope that a composer will come along who can make 
beauty out of this myriad of sounds instead of the 
cacophony one hears here. We try to be broad* 
minded when it comes to music, and we have at 
times recommended things for which we did not 
personally care, because we were rather certain that 
those collectors interested would feel that the par' 
ticular work was a worthy representative of the com' 
poser, idiom or whatever. However, the weird, un' 
beautiful noises which Luening and Ussachevsky 
cause to emanate from their prepared tape recorder, 
while perhaps interesting for their novelty, do not 
impress us as anything weM ever care to hear again. 
William Bergsma (1921- ) was born in Oak' 
land, Calif., played the violin at six and was com' 
posing orchestral music by the time he reached high 
school. His work came to the attention of Howard 
Hanson in 1937, and this was the beginning of a 
string of prizes and awards for Bergsma's composi' 
tions. The Fortunate Islands, the composer says, rep' 
resents his impressions of what he might feel if he 
discovered a new island or archipelago. Decidedly 
modern, the piece nonetheless has its moments of 
grandeur and beauty, dissonances being used most 
intelligently to set off the themes. Compared to what 
you will hear on the other side of this disc, Bergsma's 
work is positively delightful; since one cannot buy 
half a record, one must perforce decide whether 
The Fortunate Islands is interesting enough to war' 
rant taking the chance of getting the "wrong side 
up" 1 on his record changer. J. 


The World's Encyclopedia of Recorded Music 
(3rd Supplement). By Francis F, Clough 
and G. J. Cuming. xxvi + 564 pp. Sidg" 
wick and Jackson, Ltd. (London). Price 

Introduction to Opera: a guidebook sponsored 
by The Metropolitan Opera Guild. Edited 
by Mary Ellis Pelts, xiii -f- 332 pp. Paper 
bound. Barnes 6? Noble, Inc. (New York). 
Price $1.65. 

Record Ratings; The Music Library Associa" 
tion's Index of Record Reviews. Compiled 
by Kurtz Myers; edited by 'Richard S. 
Hill, viii + 440 pp. Crown Publishers 
(New York). Price $5.95. 

The Guide to Long-Playing Records (Orche$' 
tral Music). By Irving Kolodin. xii + 
268 + vii pp. Alfred A. Knopf (New 
York). $3.50. 

The Guide to Long-Playing Records (Chamber 
y Solo Instrument Music) . By Harold C. 
Schonberg. xi + 280 + vi pp. Alfred A. 
Knopf (New York). $3.50. 

The Guide to Long-Playing Records (Vocal 
Music). By Philip L. Miller, xvi + 381 
+ xxii pp. Alfred A, Knopf (New York). 

The World's Encyclopaedia of Recorded Music 
(Including 1st Supplement). By Francis 
F. Clough and G. J. Cuming. 890 pp. 
Sidgwick and Jackson, Ltd. (London). 
Price $17.50. 

The World's Encyclopaedia of Recorded Music 
(2nd Supplement) . By Francis F. Clough 
and G. J. Cuming. xxii -f- 262 pp. Sidg' 
wick and Jackson, Ltd. (London). Price 
NOTE: All the above books 'have been reviewed 

in previous issues of The 3S[eu/ Records. If your local 

dealer does not stock them, orders addressed to H. 

Royer Smith Co., Philadelphia 7, Pa., will be 

promptly filled. The prices quoted include postage 

to any point within U.S.A. 

The first letters In the record number Indicate the manufacturer: A NG Angel, BGBaeh Guild, C Columbia, CAM Camden, CECetra, 
CH Concert Hall Soelety. CL-Caplto!. CLAS-Clostlc Editions. C8M-Colo 8 um. DDeeta, DT DuerBtet-ThomBon. EA Experlane 
Anonyme*. ESO E.oterlt, FOLK Ethnic Folkways Library, G 1 Agregorian Institute of America HMVNts Matter's Vel (Enaland), 
HS Haydn Society, L London Gramophone, LYR~Lyrlhord, M E Mercury, JJC Oceanic, OL L/Olseau Lyr*. PE -Period. PHMPhll- 

OUr Tl * 0if * fR -- 8trtdlwl ' T-TdtftwlM". UMI-Uiiltorn. Uft-Urwl* 


fc Indicates &! 83 1/3 rpra. 
Indicate! 45 rpra. 


PAGE 16 



Issued Monthly by 




VOL 25, NO. 6 

AUGUST, 1957 

By ma M to any address 
$1 pw year 

THE SUMMER MONTHS are the sea- 
son when record manufacturers tradi' 
tionally concentrate on their fall programs and 
there is usually a lessening of new releases; 
however, judging from the number of discs 
received in our studios for review, one would 
not guess this to be the case. Therefore, in 
order to cover as many records as possible, 
we will dispense with our usual editorial mat' 
ter and get right to the business at hand 
covering as many of these new discs as po&' 
sible in the sixteen pages allotted. 


The Current Market Price of records is the 
retail price that is charged by most leading 
dealers, including the publisher of this bul- 
letin. When the major companies reduced 
their list prices for LP records, some of the 
smaller publishers reduced only their whole- 
sale prices and did not change their list prices 
(see TNR Mar. '55); thus the Current Mar- 
ket Price came into being. 

Also, from time to time, in order to stimu- 
late business, some companies have drastically 
reduced prices for limited periods. In order 
that our readers may know the Current Mar- 
ket Price, we are indicating in this and future 
issues the prices that are presently in effect, 
and, although we cannot guarantee these 
prices, they should prevail during the current 

NOTE: The Current Market Prices of all 
Mercury 12-inch LFs (10000-, 20000', 30000-, 
40000-, 50000-, 80000% and 90000-series) is 
#3.19; album sets are 20% less than published 
list prices. 

NOTE: The Current Market Prices of 
Westminster Records are as follows: WN/ 
SWN/XWN-18000 series, #3.19; W-LAB- 

7000 series, #5.95; WL-5000 series (discon- 
tinued), #239; WP-6000 series, #3.19; album 
sets, 20% less than published list prices. 


We are continually receiving requests for 
back copies of THE NEW RECORDS. Most of 
the issues published during the last twenty- 
five years are available. The price is lOc 
each. A file of all available issues (at least 
160 copies) is $5. These prices are postpaid 
within U.S.A. 

NOTE: Those persons interested in recent 
recordings only may secure all of the issues of 
the last three years beginning August 1954 
(36 copies) at the special price of $2 (post- 
paid within U.S.A.). 


Romberg: The Student Prince, Dorothy Kirsten, Rob" 
ert Rounseville and supporting cast with orchestra 
and chorus Engel. M2" disc (*OCL-826) $3.98, 
(TNR Nov. '52). 

Berlioz;: Les Troyens a Carthage. Soloists, Chorus and 
TOrchestre de la Societe des Concerts du Conserva' 
toire de Paris Scherchen. 3'12" discs in album 
(*DT'DTL'93001/3) $11.94. (TNR Dec. '52). 


Following our practice, we are listing below 
the latest batch of "Sampler" LP releases which 
have recently been made available. Since 
readers of THE NEW RECORDS are already 
familiar with such discs and aware that 
"Sampler" releases are always limited editions, 
those interested should make their selections 
without delay. 

Brahms: Concerto in D, Op. 77. Erica Morini (violin) 
with the Philharmonic Symphony Orchestra of 
London conducted by Artur Rodsinski. 1'12" disc 
(*WEST-XWN-18600) $3.98. 

Current Market Price: $1.98. 




In March Tempo. Various Orchestras and conduc' 
tors. 1-12" disc (*WEST'XWN-18599) $3.98. 

Current Market Price: #1.98. 
CONTENTS: Symphonic Fantastique March to 
the Scaffold (Berlioz); Carmen March of the Tore- 
adors, March of the Smugglers, Changing of the 
Guard (Bizet) ; A Midsummer Night's Dream Wed- 
ding March (Mendelssohn); Love for Three Oranges 
March (Prokofiev); March Joyeuse (Chabner); 
March Slav (Tchaikovsky); Die Gotterdammerung 
Siegfried's Funeral March (Wagner). 
Orchestral Concert. (1) London Symphony Orches- 
tra or (2) Philharmonic Symphony Orchestra ot 
London conducted by Hermann Scherchen. 1-12 
disc (*WEST-XWN-18598) $5.98. 

Current Market Price: #1*98. 

CONTENTS: Capriccio Italien, Op. 45 (Tchai- 
kovsky) (1); Caprictio Espagnole. Op. 34 (Rimsky- 
Korsakov) (1); W<Ui*m Tell^Overture (Rossmi) 
(2); Thieving Magpie Overture (Rossini) (Z). 
Vacation Time. Jack Henderson and his Orchestra. 
M2" disc (*WEST-WP-6062) $3.98. 

^ Current Market Price: #1.98. 

CONTENTS: On Wings of Song; None but the 
Lonely Heart; Ave Man* (Schubert); Cavatina; Mel- 
ody (Tchaikovsky); Pizzicato Pol^a; Vake Capnce; 
Hungarian Dances HO*. 1& ^(^rahms); Barcarolle 
(Tchaikovsky); Rosatnunde Ballet Music; Get Up 

Chopin: Concerto No. 1 in B minor, Op. 11. Paul 
Badura-Skoda (piano) with the Vienna State 
Opera Orchestra conducted by Artur Rodsmski. 
One side, and Schumann: Concerto in A minor, 
Op. 54. Joerg Demus (piano) with the Vienna 
State Opera Orchestra conducted by Artur Rod- 
smski 1-12" disc <*WEST-XWN-18458) $3.98. 
Current Market Price: #1.98. 

Rodgers: Oklahoma and South Pacific (excerpts). 
Gordon Kibbee, playing the WurUteer Theatre 
Organ. M2 disc (*UR-UCS-57) $1.98. 


Bizet: Carmen Suite. And Bizet: L'Arlesienne Suite 
No. 1. And Bizet: L* Arlesienne Suite No. Z De- 
troit Symphony Orchestra conducted by Paul 
Paray. 1-12" disc (*ME-MG-50135) $3.98. 

Current Market Price: #3.19. 

Khachaturian: Gayne* And Moussorgsky: Night on 
Bald Mountain. One side, and Borodin: Prince 
Jg 0r Overture. And Borodin: On the Steppes 
of Central Asia. And Rimsky-Korsakov: The Tale 
of the Czar Saltan Flight of the Bumble Bee. 
Halle Orchestra conducted by George Weldon. 
1-12" disc (*ME-MG-50137) $3.98. 

Current Market Price: #3.19. 
No one who has committed the Carmen Suite and 

the Arlesienne Suites to discs has ever approached 
the task with more dedication and an obvious desire 
to do the music right and without unnecessary gilding 
of the lily. Paray has seldom performed with such 
complete lack of mannerism. These are about the 
straightest performances we can recall and they are 
also about the best we have ever heard. They are not 
for an instant lacking in color, drive, or conviction, but 
they do set the story straight as to how this music 
should sound without the usual posturing and pushing 
around that this well-worn material invariably suffers. 
Bizet was no trite dub, and he gets a really fair treat- 
ment here which raises the level of the music far 
beyond what is generally set forth in these works. 
Needless to say, the Detroit Orchestra does Paray's 
bidding with skill and dedication, and the reproduc- 
tion is of Mercury's best. This is a disc not to be 
missed if you like this fare and who doesn^t? We 
doubt anyone can top this for a real, honest per- 
formance of this music. 

After hearing Paray in Biset (in anything, for that 
matter), we could only wish he had the stick in the 
recording of Gayne. Now Gayne is a work that can 
stand the most outlandish reading in fact, the more 
flamboyant the better. George Weldon is not the man 
for this ripe dish, nor does the Halle Orchestra show 
much style. This just does not click as it should. The 
kindest word we can find for the rest of the Russian 
works on the disc would be routine, Wight on Bald 
Mountain is entirely lacking in style, is not eerie or 
effective. Having just recently heard (live) Paray 
doing On the Steppes of Central Asia, we can hon- 
estly say this effort is routine in the extreme. Repro- 
duction of this disc is good, but that is hardly enough 
to recommend it. E. E. SHUPP, JR. 

R. Strauss: Till Eulenspiegels lustige Streiche, Op. 
38. One-half side, and R. Strauss: Le Bourgeois 
Gentilhommc Suite. L'Orchestre national de la 
Radiodiffusion franchise conducted by Igor Marke- 
vitch. 1-12" disc (*ANG-35447TP) $3.48. 1-12" 
factory-sealed disc (*ANG-35447) $4.98. 

R. Strauss: Sonata in E-flat, Op. IS. One side, and 
Debussy: Sonata for Violin and Piano. Joseph 
Fuchs (violin) and Artur Balsam (piano). 1-12" 
disc (*D-DL-9836) $3.98. 

R. Strauss: Sonata in F, Op. 6. One side, and 
Brahms: Sonata in E minor, Op. 38. Joseph 
Schuster (violoncello) and Friedrich Wuehrer 
(piano). 1-12" disc (*VX-PL-9910) $4.98. 

Markevitch's Till Eulenspiegel serves as a filler for 
the complete suite from Le Bourgeois Gentilhomme, 
which requires more than a single 12" side. Neither 
performance is superior to other available versions. 
Reiner's reading of the suite from Moliere's play 
is not complete, but the missing selections add very 
little; the definition of RCA's recording of the Chi' 
cago Symphony outclasses the present disc by far. 
The recent Columbia Till with Ormandy and the 
Philadelphia Orchestra (*OML-5177) will doubtless 

* indicated LP 83 1/3 rpm. 
indicates 5 rpm. 





remain our favorite for a long time to come. 

Strauss' early chamber works have never acquired 
the stature of his orchestral masterpieces, but they 
remain excellent examples of his style. The cou' 
plings of the latter two discs offer interesting com' 
parisons; Brahms and Debussy, of course, continued 
to write chamber works during their entire life, 
while Strauss returned to it after some sixty years 
with his 1948 Concertino. The 'cello disc is especially 
noteworthy for the superior work of Joseph Schuster, 
who makes his recording debut with this disc. Vox 
has recorded these two performers with astonishing 
clarity, and both the sonatas are extremely pleasant 
listening. N. 

Rimsky-Korsakov: Scheherazade. Berlin Radio Synv 
phony Orchestra conducted by Ferenc Fricsay. 
M2" disc (*0-DL-9908) $3,98. 
This is not a half-bad recording very good, in 
fact. Unfortunately, for Decca anyway, we have not 
yet gotten over the thrill of hearing Steinberg per' 
form this work (*C1>P'8305, TNR Mar. '56), and 
it remains our standard by which all other recordings 
are judged. If you already have Steinberg, you need 
look no further; if you do not own a Scheherazade 
and like to compare before you buy, you might try 
the present one, Ormandy (*OCL'850) and Stein- 
berg, which would be our choice of the three best. 

New Music from Old Erin (Vol. I). Radio Eireann 

Symphony Orchestra conducted by Milan Horvat. 

1-12" disc (*D-DL-9843) $3.98. 

CONTENTS: Megalithic Ritual Dances (Boy 
dell); Music for Strings (Bodley); Suite of Irish 
Airs (May). 
New Music from Old Erin (Vol. II). Radio Eireann 

Symphony Orchestra conducted by Milan Horvat. 

1-12" disc (*I>DL-9844) $3.98. 

CONTENTS: Variations on a Popular Tune 
(Potter); (3) Pieces for Strings (Kelly); The Dirge 
of Ossian (Larchet); MacAnanty's Reel (Larchet); 
Irish Suite for Strings (Duff). 

The two discs of modern Irish music might have 
been titled slightly differently by Decca: Vol. 1 
could have been assigned the adjective Serious New 
Music from Old Erin, while the Vol. 2 could qualify 
as Light selections of the same origin. If this is a 
representative sample of the current musical effort of 
Eire, it is evident that a promising field of musical 
accomplishment has been neglected. Milan Horvat, 
a Yugoslav by birth, has been conductor of the 
Radio Eireann Symphony since 1953 and makes an 
impressive case for these selections. 

Brian Boydell's Megalitic Ritual Dances is cast 
in the mold of Prokofiev's Scythian Suite (it isn't 
quite in the same league with Stravinsky's Sacre, 
though it's rhythmic quality brings that work to 
mind). It is easily the best work in the collection. 
We found Potter's Variations on a Popular Tune a 
particularly ingratiating piece, characteristic of what 

we generally think of as "Irish" music, yet possessing 
real merit as an orchestral work. Arthur Duff's Irish 
Suite for Strings appears to be the best of the several 
selections for string ensemble, apparently a popular 
medium for present-day Irish composers. 

Decca has scored something of an "off'beat" scoop 
here, and for many it will provide a fascinating in' 
troduction to a little'known field of contemporary 
musical endeavor. N. 

Romantic Music of Rachmaninoff. Andre Kostelanetz 

and his Orchestra with Leonid Hambro (piano). 

142" disc (*OCL-1001) $3.98. 

Current Market Price: $2,98. 

CONTENTS: Rhapsody on a Theme of Paganini, 
Op. 43 Rhapsodic; (5) Preludes (E-flat, Op. 23, 
No. 6; G minor, Op. 23, No. 5; G> Op. 32, No. 5; 
G'sharp minor, Op. 32, No, 12; C'sharp minor, Op. 
3, No. 2); Concerto Ho. 2 in C minor, Op. 18 3rd 
movement (excerpt); Serenade, Op. 3, Ho. 5; Melo* 
die in E, Op. 3, HO. 3; Etude Tableau in C, Op. 33, 
Ho. 2; Vocalise, Op. 34, HO. 14; Daisies, Op. 38, HO. 
3; Symphony HO. 2 in E minor, Op. 27 Scherzo 

Some years ago "Kosty" did a ICMnch LP of~the 
music of Chopin which became a bestseller and re* 
mained so for some months; it was just the sort of 
music that had wide appeal, and Andre Kostelanets 
had no peer at interpreting it to please the public 
taste. We judge the present disc to be a repeat of the 
aforementioned one; more music that most everyone 
loves, done in KostelaneU' inimitable manner, ably 
assisted by Leonid Hambro. Another winner in 
Columbia's "Buy of the Month" series. 

Mozart: Symphony No. 36 in C, K. 425 ("Linz"). 
One side, and Mozart: Symphony No. 33 in B- 
flat, K. 319. Symphony Orchestra of the Bavarian 
Radio conducted by Eugen Jochum. 1*12" disc 
(*D'D1>9920) $3.98. 

Mozart: Serenade No. 10 in B-flat, K. 361. Members 
of the Berlin Philharmonic Orchestra conducted 
by Fritz Lehmann. M2" disc (*D-DL-9918) 

Haydn: Symphony No. 86 in D. One side, and 
Haydn: Symphony No. 92 in G ("Oxford"). 
Scarlatti Orchestra conducted by Franco Carac* 
ciolo. 1-12" disc (*ANG-35325TP) $3.48. 1-12" 
factorysealed disc (*ANG-35325) $4.98, 
Jochum's readings of the two Mozart sym- 
phonies are firmly in the disciplined tradition we 
have come to expect of this conductor. Any con* 
ductor essaying the "Lins" must contend with 
Walter's "Birth of a Performance" album for Co' 
lumbia (*C'SL'224), wherein Maestro Walter lays 
firm standards for this symphony and provides, in 
the rehearsal portion of the recording, indisputable 
arguments for every note of the score as he sees it. 
The pairing with the Symphony HO. 33, however, 
is not duplicated. If you are interested in acquiring 



indicates LP 33 1/3 rpin. 
mdicatea 45 rpm. 



Rtf cords 


these two symphonies, the recordings here are ade' 
qxiate in every way. 

The Lehmann recording of the Serenade for Wind 
Instruments is possibly one of the finest Mozart re' 
cordings this reviewer has ever heard. The wood' 
wind chamber works of Mozart contain some of his 
most delightful writing, and it is a loss to many that 
they are not more widely known. Everything is just 
right about this disc; woodwind timbres are difficult 
to capture on a disc without distortion, but it is 
accomplished here to perfection. The balance of the 
ensemble is a sonic wonder. 

The present Haydn NO. 86 is the only current 
listing in the Schwann catalogue, while the "Ox* 
ford" competes with several. The Scarlatti Orchestra 
has gained a reputation playing eighteenth century 
Italian music; this is their first effort with Haydn. 


Wagner Orchestral Excerpts. Orchestra of the Stadt' 

ische Oper, Berlin, conducted by Artur Rother. 

M2" disc (*T'LGX-66044) $4.98. 

CONTENTS: Tannhauser Overture; Die Got' 
terddmmerung Siegfried's Rhine Journey 8* Funeral 
Music; Rienzi Overture, 

A welcome treat for Wagner fans is the flood of 
fine discs featuring the composer's orchestral music 
released so far this year (see TNR Feb., Mar. & 
June ""57). Here is another excellent one, featuring 
what sounds like a fine German orchestra with the 
well'known Artur Rother at the helm. If you haven't 
got enough of this sort of thing for your library, 
try this one. 

Bach: (4) Orchestral Suites. Pro Arte Chamber 

Orchestra, Munich, conducted by Kurt Redel. 2' 
12" discs (*DT'DTL'93073/4) $7.96. 

Suites Kos. 1 in C and 2 in B minor. (*DT-DTL' 
93073) $3.98. 

Suites Hos. 3 in D and 4 m D. (*DT-DTL-93074) 
Bach: (4) Orchestral Suites. Concertgebouw Or' 

chestra of Amsterdam conducted by Eduard van 

Beinum. 2-12" discs (*EPIC LC-3194 & *EPIC 

LC-3332) $7.96. 

Suites Hos. 1 in C and 2 in B minor. (*EPIC 
LC-3194) $3.98. 

Suites Hos. 3 in D and 4 in D. (*EPIC LC' 
3332) $3.98. 

The present issue of Bach orchestral suites brings 
the number of sets under one conductor to a total 
of seven. As for the two releases under consideration 
here, there are no striking differences in the inter- 
pretations or performances to make the one a clear 
cut choice over the other. We played "blind'tnanV 
bluff" with these, and found it almost impossible to 
identify which recording we were hearing. 

Van BemurrTs flute soloist in the Second Suite 
may be the deciding factor in favor of the Epic disc; 
but to compensate, the brilliant trumpet work of the 

Pro Arte Ensemble on the Ducretet'Thomson record 
for the Third and Fourth- Suites is flawlessly per- 
formed and brilliantly recorded. We also compared 
both these sets with our old Columbia disc from the 
first Prades Festival under Casals. Sonically there 
is a small lack perhaps, but musically this reading 
of the first two suites (*GML-4348) still holds our 
preference. Suffice to say that either of the above 
sets provides more than adequate renditions of this 
music. Since all are available as single discs, the 
listener may select one of each. N. 

Mozart: Serenade No. 9 in D, K. 320 ("Posthorn"). 
One side, and Mozart: Symphony No. 29 in A, 
K. 201. Concertgebouw Orchestra conducted by 
Eduard van Beinum. 1-12" disc (*EPIC LO3354) 

Mozart: Serenade No. 13 in G, K. 525 ("Eine 
kleine Nachtmusik"). And Mozart: Divertimento 
in D, K. 136. One side, and Gabrieli: (2) Pieces 
for Double String Orchestra. Stuttgart Chamber 
Orchestra conducted by Karl Munchinger. And 
Telemann: Concerto in G for Viola and Strings. 
Heinz Kirchner (viola) with the Stuttgart Cham' 
ber Orchestra conducted by Karl Munchinger. 
1-12" disc (*L-LL-1321) $3.98. 
Mozart: Serenade No. 6 in D, K. 239 ("Serenata 
Notturna"). And Mozart: Adagio and Fugue in 
C minor, K. 546. One side, and Beethoven: Grosse 
Fuge, Op. 133. Philharmoma Orchestra conducted 
by Otto Klemperer. 1-12" disc (*ANG-35401TP) 
$3.48. M2" factory-sealed disc (*ANG-35401) 

The Mozart "Posthorn" Serenade is given a nicely 
detailed and very stylishly played performance by 
the redoubtable Amsterdam Orchestra which will 
prove more appealing to most persons than any of 
the several previous LP versions, although at least 
one of them (Sternberg) may please the purists a 
bit more. We think van Beinum has just the right 
touch for this work, which is recorded wit?h a won' 
derfully silken quality. The coupling is a good read' 
ing of the Symphony ?s[o. 29, not the greatest state" 
ment of this work on discs, but a respectable reading, 
beautifully played by the orchestra. 

The crystal clarity and purity of detail in a smaller 
body of players is exemplified by the playing of the 
Stuttgart Chamber Orchestra, whose meticulous per" 
formance is given reproduction of just enough 
resonance to make its disc a delightful one to hear. 
Munchinger is a fastidious musician and the playing 
of this group is always virtually perfection. From 
past experience with a majority of orchestral per- 
formances of the "Eine kleine Nachtmusik," we 
think this version may be a bit tarne and a shade 
thin for your tastes, but there is no denying the 
simplicity and clarity of the rendition. The short 
Divertimento, K. 136 is played with uncanny pre' 
cision in the best recording ever accorded this little 

* indicates LP 33 1/3 rpm. 

indicates 46 rpm. 








With harpsichord continue and a viola soloist, the 
Stuttgart group offers a premiere of an important 
work by Telemann. In the concerto grosso style, ex- 
cept that the "concertino" is represented by the 
single viola, the work is of a quality one would 
associate with Bach and Handel. This worthy piece 
will never find better exponents than the present 
group, including the expressively played solo viola 
part. The two serene "Canzones" of Gabrieli com.' 
plete this fine disc. 

Back to Mozart serenades, and this time the 
"Serenata Notturna," second in popularity only to 
the "Eine Heine Nachtmusik."" Using an obviously 
"reduced*' orchestra, Klemperer offers a reading 
which is not exceeded by the other six experts who 
have also recorded this unusually scored work. The 
long neglected Klemperer is now getting a much de' 
served workout in the recording studios, and this 
disc continues with two more Klemperer specialties. 
The Mozart Adagio and Fugue in C minor, an ex- 
ceptionally rugged and rather daring work, is set 
forth magnificently by conductor and orchestra. We 
were completely fascinated with the music and the 
performance, both truly great. Using the full string 
section, Klemperer essays a performance of the 
Beethoven Grosse Fuge which is a masterpiece that 
is as scholarly as it is exciting. Klemperer makes 
logic out of this difficult writing, and the playing of 
the Philharmonia is exemplary, to say the least, as 
is also the quality of reproduction. 


Surinadi: Symphony No. 2. Philharmonia Orchestra 
of Hamburg conducted by Arthur Winograd. 
One side, and Turitia: Rapsodia Sinfonica. Sondra 
Bianca (piano) with the Philharmonia Orchestra 
of Hamburg conducted by Arthur Winograd. 1' 
12" disc (*MGM-E-3510) $3.98. 

Kabalevsky: Colas Breugnon Suite. Philharmonia 
Orchestra of London conducted by Wilhelm 
Schuechter. One side, and Kabalevsky: The Come- 
dians Suite. Paris Conservatory Orchestra con' 
ducted by Harry Horlick. 142" disc (*MGM- 
E-3506) $3.98. 

Surinach's efforts in the symphonic vein were a 
Hsappointment to us, quite frankly. His more recent 
vorks (this symphony was composed in 1949) have 
>een distinguished by a vitality and originality that 
he present work does not seem to possess. We are 
old that the symphony is based on folk themes, and 
t may be that the characteristic Spanish idiom does 
tot fit itself well into the symphonic form. 

The Turina Rapsodia involves the piano with or' 
hestra but does not feature it "concerto-style 11 as a 
olo instrument. The work is reminiscent of Falla's 
lights in the Gardens of Spain. Both works are 
ompetently played under Winograd's direction, and 
ondra Bianca's piano work in the Turina Rapsodia 
5 capable. 

The coupling of the two popular Kabalevsky 

works is an intelligent one. The Comedians is a very 
entertaining work, while the Colas Breugnon suite is 
little known except for the overture. We are inclined 
to prefer Golschmann's recent reading of the Colas 
Breugnon, and Ormandy's LP of The Comedians 
seems to communicate more wit and sparkle than the 
present one. N. 

Brahms: Symphony No. 1 in C minor, Op. 68. Bos' 
ton Symphony Orchestra conducted by Charles 
Munch, 142" disc (*V-LM-2097) $3.98. 
Two very fine recordings of Brahms' First have 
been released in the past year (Steinberg's, *CL-P' 
8340, TNR Sept. '56 and Markevitch's, *D-DL-9907, 
TNR June "57), both featuring really superb repro' 
duction; the present RCA Victor issue does not 
improve on things, sonically. 

What we do get, however, is an impassioned but 
straightforward reading. Munch always puts a little 
bit of himself into everything he does, yet here he is 
trying desperately to let Brahms speak for himself; 
thus, a rhythmic, not'Overblown'but'nevertheless'lush 
performance emerges not as exciting as Kubelik's or 
Toscanini's, not as polished as Ormandy's, but with a 
trifle more "oomph" than either Steinberg's or Marke" 

As indicated above, there should now be a Brahms' 
First for everyone; surely you will find one of those 
listed above to your liking. 

Sibelius: Finlandia, Op. 26. And Sibelius: Swan of 
Tuonela, Op. 22, No. 3. One side, and Grieg: Peer 
Gynt Suite No. 1, Op. 46. And Alfven: Midsomer- 
varka, Op. 19 ("Swedish Rhapsody"). Philadel- 
phia Orchestra conducted by Eugene Ormandy. 
M2" disc (*GML-5181) $3.98. 
Rimsky-Korsakov: Le Coq d'Or Suite. One side, 
and Rossini: Guglielmo Tell Overture. And 
Tchaikovsky: Marche Slav. Boston Pops Orchestra 
conducted by Arthur Fiedler. M2" disc (*V-LM- 
2100) $3.98. 

Tchaikovsky: The Nutcracker, Op. 71 (excerpts). 
Boston Pops Orchestra conducted by Arthur Fied' 
ler. M2" disc (*V-LM-2052) $3.98. 
Three IP's devoted to some of the most popular 
classical music ever written. The Columbia disc is a 
re-issue of two 10-inchers (*C-AL-9 6? *C'AL'35), 
both previously reviewed in TNR. The two Victor 
records are new and feature these warhorses dressed 
up in the very latest hi'fi. 

Tchaikovsky: Serenade for Strings in C, Op. 48. 
One side, and Barber: Adagio for Strings, Op. 11. 
And Elgar: Introduction and Allegro for Strings, 
Op. 47. Strings of the Boston Symphony Orches' 
tra conducted by Charles Munch. M2" disc (*V- 
LM-2105) $3.98. 

Think of all the nice words you can they all apply 
to this disc: charming, ingratiating, rewarding, melo' 
dious, and so on. Tchaikovsky's familiar Serenade for 
Strings appears in a rendition to rival van Kempen's 

AGE 5 


* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 




(*EPIC LO3213, TNR Dec. "56); but, more than 
this, we are treated to capital performances of Sam- 
uel Barber's Adagio for Strings and Elgar's Introduc' 
tion And Allegro for Strings. Since these are far less 
likely to be in most libraries, it is suggested that, if 
you are not familiar with them, you investigate them 
without delay; both are extremely easy to listen to, and 
you'll not find better readings than these by M. 

Orchestral Showpieces. Danish State Radio Sym- 
phony Orchestra conducted by Eric Tuxen. 1'12" 
disc (*L-LL4313) $3.98. 

CONTENTS: Lyric Suite (Grieg); Finlandia 
(Sibelius); March Slav (Tchaikovsky); Hungarian 
Rhapsody HO. 4 (Liszt). 

Grieg: Lyric Suite, Op. 34. One side, and Grieg: Old 
Norwegian Romance with Variations, Op. 51. Phil' 
harmonia Orchestra of Hamburg conducted by 
Arthur Winograd. M2" disc (*MGM-E-3368) 

Grieg: Sigurd Jorsalfar Suite, Op. 56. Bamberg Sym' 
phony conducted by Edouard van Remoortel. And 
Grieg: (2) Elegiac Melodies, Op. 34. One side, and 
Grieg: Symphonic Dances, Op. 64. Pro Musica 
Symphony (Vienna) conducted by Edouard van 
Remoortel. 1-12" disc (*VX'PL40330) $4.98. 
Two discs devoted to the lovely and melodic music 
of Grieg and one dedicated to showing off the Danish 
State Radio Symphony Orchestra, which is becoming 
better known in this country through personal ap- 
pearances and discs. This organization does right well 
with the four pieces it essays. . . . The Hamburg Phil' 
harmonia Orchestra has been spotty on discs; some 
are fine, others are pretty bad. This is one of its 
better efforts. . , . Van Remoortel continues with his 
exposition of Grieg's music (see TNR Sept. "56) and 
provides as charming and enjoyable a disc as we've 
played this month. 

Dvorak: Slavonic Dances, Op. 46. Philharmonia Or' 
chestra conducted by Nikolai Malko. 1'12" disc 
(*V'LM-2096) $3.98. 

The virtuoso Philharmonia Orchestra under Nikolai 
Malko performs these charming dances about as 
nicely as we've heard them in a long, long time. We 
even had to get out our Kubelik version to be certain 
that we still preferred his treatment of them high 
praise, indeed, for Maestro Malko. 

Strauss: The Blue Danube (ballet music). One side, 

and Bizet: Jeux d'Enfants (ballet suite). London 

Philharmonic Orchestra conducted by Antal Dorati. 

M2" disc (*CAM-CAL-365) $1.98. 

Camden seems to be improving its engineering tech' 

niques in reissuing pre'LP instrumental discs. At 

any rate, this pairing sounds better to us than any 

we've come across so far, particularly in the bass, 

which is missing or weak on many Camdens. Tuneful 

music, nicely played. 

Falla: El Sombrero de Tres Pkos The Neighbors, 
Miller's Dance, Final Dance. And Falla: La Vida 
Breve Interlude and Dance. Philharmonk'Sym' 
phony Orchestra of New York conducted by Di' 
mitri Mitropoulos. One side, and Falla: Noches en 
los Jardines de Espana. Robert Casadesus (piano) 
with the Philharmonic-Symphony Orchestra of 
New York conducted by Dimitri Mitropoulos. 
1-12" disc (*OML-5172) $3.98. 
NOTE: For review of this disc see under CON' 



Schumann: Concerto in A minor, Op. 129. Daniel 
Shafran (violoncello) with the State Orchestra of 
the USSR conducted by Kiril Kondrashin. One 
side, and Haydn arr. Piatigorsky: Divertimento. 
And Falla trans. Marechal: Suite Popularie Bs- 
pagnole. And Falla: El Amor Brujo Ritual Dance 
of Fire. Daniel Shafran (violoncello) accompanied 
by Nina Musinian (piano). M2* disc (*VAN' 
VRS-6028) $4.98. 

Falla: Noches en los Jardines de Espana ("Nights in 
the Gardens of Spain"). Robert Casadesus (piano) 
with the Philharmonic'Symphony Orchestra of 
New York conducted by Dimitri Mitropoulos. One 
side, and Falla: El Sombrero de Tres Picos The 
Neighbors, Miller's Dance, Final Dance. And 
Falla: La Vida Breve Interlude and Dance. Phil' 
harmonic'Symphony Orchestra of New York con' 
ducted by Dimitri Mitropoulos. 1-12" disc (*O 
ML-5172) $3.98. 

The brilliant young Russian 'cellist, Daniel Shafran, 
already welcomed in a recording of the Kabalevsky 
Concerto, is heard here in a disc which is a nicely 
varied concert of 'cello music. First is a concerto with 
orchestral accompaniment, then a group of works with 
piano accompaniment. The Schumann is a most grate' 
ful work for 'cello, and Shafran knows how to pour 
it on in romantic music. He has a great facility, and 
this difficult work moves on impulsively and without 
laboring in Shafran's hands. It is a stunning perform' 
ance of an enjoyable concerto; orchestral accompani' 
ment and reproduction are also of a high order. 

But for us, the best of Shafran's playing is to be 
heard on the side with piano accompaniment for one 
thing, there is less in the way of his playing, and it is 
a joy to hear this man do the tricky things required by 
the enormously virtuoso music he essays. The Haydn 
is a good solid classic with which to begin the side, 
but the Falla is really hair'raising. Transcribed by 
Maurice Marechal for 'cello from the Seven Popular 
Songs for voice, we find six movements of good, inter' 
esting music that is also blindingly difficult 'cello fare 
in many spots alternating, of course, with exquisite 
lyrical phrases which "sing" superbly on this particu' 
lar instrument. The Ritual Fire Dance is an encore, 
mercifully brief, but cleverly played on this instru' 
ment. Fanciers of 'cello music are recommended to 

* indicates LP 88 1/3 rpm. 
indicated 45 rpm 




The New Records 


this disc without reservation. 

Three great concert favorites of Falla are contained 
on the splendid Columbia disc, which features a superb 
reading of the Rights in the Gardens of Spain by the 
master of nuance, Robert Casadesus. The reproduc- 
tion alone could make this the favored version among 
the several LP*s containing this work, but the per' 
formance is also second to none. Overside, Mitropou* 
los digs into two rhythmic masterpieces and the New 
York Philharmonic plays them to the hilt. We like 
these readings as well as any, and are particularly fond 
of the "La Vida Breve" music. E. E. SHUPP, JR. 

Liszt: Concerto No. 1 in E-flat. One side, and 
Liszt: Hungarian Fantasia. Gyorgy Cziffra (piano) 
with TOrchestre de la Societe des Concerts du 
Conservatoire de Paris conducted by Pierre Der* 
vaux. M2" disc (*ANG-35436TP) $3.48. M2" 
factorysealed disc (*ANG-35436) $4.98. 
Schumann: Concerto in A minor, Op, 54, One side, 
and Schumann: Introduction and Allegro Appas- 
sionato in G, Op. 92. And Schumann: Introduc- 
tion and Concert Allegro in D minor, Op. 134. 
Sondra Bianca (piano) with the Philharmonia 
Orchestra of Hamburg conducted by Arthur 
Winograd. 1-12" disc (*MGM-E-3513) $3.98. 
Tchaikovsky: Concerto No. 2 in G, Op. 44. Shura 
Sherkassky (piano) with the Berlin Philharmonic 
Orchestra conducted by Richard Kraus. 1'12" 
disc (*D-DL-9916) $3.98. 

During the holocaust in Hungary last November, 
Gyorgy Csiffra (pronounced TZIF'FRA) and his 
family walked from Budapest to the Austrian border. 
In December he gave his first concert in Paris; the 
rest is musical history. Possessed of an awe-inspiring 
technique, pianist CsifFra shows up very well in the 
demanding works of Liszt heard here. The concerto 
is masterfully played and flawlessly recorded; the 
infamous triangle part is crystalline clear without 
being obtrusive or distorted in importance. But it is 
the Hungarian Fantasy (which actually corresponds 
to the orchestral Hungarian Rhapsody Ho. I) that 
takes top honors. A tour of the U.S. is promised for 
Cziflfra. Let us hope is will bring more recordings of 
this fine performer. 

The Schumann record contains an intelligent 
grouping of works for piano and orchestra. The 
Introduction and Allegro Appassionato is new on 
LP. The Concerto, however, is excelled by several 
versions, notably the recent SerkinOrmandy effort. 
The orchestral accompaniment on this disc seems 
distant and, at times, indistinct. 

Tchaikovsky's Second Piano Concerto has never 
been held in the esteem of his First, but it contains 
some fine music. The present disc provides, very 
likely, its best presentation to date. As a welcome 
change from the standard repertoire, it bids fair to 
become a popular choice for the collector looking 
for something good but different. Sherkassky is a 
pianist more than equal to the virtuoso demands of 

this work, and the recording is especially fine. 


Mendelssohn: Concerto in H minor, Op. 64. One 
side, and Beethoven: Romance No. i in G, Op. 
40. And Beethoven: Romance No. 2 in F, Op. 
50, Johanna Martey (violin) with the Philhar' 
monia Orchestra conducted by Paul Kleuki. 1<12" 
disc (*ANG-35236TP) $3.48. M2" factory- 
sealed disc (*ANG-35236) $4.98. 

We are at a loss to find serious fault with the 
present version of the Mendelssohn Concerto, yet it 
would not be our choice. The playing is capable 
as regards both soloist and orchestra, but the per* 
formance lacks the drive and energy to be truly 
great. We have always thought of the Mendelssohn 
as a "feminine' concerto: classically beautiful, deli' 
eatery proportioned. Yet in this case, the whole per' 
formance seems too fragile and -wispy to survive. 

Our preference for this work is the Oistrakh' 
Ormandy version (*OML'50S5). If the Angel disc 
under consideration here were recorded from the 
best possible spot in the studio, the Oistrakh marvel 
seems to have been recorded from the best possible 
spot inside his violin. Aside from the superior sound, 
there is more life and vitality, and that seems to 
make the difference. 

The Beethoven Romances, which fill the overside 
of the disc, are almost sufficient reason for purchas' 
ing it. Violinist Martzy plays these triumphs of clas' 
sic beauty with impeccable taste. The orchestral 
backing here is rich and full N. 

Telemann: Concerto In G for Viola and Strings. 
Heinz Kirchner (viola) with the Stuttgart Cham' 
ber Orchestra conducted *by Karl Munchinger. 
And Gaforieli: (2) Pieces for Doubk String Or- 
chestra. One side, and Mozart: Serenade No. 13 
in G, K. 525 ("Bine kleine Nachtmusik"). And 
Mozart: Divertimento in D, K. 136. Stuttgart 
Chamber Orchestra conducted by Karl Mun* 
chinger. 1-12" disc (*L-LL-mi) $3.98. 
NOTE: For review of this disc see under OR' 



Haydn: Trio No. 30 in D, Leonid Kogan (violin), 
Emil Gilels (piano) and Mstislav Rostropovich 
(violoncell9) . One side, and Brahms: Trio in B-flat, 
Op. 40. Leonid Kogan (violin), Emil Gilels 
(piano) and Yakov Shapiro (French horn). M2" 
disc (*WEST*XWN-18181) $3.98. 

Current Market Price: #3.19. 

In sports the fans are continually interested in 
"all'Star" teams; in the theatre and the movies, interest 
is always high in "all-star" casts. In the classical musi' 
cal field, however, we have not noted very much atten* 
tion given to "all'Star" chamber music groups. RCA 
Victor got Rubenstein, Heifeu and Piatigorsky tO' 



indicates LP 3d 1/3 rpm. 
indicates 45 rpm. 


The ISiew Records 


gether a few years ago for some recording sessions 
and billed this group as a "million dollar* 1 trio. Com- 
paratively few attempts were made to carry this idea 
further, at least recording-wise. Probably the expense 
in bringing together outstanding soloists was not 
warranted by the sales of the records. 

At any rate, we recall that it was such an "all-star" 
group which first made the Brahms Trio in E'flat 
appeal to us (Horsspwski, Schneider and Jones, *C- 
ML-4892, TNR Oct. '54); it is one work that lends 
itself to a group of great soloists, and Westminster 
has seen to it here that such are present on this record- 
ing. KLogan and Gilels are already known to disco- 
philes; Yakov Shapiro is one of the Soviet Union's 
most renowned horn players, and hearers of this disc 
will realise why. Kogan and Gilels are joined by tfoe 
young 'cellist, Mstislav Rostropovich (see TNR June 
'56) in the lovely Haydn Trio 7s(o. 30 in D; the group 
exhibits virtuoso technique as well as a genuine co- 
hesiveness sure to please the most discerning collector. 
An interesting and rewarding disc. J. 

Bartok: Sonata for Violin Solo. Wandy Tworek 
(violin). One side, and Riisagen Sonata for Two 
Violins, Op. 55b. Wandy Tworek and Charles 
Senderovits (violins). And Riisager: Sonata for 
Violin, Violoncello and Piano, Op. 55a. Wandy 
Tworek (violin), Johan Hye-Knudsen (violon- 
cello) and Esther Vagning (piano). 1-12" disc 
(*L-LL-1553) $3.98. 

Piston: (3) Pieces. And Thompson: Suite. One side, 
and Rieti: Sonata. And Jongen: Concerto, Op. 
124. Berkshire Woodwind Ensemble directed by 
Louis Speyer. 1-12" disc (*UNI-UNLP-1029) 

Rosen: Quartet No. 1. One side, and Usmanbas: 
Quartet (1947). New Music String Quartet. 1- 
12" disc (*EPICLO3333) $3.98. 
Bartok's Sonata for Unaccompanied Violin is un- 
doubtedly a learned, scholarly, skillfull composition, 
and it may even have appeal for the erudite fiddler 
or Bartok enthusiast; but to this listener, it is no 
entertainment for a summer evening. This is really 
a rough one, and if we can appreciate the skill of 
the writing, we cannot find any pleasure in the 
end result. With this lack of understanding it is 
not possible to assess the performance it could be 
loaded with errors, and we would be none the wiser; 
and, conversely, it could be played perfectly and 
would still sound wrong to us in spots. Sorry, we can 
be of no help in this one. Pretty much the same can 
be said for the pair of Riisager works on the other 
side of the disc. Riisager is a contemporary Danish 
composer; both of these works were written in 1951. 
The program notes contend they are balletic in 
nature and rather jocular. We do not so contend; 
at least, we do not find them so in the familiar sense 
of these words. 

Unicorn's record is called "Modernists," and 
contains the four works listed in the above heading. 

Part of the program notes states: "The four short 
compositions on this recording represent distinctly 
different approaches to modern woodwind music, 
from the richness and dignity of the Jongen Concerto 
to the wry humor of the Rieti Sonata, and from the 
intricate movement of the Piston Three Pieces to the 
rustic simplicity of the Thompson Suite. The atten- 
tive listener will discover a spectrum of musical 
styles which have seldom been so neatly summarized 
as in these delightful pieces." We agree whole- 
heartedly, and recommend this disc as a beautiful 
example of contemporary music for woodwinds. It 
has variety, interest, first-rate playing and excellent 
reproduction, and it sounds like music from this 
world not from outer space. 

The Fromm Music Foundation, in cooperation 
with Epic Records (an affiliate of Columbia), is is- 
suing the Twentieth Century Composers Series, an 
effort to promote contemporary music. The present 
disc contains one work by an American and one by 
a Turkish composer. These works will probably gain 
no new converts to contemporary music, but they 
will be mighty interesting to those already appre- 
ciative of today's musical writing. They are both 
original in concept and well written, interesting 
without being too inaccessible. The New Music 
String Quartet plays them with conviction and pol- 
ish, and the reproduction is extremely realistic. A 
fine issue for modern chamber music fanciers. 


Britten: Quartet No. 1 in D, Op. 25. One side, and 
Schumann: Quartet No. 1 in A minor, Op. 41, 

No. 1. Paganini String Quartet. 1-12" disc (*LIB- 
ERTY SWL-15000) $4.98. 

One thing about most of the music from the pen 
of Benjamin Britten: it commands the attention of 
the hearer. From the opening steely close harmony 
of the two violins and viola in the upper register 
accompanied by the plucked 'cello, in stark contrast 
to the boistrous, free-for-all finale, you will be al- 
most aghast at the change of pace. It is as though 
Britten were massaging your back while slapping 
your face. This is hardly music for contemplation; 
it is exciting, stimulating, sometimes (but not often) 
infuriating if Wagner had written for chamber 
groups, this is what it might have been like. 

Quite a different work is the Schumann Quartet 
Ho. 1 in A minor, played for us here by the same 
stellar Paganini String Quartet. It is the first of 
three quartets written in the single month of July 
1842, all dedicated to Mendelssohn. It has its ex- 
plosive moments, and it is a tautly constructed work, 
being almost orchestral in style. 

Liberty Records, Inc., a new label to us, has pro- 
duced two first LP recordings here that are most 
welcome and add worthwhile pieces to the recorded 
repertoire. It is recommended that chamber music col- 
lectors particularly investigate this disc; a real treat 
is in store for them. J. 

* indicates LP 38 1/8 rpm. 

indicates 45 rpm. 






Donizetti: Quartet No. 9 in D minor. One side, and 
Bazzini: Quartet No. 3 in E-flat, Op. 76. Quartetto 
della Scala. 1-12" disc (*T'LGX-66063) $4.98. 
Gaetano Donizetti (1797' 1848), known for his 
prolific work in the field of Italian opera, apparently 
found time to compose some chamber works. His 
Quartet in D minor is filled with charm, grace and 
genuine invention; its tuneful melodies will attract 
on first hearing . . . The Quartet T^o. 3 in E'flat is 
the sole work on records by Antonio Bawini (1818' 
1897); Bazzini was a concert violinist, and his knowl' 
edge of the instrument is obvious upon hearing the 
violin parts of this Quartet. This unknown work 
proves a happy foil to the Donizetti; if you like one, 
you'll like the other. Elegant reproduction by Tele* 
funken; sprightly playing by the Quartetto della 

Frandk: Quartet in D. Loewenguth Quartet. 1'12" 

disc(*EPICLC-3227) $3.98. 
Smetana: Quartet No. 1 in E minor ("From My 

Life"). One side, and Borodin: Quartet No. 2 in 

D. Endres Quartet. 1-12" disc (*VX-PL'10190) 


A fine reading of Franck's only string quartet is 
made available with the release of the Epic disc 
listed above; this is not one of our favorite quartets, 
but we do not deny that it has many admirers. We 
think they will be more than pleased with the excel- 
lent performance by the Loewenguth Quartet . . . 
The new recording of "From My Life" is also ex' 
cellent, though it does not displace our personal 
preference for the Capitol waxing by the Hollywood 
String Quartet (*CL-P-8331, TNR June '56); the 
fact that it is backed by the best available version 
of Borodin's Quartet T^o. 2 may sway some towards 
the Vox LP, however. 

R, Strauss: Sonata in E-flat, Op. 18. One side, and 
Debussy: Sonata for Violin and Piano. Joseph 
.Fuchs (violin) and Artur Balsam (piano). 1*12" 
disc (*D-DL-9836) $3.98. 

R. Strauss: Sonata in F, Op. 6. One side, and 
Brahms: Sonata in E minor, Op. 38. Joseph 
Schuster (violoncello) and Friedriehr Wuehrer 
(piano), 1-12" disc (*VX-PL-9910) $4.98. 
NOTE: For review of these discs see under OR' 


Hovhancss: Upon Enchanted Ground. Samuel Brown 
(flute), Claus Adam (violoncello), Lucile Lawrence 
(harp) and Elden Bailey (tarn tarn) conducted by 
Alan Hovhaness. And Hovhaness: Suite for Violin, 
Piano and Percussion. Anahid Ajemian (violin), 
Maro Ajemian (piano) and Elden Bailey (percus' 
sion). One side, and Wolpe: (10) Songs from the 
Hebrew. Arline Carmen (alto), Leon Lishner 
(bass) and David Tudor (piano). M2" disc (*C' 
ML-5179) $3.98. 
NOTE: For review of this disc see under VOCAL. 


Choral RecitaL Pancratius Royal Men's Chorus of 
Heerlen (Holland) directed by Henri Heijdendael. 
M2" disc (*ANG-35406TP) $3.48. 142" factory- 
sealed disc (*ANG-35406) $4.98. 
CONTENTS: Musiciens qui Chantez (Waelrant 
arr. Heijdendael); Linden Lea (Vaughan Wil' 
Hams); Die Eeredsam\eit (Haydn); La Pastor ella 
(Schubert); Coplas (Van Kernel); Villanella (Las- 
sus); Lascia ch'io Pianga (Handel); Psalm CXXI 
(Milhaud); L'Alouette (Jannequin arr. Heijden' 
dael); Depart (Andreae); Land of Hope and Glory 

The marvel of this disc is the beautiful, well'trained 
male voices and the absolutely astounding acoustics. 
Beginning in 1878 with a group of 25 men, the Pan' 
cratius (after St. Pancras, patron saint of Heerlen) 
Men's Chorus of Heerlen grew to its present size of 
120. This beautifully recorded Angel LP gives us a 
nicely varied recital, showing the prodigious facility 
with which this group sings under its able conductor 
(since 1936), Henri Heijdendael, who has also ar- 
ranged some of the numbers for chorus. Warmly rec' 


Claflin: La Grande Breteche (Sung in English) . Sok>' 

ists and Vienna Orchestra conducted by F. Charles 

Adler. M2" disc (*COMPOSERS CRI-108) 


Wife Patricia Brinton (s) 

Husband Richard Owens (bt) 

Lover William Blankenship (t) 

Maid Sheila Jones (s) 

Pierre, the Gardener Earl Gilmore (t) 

Cobcrt: Frankie and Johnny. Soloists and orchestra 

conducted by Herb Harris. 1-12" disc (*MGM-E- 

3499) $3.98. 

Frankie Mary Mayo (s) 

Johnny - Basm^Scholl (bt) 

Nelly BLy Joan Cobura (s) 

Bartender Nathaniel Frey (bt) 

Avery Claflin (1902< ) was born at Keene, 
N. H., graduated from Harvard, gave up an interest 
in playing music because of the loss of an index finger 
in World War I, and went into business, finally re' 
tiring as President of the French American Banking 
Corp. He never lost interest in composing music, 
however; his most famous work is undoubtedly his 
Lament for April 15, a madrigal setting of Federal 
Income Tax instructions (*COMPOSERS CRM02). 

The present one^act opera is based on B abacus 
short story taken from Scenes from Private Life. 
Briefly it is the story of a wife and her lover who 
are surprised by the husband's sudden return. The 
lover hides in the bedroom closet, and after much 
arguing, swearing and shouting, the husband has the 



* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 





closet walled up and, finally, murders his wife. The 
libretto is by George R. Mills. The soloists, while not 
too well known, do a more than creditable job, par* 
ticularly as to matters of diction; since the manufac- 
turer has not seen fit to supply a libretto, this is 
especially important. It may be something of an in* 
dictment of the American musical scene to realise 
that the manufacturer had to go all the way to Vienna 
to make this recording, in English yet! 

Robert Cobert's Fran\ie and Johnny is more in the 
style of a musical comedy than of an opera; the 
composer calls it a musical play, which is probably 
the best description. The story is too familiar to bear 
repeating here. The songs (one could hardly call 
any of them arias) have a nice lilt, for the most part, 
and the singers seem right in the mood. Reproduction 
is excellent. 

Operatic Recital. Aureliano Fertile (tenor) with 
orchestral accompaniments. 1-12" disc (*ETERNA 

720) $5.95. 

Current Market Price: #4.98. 

CONTENTS: Aida Celeste Aida; Cavalleria 
Rttstfcun* Brindisi; Andrea Chenier Improvise, 
Come un bel di di maggio; Traviata De 1 miei bol' 
lenti spiriti, Scena della Borsa; Manon Lescaut 
Tra voi belle, Donna non vidi mai; Carmen Air des 
fleurs, Finale. 
Operatic Recital. Helge Roswange (tenor) with 

orchestral accompaniments. 1-12" disc (*ETERNA 

721) $5.95. 

Current Market Price: #4.98. 

CONTENTS i Aida Celeste Aida; Ballo in Mas- 
chera Ma se nfe foaa; Martha Leute Rose, 
M'appari; Forza del Destine O tu che in seno; 
Tosca E lucevan le stelle; Lohengrin In fernem 
Land; Cavalleria Rustic Ana O Lola; Pagliacci 
Vesti la giubba; Die grosse Suenderin Histoerchen 
geschichten (Kuenneke); Boheme Che gelida ma' 
nina, O Mfmi tu piu; Die weisse Dame Komm o 
holde Dame (Boieldieu); Otello Niun me tema; 
Traviata O mio remorso. 

Two well'known tenors of the past few decades 
are to be heard on these discs from Eterna. Aure' 
liano Fertile was for years the leading tenor at La 
Scala, where he dominated the stage during and 
after the musical directorship of Arturo Toscanini. 
Only once, in 1921, did Fertile visit the United 
States, The arias presented here are, of course, 
dubbed from 78's of the nineteen twenties and 
thirties. They bring forth mixed emotions concern- 
ing the tenor's capability. At first hearing, he seems 
to be the predecessor of Mario del Monaco, in that 
Fertile indulges in a great deal of shouting which 
tends to throw him off pitch. The true greatness 
of his art, however, is said to be in dramatic por' 
trayal of his roles. In this he comes off beautifully. 
The Donna non vidi mai is wonderfully done as is 
the final scene from "Carmen." His ability to over' 
come the poor reproduction and his excellent chap 

acterisations make this an interesting recording. 

Although Helge Roswange has established his rep' 
utation in this country through discs only, he is one 
tenor who would have been a welcome addition to 
our opera houses. The power and range of his voice 
are phenomenal that is, power without that "bari- 
tone" quality. In spite of the fact that the entire 
recital is in German, the arias from Italian operas 
remain remarkably "Italian." The cabaletta at the 
end of the second act of "Traviata" is a favorite of 
this reviewer. Being greatly akin to Manrico's Dt 
quella pira in "Trovatore," it ends with the in- 
evitable high C in which Roswange not only attempts 
to set a record for length of time spent on one high 
C, but he also manages to pronounce the word he is 
singing at this altitude. Whether or not this is par' 
ticularly musical is beside the point. In this case it 
is thrilling and is reason alone to want to hear the 
record. But Herr Roswange does not stop until he 
has tossed off amazing tessitura in the Kuenneke 
and Boieldieu numbers. His voice is here, as ft has 
been on other recordings, a revelation. F. 

Rossini: H Barbiere di Siviglia (complete). (Sung 

in Italian). Soloists, Chorus and Orchestra of the 

Maggio Musicale Florentine conducted by Alberto 

Erede. 3-12" discs in album with musical score 

(*L'XLLA-51) $14.94. 

Rosina Giulietta Simionato (ms) 

Berta Rina Cavallari (ms) 

Count Almaviva Alvmio Misciano (t) 

Figaro Ettore Bastianini (bt) 

Dr. Bartolo .Fernando Corena (bs) 

Don Basilio Cesare Siepi (b) 

Fiorello Arturo la Porta (bt) 

Officer Giuseppe Zampieri (t) 

London has gathered together a brilliant cast of 
singers for this sparkling performance of Rossini's 
best known opera. Heading the cast is Giulietta 
Simionato, who sings her second Rosina on records. 
Mme. Simionato more than equals her earlier per' 
formance for Cetra. Since most of us have become 
accustomed to lyric coloratura sopranos in the role 
of Rosina, it is gratifying to hear a mewo-soprano 
who can deliver so scintillating an aria as Una vocc 
poco fa with all the brilliance which the aria de' 
mands. Throughout the opera she is charming in 
voice and characterization. 

Mme. Simionato is aided by an excellent quartet 
of male singers. The Figaro of Ettore Bastianini is 
straight-forward and to the point without quite so 
many of the usual whistles and odd noises consid- 
ered a major part of the role by most baritones. That 
this results from a lack of experience in the field 
of comic opera or is simply Bastianinfs approach 
to the dramatic content is not quite clear. This re- 
viewer has no objection to snorts and screeches on 
the part of Figaro; the lack thereof in this particular 
part tends to accentuate the excellence of Fernando 
Corena's Bartolo and Cesare Siepfs Basilio. These 
two bassos, who have long been admired in their 

* indicates LP 33 1/8 rpm. 
indicates 45 rpm. 


PAGE 10 





respective parts, utilize this opportunity to create 
an atmosphere of riotous good humor by engaging 
in what is usually referred to as overplaying. The 
total result is that the comparatively reserved Figaro 
and the "slap stick** Basilio and Bartolo provide a 
good contrast and add to the success of the entire 

Alvinio Misciano makes his debut on records as 
Count Almaviva and does so creditably. He is a 
young man with a fresh tenor voice which floats 
over the florid notes easily and provides a fine 
counterpart to Simionato's Rosina. 

Erede's conducting is spirited, and the sound is 
good. London is to be commended also for including 
the vocal score, P. 

Operatk Recital. Giulietta Simionato (mezzo-so' 
prano) with the Orchestra of the Accademia di 
Santa Cecilia, Rome, conducted by (1) Franco 
Ghione or (2) Fernando Previtali. 1'12" disc 
(*L-LL-1580) $3.98. 

CONTENTS: II Bdrbiere di Siviglwt Una voce 
poco fa; Don Carlos O don fatale; I Capuleti ed 
i Montecchi Deh! tu belF anima (Bellini); Cener' 
entola Nacqui alF affanno . . . Non piu mesta (1). 
Samson et Dalila Printemps qui commence; Mig' 
non ConnaiVtu le pays?; Werther Air de la let' 
tre; Carmen Habanera (2), 

Operatk Recital. Lisa della Casa (soprano) with 
the Vienna Philharmonic Orchestra conducted by 
(1) Heinrich Hollreiser, (2) Erich Kleiber, (3) 
Karl Bohm or (4) Josef Krips. 142" disc (*L' 
LL-1576) $3.98. 

CONTENTS: Giulio Cesare Hast du mich ganz 
berauscht, Es blaut die Nacht, Breite aus die 
gnad'gen Hande, Weine nur klage nur, Heil und 
sicher kam mein Nachen (1); Don Giovanni In 
quali eccessi . . . Mi tradi (4), Ah! fuggi il tradi' 
tor (4), Crudele . . . Non mi dir (1); Cosi fan 
tutte Per pieta ben mio ( 3 ) ; Le l^ozze di Figaro 
Dove sono (2). 

Buffo Operatic Arias (Vol. 2). Fernando Corena 
(bass) with (1) Orchestra of the Maggio Musi' 
cale Florentine conducted by Gianandrea Gavav 
zeni or (2) TOrchestre de la Suisse Romande 
conducted by James Walker. 1-12" disc (*L-LL- 
1636) $3.98. 

CONTENTS: Qenerentola Miei rampolli fern' 
minini, Sia qualunque delle figlie; Ultalfana in AI' 
geri Ho un gran peso sulla testa; II Matrimonio 
Segreto Udite, tutti, udite ( 1 ) . Griselidis Loin de 
sa femme qu'on st bien (Massenet); Le Caid Air 
du Tambour'Major (Thomas); Le Pas d'Armes du 
Roi Jean ( Saint' Saens); Philemon et Baucis Vul' 
can*s Song (Gounod); La Grande Duchesse de 
Gerolstein Piff, paf, puff (Offenbach) (2). 

Giulietta Simionato is represented on this London 
recording in a variety of arias from the Italian and 
French repertoires. Although none of the arias is 
badly done, the most successful are the two Rossini 

works which Miss Simionato delivers with ea*e. Her 
affinity for the operas of Rossini is well known to 
discophilea and seems to increase constantly. She is 
least happy in the "Don Carlos" aria, which requires 
far more dramatic scope and vocal power than Miss 
Simionato can muster. The arias from * k Mignon," 
"Samson et Dalila,** and "Werther** are sensitively 
and expressively approached; and indeed it is a 
pleasure to hear the Habanera sung by a mewo 
soprano who has a voice flexible enough to negotiate 
the notes without strain. Simionato's French diction 
leaves a bit to be desired. 

The Mosart arias of Lisa della Casa rpresent 
some of her best work in the opera house. Whether 
she is singing Donna Anna, Donna Elvira, the 
Countess Almaviva, or Fiordiligi, she does so with 
characteristic purity of tone and ease of expression. 
Handel's "Giulio Cesare" is an early work which he 
wrote in Germany before he had established him' 
self in London. Dealing with the intrigue between 
Caesar and Cleopatra, the opera is far removed 
from the conception of George Bernard Shaw. 
When the opera was revived for the Munich Fes* 
tivals of 1955 and 1956, Lisa della Casa was en* 
listed in the role of Cleopatra. The five arias here 
constitute an excellent sampling of the entire work. 
Mme. della Casa sings them exquisitely, especially 
Es blaut die H&cht and Weine nur \lage nur. 

Fernando Corena enjoys the reputation of the 
foremost basso buffo of our time. London has re* 
leased a second volume of operatic arias for bass in 
which Corena displays his ease with the French 
repertoire as well as the Italian. His delivery of 
these arias is as amusing as it is well done. Mr. 
Corena here proves that he is one artist who can 
turn minor roles into major performances. P. 


Alonso: La Calesera. Soloists, Coros Cantores de Ma* 
drid and Gfan Orquesta Sinfonica conducted by 
Indalacio Cisneros. 1'12" disc in box (*LOCLL' 
1616) $4.98, 

Giminez: La Boda de Luis Alonso. One side, and 
Giminez: HI Baile de Luis Alonso. Soloists, Coros 
Cantores de Madrid and Gran Orquesta Sinfonica 
conducted by Ataulfo Argenta. 1'12" disc in box 
(*L-XLL-1482) $4.98. 

Soutullo y Vert: El Ultimo Romantico. Soloists, Coros 
Cantores de Madrid and Gran Orquesta Sinfonica 
conducted by Indalecio Cisneros. 1*1 2" disc in box 
(*L-XLL'1645) $4.98. 

Serrano: Los Qaveles. One side, Serrano: La Dolo- 
rosa. Soloists* Coros Cantores de Madrid and Gran 
Orquesta Sinfonica conducted by Ataulfo Argenta. 
M2" disc (*L-XLL-1483) $4.98. 
At the beginning of the fourth act of "II Trovatore" 

Leonora sings the beautiful aria D'amor sull'ali rosee 



* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 




the words of which have no more to do with the 
plot of this opera than with the plot of a dozen or 
so other operas. Such is the status quo with the words 
and music relationship of these six zarzuelas from 
London Gramophone. In reading the translations of 
the texts which are provided, two things are signifi' 
cant. First of all the idiomatic Spanish is translated 
into anything but idiomatic English. The stories them' 
selves are related on the inside cover of the record 
box. The lyrics, which are purely coincidental, are 
given in libretto form. In these six works, London 
has recorded what we presume to be all of the music 
with none of the dialogue* 

The outstanding virtue of all six is the distinctive 
and overwhelming Spanish flavor manifested at all 
times. The delightful La Boda de Luis Alonso and El 
Baile de Luis Alonso are comic and contain a great 
deal of orchestral music used for the dances in these 
two works. On the other hand, La Calesera and El 
Ultimo Romdntico contain elements of a more serious 
nature and include arias and duets which are beautiful 
for unpretentious melody. Los Claveles and La Dolo- 
rosa have comic elements to them, as well as a great 
deal of warm humor. The overall effect, however, of 
any one of these works will impress those unfamiliar 
with zarsuelas as a sort of concert with a Spanish 
twist, since there is no continuity to be found in the 

The performances here are expected to be authen* 
tic, since they were made in Madrid by people long 
experienced in this sort of thing. In this they do not 
fail; nor do they cease to be expertly done. Although 
little identification is given to the singers, they per- 
form their tasks with spirit and deliver their lyrics 
with feeling. The orchestra and chorus are well 
disciplined and neatly guided by the conductors. 

Although there is little or no drama involved, these 
are excellent examples of Spanish popular music and 
are well worth investigating. P. 

Wolpc: (10) Songs from the Hebrew. Arline Carmen 
(alto), Leon Lishner (bass) and David Tudor 
(piano). One side, and Hovhatiess: Upon En- 
chanted Ground. Samuel Brown (flute), Glaus 
Adam (violoncello), Lucile Lawrence (harp) and 
Elden Bailey (tarn tarn) conducted by Alan Hov' 
haness. And Hovhaness: Suite for Violin, Piano 
and Percussion. Anahid Ajemian (violin), Maro 
Ajemian (piano) and Elden Bailey (percussion). 
M2" disc (*OML-5179) $3.98. 
We are very much afraid that this disc is not 
destined for the best'seller list, Stefan Wolpe 
(1902' ) is presently head of the Music De' 
partment, Post College, at Long Island University. 
Most of the ten songs were composed between 1936 
and 1938 and are the result of inspiration the com.' 
poser received from hearing songs of the Yemenite 
Jews, Coptic monks and Arabic songs; they are most 
modern sounding, yet some will sound like German 
lieder to the casual hearer. The vocalists on this disc 
are in every way adequate. 

The two chamber works by Alan Hovhaness are 
typical of this composer's eerie compositions. The 
somber tarn tarn in Upon Enchanted Ground serves 
as an undercurrent to the weird meanderings of the 
other instruments. The Suite is more of the same, 
with a few sprightly sections thrown in to break up 
the monotony. Very well played music, recommended 
for the avant-garde. 

Recital of Songs and Arias. Renata Tebaldi (soprano) 
accompanied by Giorgio Favaretto (piano). 142" 
disc (*L-LL-1571) $3.98. 

CONTENTS: Leggiadri Occhi Belli (Anon.); Le 
Violette (A. Scarlatti); Piangero la Sorte Mia (Han- 
del); Lungi dal Caro Bene (Sarti); La Promessa 
(Rossini); Dolente Immagine di Fille Mia, Vanne O 
Rosa Fortunata (Bellini) ; StomeJlo (Verdi) ; Al Folto 
Bosco, Cantava il Ruscello, Sur Mar Al Wavicella 
(Martucci); A la Barcillunisa (Favara); Passo e Won 
ti Vedo (Massetti) ; Cantares (Turina) . 

Lieder Recital. Lisa della Casa (soprano) acconv 
panied by Karl Hudes (piano). 1-12" disc (*Ix 
LL-1535) $3.98. 

CONTENTS: Auf dent Wasser zu singen, Im 
Fruhling, Du hist die Ruh\ Gretchen am Spinnrade 
( Schubert) ; Wie Melodien zieht es, Immer leiser wird 
mem Schlummer, Von ewiger Liebe, Btdndchen 
(Brahms); Der Gartner. Begegnung, Geh* Geliebter 
geV jetzt, Er ist's (Wolf); Einerlei, Ich wollt' ein 
Strdusslein binden, Schlechtes Wetter, Befreit (R. 

R. Strauss Lieder. Hilde Gueden (soprano) accom' 

panied by Friedrich Gulda (piano). 1-12" disc 

(*L'LL-1591) $3.98. 

CONTENTS: Einerlei. Op. 69, Ho. 3; Sausle, 
Hebe Myrte f Op. 68, HO. 3; Der Stern, Op. 69, Ho. 
1; SMechtes Wetter, Op. 69, HO. 5"; Ich wollt' ein 
Strausslein binden, Op. 68, HO. 2; Als mir dein Lied 
er\lang, Op. 69, HO. 4; Preundliche Vision, Op. 48, 
Ho. 1; SMangende Herzen, Op. 29, HO. 2; Heim- 
\ehr, Op. 15", HO. 5; Befreit, Op. 39, No. 4; Die 
Hacht, Op. 10, Ho. 3; Wie sollten wir geheim sie 
halten, Op. 19, HO. 4; Meinen Kinde, Op. 39, HO. 3. 

Three beautiful soprano voices are presented by 
London with varying degrees of success. Renata 
Tebaldi, Lisa della Casa, and Hilde Gueden bring 
to the ear a feast of sound which overwhelms the 
senses. Of the three ladies, however, only one 
shows wisdom in dramatic use of the voice. 

Renata Tebaldi presents a group of songs and 
arias, mostly Italian, which are outstanding for their 
lack of variety. Her voice is, as has been said, beau' 
tiful; in fact, the sole purpose of this disc seems to 
be to convince the listener that Mme. Tebaldi can 
bring forth more gorgeous tones than anyone else. 
The result is that the songs assume no purpose and 
have no meaning other than to compose a "Tebaldi 
Record." The pianist contributes beauty to the 
total effect in that foe is almost inaudible except 

* indicates LP 33 1/3 rpm. 
indicates 45 rpxn. 


PAGE 15 





when Mme. Tebaldi is not singing. 

Tiie liedcr recital by Lisa della Casa includes a 
magnificent variety of moods; and the singer shows 
intelligence in the delivery of every note. She evokes 
happiness, sadness, gaiety, or despair as Schubert, 
Brahms, Wolf, or Strauss dictates. The piano part 
of Karl Hudex is sensitive and intelligent so that he 
and Mme. della Gasa form the duet which they are 
supposed to bring to the hearer. Probably the most 
outstanding song presented here is Strauss' Be/reit. 
It affords an excellent comparison with the Gueden 
version. While Gueden sings with beauty of voice 
and forms her tones well, she does not in any way 
bring to the song the depth of seriousness with 
which della Casa approaches it. 

And Hilde Gueden with her beautiful voice and 
fine pianist, Frederich Gulda, who gives her ex- 
cellent support, cannot tell us what the song has to 
say so well as della Casa. Gueden's interpretations 
lack the variety which the songs demand. Although 
they are far from bad, they are anything but expres' 
sive. As beautiful as the notes are, they must tell 
us something; and this is the failing of Mme. 

Of the three exquisite voices, two do not recognize 
the fact that all the glorious tones in the world 
cannot substitute for genuine feeling. If a *Tebaldi 
Record" is desired, buy this one. If beauty of tone is 
wanted, buy the Gueden- Strauss recital. If expressive 
and intelligent singing in a variety of songs is a 
requisite, Lisa della Casa holds no equal in these 
three discs. P. 

Hie Art of Bidu Sayao. Bidu Sayao (soprano) with 
orchestral accompaniments. 1-12" disc (*CAM- 
CAL-373) $1.98. 

CONTENTS: CopUs de Curro Dulce (Obradors); 
Lavandera (Longas); Cysnes (Costa 6? Salusse); 
Canto da Saudade (Costa); Rfgoletto Caro nome; 
T^ozze di Figaro Deh vieni, non tardar; Manon Les- 
cdut L'Eclat de rire (Auber); Estrellita (Ponce); 
Chanson du Pavilion (Campra arr. Wekerlin) ; Para 
l^inar (Barroso); Tristesse (Chopin arr. Marx); 
Colombetta (Buwi-Peccia); A Spring Morning 
Kleinsinger: I Hear America Singing. One side, and 

Song Recital. John Charles Thomas (baritone) 

with chorus and orchestra. 1-12" disc (*CAM- 

CAL-367) $1.98. 

tiful Morning; OV Man River; Annie Laurie; The 
Green'Eyed Dragon; Steal Away; Lord's Prayer 
Farrar in Carmen. Geraldme Farrar (soprano) with 

orchestral accompaniments. 1-1 1" disc (*CAM- 

CAL-359) $1.98. 

CONTENTS: Habanera; Seguidilla; Chanson 
Boheme; Halta la! ,ui va la? (with Martinelli); Au 
quartier pour Vappel; Air de la fteur; La bas dans la 
montagne; Voyons que Tessale; ]e dis que rien ne 

m'epouvante (Micaela's Air); Si tu maimes (with 
Amato); C'est toil; Je t'aime encore (with Martinelli 
6? chorus). 

More Camden re-issues of vocal artists of bygone 
days. Reproduction varies, as before, from fair (Sayao 
and Thomas) to poor (Farrar); yet, as we have re' 
marked before, these Camden discs sound better than 
the originals, and if any of these singers interest you, 
the recitals offered here doubtless will be pleasing. 
We might mention to dealers that there still seems to 
be some small demand for Thomas' 1 old recording of 
The Green'Eyed Dragon, until now not available. 

Bach and Handel Recital. Kirsten Flagstad (so- 
prano) with the London Philharmonic Orchestra 
conducted by Sir Adrian Boult. 1-12" disc (*L- 
LL-1641) $3.98. 

CONTENTS: Cantata ?^o. 208 Sheep May 
Safely Gra?e; MatthauS'Passion Break in Grief; 
Cantata No. 147 Jesu, Joy of Man's Desiring; 
Clavierbuchlein fur Anna Magdalena If Thou Be 
Near (Bach). Radamisto Gods All Powerful; Sem- 
ele O Sleep! Why Dost Thou Leave Me?; Messiah 
He Shall Feed His Flock & I Know That My Re- 
deemer Liveth; Praise Ye the Lord (arr. Woodgate) 

Grieg Recital. Kirsten Flagstad (soprano) accom- 
panied by Edwin McArthur (piano). 1-12" disc 
(*L-LL-1547) $3.98. 

CONTENTS: Jeg Els\er Dig, Op. 5, HO. 3; Eros, 
Op. 70, No. I; Millom Rosor, Op. 39, NO. 4; Deer 
Ganger en Baad Paa Bolge, Op. 69, NO. I; Hytten, 
Op. 18, Vol. 2, No. 3; Det Forste Mode, Op. 21, 
NO. 1; Jeg Giver mit Digt til Varen, Op. 21, NO. 3; 
Med in Pnmula Veris, Op. 26, NO. 4; Med in Van* 
dilje, Op. 25, NO. 4; En Drom, Op. 48, No. 6; 
Liden Jojt Deroppe, Op. 39, NO. 3; Pro, Monte 
Pincio, Op. 39, NO. 1; Ltden Kirsten, Op. 60, NO. 
1; Den Aergjerrige, Op. 26, NO. 3. 

At an age when most people stay close to the 
home fire, Kirsten Flagstad has ventured to London's 
studios to put on discs some of the memorable per- 
formances of her career. Many have been the la- 
ments that this was not done in the years when her 
voice achieved its greatest heights. The facts remain 
that this was not done and that Flagstad at sixty is 
far better than the majority of vocalists at thirty. 
Her Bach and Handel airs are done with the wisdom 
and purity of tone which have always been the 
trademarks of Hagstad's work. Not only is she com- 
pletely at peace with the Bach and Handel she is 
singing, but also she delivers beautifully both the 
contralto and soprano parts of He shall feed His 

The Grieg songs have been particularly associated 
with Mme. Flagstad as is well indicated in the man* 
ner with which she delivers them. Beginning with 
the tender Jeg Els\er Dig, she then gives us fourteen 
songs with a variety of harmonic style. Grieg's ac- 

PAGE 13 


* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 





companiments blend beautifully with the vocal line. 
Edwin McArthur lends his understanding touch to 
match the sensitive voice. 

To those who would say that this is not repre- 
sentative Flagstad (for there are far too many near 
catastrophes, vocally speaking), we would say that 
the total effect is good. The clarion top register is 
still with us> although the high notes do not come 
through with the ease of former years, nor is the 
long phrasing so effortlessly done; but here is a 
labor of love approached with one of the most 
glorious voices in decades and administered with 
intelligence and understanding. P- 

Wonderful, Wonderful. Johnny Mathis (vocals) with 
orchestra conducted by Percy Faith. 1-12" disc 
(*OCL'1028) $3.98. 

Current Market Price: #2.98. 

CONTENTS: Will I Find My Love Today; Loop- 
ing at You; Let Me Love Ton; All through the Might; 
It Gould Happen to Tou; That Old Blac\ Magic; 
Too Close for Comfort; In the Wee Small Hours of 
the Morning; Tear after rear; Early Autumn; Tou 
Stepped out of a Dream; Day In, Day Out. 

Johnny Mathis is a young singer who was discov- 
ered in San Francisco by George Avakian, Columbia s 
director of pop albums; his rise was rather rapid, and 
his single disc, Wonderful, Wonderful, after a slow 
start, became a national best'seUer. His voice is ap' 
pealing, particularly to the younger set; he runs 
through a nice variety of numbers here, and this 
should be one of the best'selling popular "Buys of 
the Month" Columbia has yet issued. 


Baroque Organ Music. Robert Noehren, playing the 

organ in Kenmore Presbyterian Church, Buffalo 

(N. Y.). M2" disc ("CONCORD 4002) $498. 

CONTENTS: Maria zart von edler Art (Schlick); 

(6) Variations on "Mem Junges Leben hat em End" 

and Fantasia super Ut, Re, Mi, Fa, Sol, La (Swee- 

linck); Diferencios sobre El Canto del Caballero 

(Cabeson); Fiori Musical Messa della Madonna, 

Canzona dopo VEpistola, Ricercare dopo il Credo 

(Frescobaldi); Da Jesus an dem Kreuze (Pts. I 6? VI) 

(Scheidt); Vom Himmel hoch da \omrn ich her 

Nos. 57^58 (Pachelbel). 

As one who tends to tire quickly of baroque or* 
gan music, this listener found the present disc more 
appealing than most such discs, due largely to the 
character of the organ used. The Schlicker organ 
in Kenmore Presbyterian Church, Buffalo, is a 
rather charming example of how nice the voicing 
can be in these replicas of baroque organ design. 
Being a newly built organ it, of course, is reliable 
and in good regulation, and glory be, even the high' 
pitched mutation ranks are in tune. One can enjoy 
the mild, unforced voicing, without the distraction 
of action noises, wheezes, rattles, crude tremolos, and 

other earmarks of aged pipe organs. Therefore, the 
sounds which meet the ear are pleasant* and they 
are very well recorded on this disc. 

The foregoing remarks are not intended to slight 
in the least the splendid playing of Robert Noehren, 
whose efforts have been previously admired in these 
columns. Noehren is a most accomplished musician, 
gifted equally with technical skill and good taste. 
His knowledge of baroque music, baroque organs, 
and how to bring them together in a good perform* 
ance places him in the forefront of the practitioners 
of the art. This disc is almost novel in the fact that 
such exquisite performances are the result of an 
American trained organist playing a contemporary 
organ here in America, whereas most similar discs 
originate in Europe where such music was created. 

The listing above of the contents of the disc will 
reveal a choice collection of material, all of which 
Noehren plays superbly. Some of the softer chorale 
treatments are particularly appealing; but all of this 
disc will prove delightful listening to those who ap' 
preciate music of the baroque period, and to them 
we can heartily recommend this fine record. 



Kodaly: Sonata for Violoncello Solo, Op. 8. One 

side, and Reger: Sonata No. 2 lor Violoncello 

Solo, Op. 131c. Zara Nelsova (violoncello). 1' 

12" disc (*L'LL-1252) $3.98. 
'Cello Colours. Andre Navarra (violoncello) acconv 

panied by Jacqueline Dussol (piano). 1*1 2" disc 

(*CL'P-18023) $3.98. 

CONTENTS: Le Cygne (SainfSaens); JEIcgie, 
Papillon, Apres un Reve, Serenade (Faure); Piece 
en Forme de Habanera (Ravel); Song without 
Words in D (Mendelssohn); Rondo in G minor 
(Dvorak); Pezzo Capriccioso (Tchaikovsky); Theme 
and Variations (Rossini arr. Paganini); Largo and 
Allegro Vivo (Francoeur). 

Two of the world's great 'cellists perform for us 
on these discs. Those looking for sonatas for 'cello 
solo other than Bach's are advised to investigate the 
Nelsova disc above. 


Mendelssohn: Songs without Words. Walter Giesek' 

ing (piano). 142" disc (*ANG-35428TP) $3.48. 

M2" factory-sealed disc (*ANG-35428) $4.98. 

CONTENTS; Op. 19, HOS. 1, 6; Op. 30, HO. 6; 
Op. 39, HOS. 4, 6; Op. 53, HOS. 2, 3, 4; Ojb. 62, HOS. 
1, 5, 6; Op. 67, HOS. 3, 4; Op. 85, HOS. 4, 6; Op. 102, 
HOS. 3, 5. 

What a shame that Gieseking's presentation of 
Mendelssohn's indescribably lovely Songs without 
Words is not complete. No mention is made by Angel 
that the balance of them by the late, great German 

* indicates LP 38 1/3 rpm, 
indicates 45 rpm. 


PAGE 14 


The Nw Records 


are "in the can"; which is a pity, because the sampling 
we get here is a real joy. We are not forgetting our 
words of high praise for Mme. DorfmamTs rendition 
of them (TNR Mar. '57); and Gieseking performs 
no better than she. Our principal reason for wishing 
for a complete set from Gieseking is our great desire 
for the Songs without Words to be in every classical 
library, and we feel that more persons would likely 
purchase a Gieseking set than one by Dorfmann. 

If you do not wish the complete set, by all means 
choose Gieseking, who offers some of the best-known 
"songsf but be forewarned: a taste may create the 
desire to own the entire set, and then youll want 
Ania Dorfmann's magnificent recording. 

Debussy: Preludes (Bk. I). Albert Ferber (piano). 

M2" disc (*DT-DTL-93116) $3.98. 

CONTENTS: Danseuses de Delphes; Voiles; Le 
Vent dans la Plaine; Les Sons et les Parfums tournent 
dans VAir du Soir; Les Collines d'Anacapri; Des Pas 
sur la Heige; Ce qua Vu le Vent d 1 Quest; La Filie 
aux Cheveux de Lin; La Serenade Interrompue; La 
Cathedrale Engloutie; La Danse de Puc\; Minstrels. 

Debussy: Preludes (Bk. II). Albert Ferber (piano). 

M2" disc (*DT-DTL-93117) $3.98. 

CONTENTS: Erouillards; Feuilles Mortes; La 
Puerta del Vino; Les Fees sont d'Exquises Danseuses; 
Bruyeres; General Lavine eccentric; La Terrasse des 
Audiences du Clair de Lune; Ondine; Hommage d S. 
Pic\wic\; Canope; Les 'Tierces Altemees; Feux 
d' Artifice. 

Debussy: (12) Etudes (Bks. I 6? II). Albert Ferber 
(piano). 1-12" disc (*DT-DTL-93012) $3.98. 

Water Music and Nature Musk of Debussy. Johana 
Harris (piano). M2" disc (*MGM-E-3338) 

CONTENTS: Reflets dans I'Eau; Poissons d'Or; 
Voiles; Jardins sous la Pluie; Ondine; Snow is Dane* 
ing; Des Pas sur la "^leige; Bruyeres; Feuilles Mortes; 
Le Vent dans la Plaine; Les Collines d'Anacapri. 

Exotic Music and Dance Music of Debussy. Johana 
Harris (piano). 1-12" disc (*MGM-E-3340) 

CONTENTS: La Cathedrale Engloutie; Ulle 
Joyeuse; Pagodes; Et la Lune Descend sur le Temple 
qui Put; La Puerta del Vino; La Danse de Puc\; 
Valse; Minuet; Sarabande; Passepied. 

Evening and Personality Music of Debussy. Johana 

Harris (piano). 1-12" disc (*MGM-E-3339) 


CONTENTS: Soiree dans Grenade; Clair de 
Lune; Les Sons et les Parfums Tournent dans VAir 
du Soir; Feux d* Artifice; La Serenade Interrompue; 
Hommage a S. Pic\wic\; Dr. Gradus ad Parnassum; 
Hommage d Rameau; General Lavine eccentric; The 
Little Shepherd; La Fille aux Cheveux de Lin. 

Six discs featuring fine playing of piano music of 

Debussy, three by Albert Ferber and three by Johana 
Harris. Both artists show love and understanding for 
the works essayed, and there are sixteen duplications 
of selections here. Ducretet-Thomson's reproduction 
is somewhat darker than MGlvfs this seems to be 
characteristic of piano recordings made in Europe. 
More Echoes of Paris. George Feyer (piano) with 

rhythm accompaniment. 1-12" disc (*VX-VX- 

25430) $3.98. 

Echoes of Latin America. George Feyer (piano) with 
rhythm accompaniment. 1*12" disc (*VX-VX- 
25370) $3.98. 

This makes an even dozen "Echoes of . . ." records 
available, featuring George Feyer and his rhythm 
accompaniment (see TNR May 6? July '57). Those 
owning all twelve can keep a party going well into 
the wee small hours and not repeat a single tune. 
Soft, ingratiating music. 

Falla: Noches en Jos Jardines de Espana. Robert Casa' 
desus (piano) with the Philharmonic-Symphony 
Orchestra of New York conducted by Dimitri 
Mitropoulos. One side, and Falla: El Sombrero de 
Tres Picos The Neighbors, Miller's Dance, Final 
Dance. And Falla: La Vida Breve Interlude and 
Dance. Philharmonic-Symphony Orchestra of New 
York conducted by Dimitri Mitropoulos. M2" 
disc (*OML-5172) $3.98. 

NOTE: For review of this disc see under CON' 



This Is die Mass. Actual sound and description of 
Sunday Mass at Carmelite Father's parish church, 
Englewood, N. J., narrated by Dick Janaver 1-12" 
disc (*CARMELITE 1) $4.95. 
This disc is supposed to contain an entire Roman 
Catholic mass; no doubt it does. But, save for the 
sermon, one can hear little of the actual mass, for 
Dick Janaver narrates above the sounds of the mass, 
explaining just what is going on. We, who are quite 
familiar with the mass, may find this narration obtru- 
sive; yet, in all fairness, we must state that the narra- 
tion is accurate, reverent, and will be a great help to 
those not familiar with the action of the mass in let- 
ting them understand it better. Because one can hear 
very little of the Latin words, it will be even more 
clear if you follow this disc with your missal, so that 
you will know what the priest is saying while Mr. 
Janaver is translating into English and making his 

Roman Catholics will find this disc invaluable in 
assisting them to explain to their children, their re- 
cently converted friends, and to their Protestant 
friends Just what the mass is about. Episcopalians, 
because of the great similarity of the Roman Catholic 
mass to their own communion service, may find inter- 
esting points of comparison here. Other Protestants, 
interested in learning more about the beliefs of their 

PAGE 15 


* Indicates LP 33 1/8 rom. 
indicates 45 rpm, 





Roman brethren, will find tbat this disc will explain 
clearly to them the very heart of Roman belief, the 
mass. The reproduction is crystal clear. 


The American Scene. Band of Her Majesty s Welsh 

Guards conducted by Maj. F. L. Statham. M2 

disc (*VX-PL-25280) $3.98. 

CONTENTS: Cranberry Corners Kight Piece 
(Klein); Brass-Woodwind Clique, A Pair Sunset 
Strib Polka Jazz Rhumba, Sons of the American 
Legion (Palange); Bright Eyes (Rnlayson); Dme 
Fantasy (Cailliet); An American Scene, Kentucky 
1800, Waltz in Blue (Grundman). 

Compared to other English bands, the Band of Her 
Majesty's Welsh Guards is young, having been formed 
in 1915. It is, nonetheless, a capital organization as 
demonstrated by this Vox disc. Most of the works 
presented are concert pieces, rather than marches; they 
are wonderfully done by this 58-piece group. The 
pieces are representative of band music being com- 
posed in this country today. 


Old Music Box Waltz Melodies. Music boxes from 

the Adrian V. Bornand collection. 1-12" disc 

(*BORNAND RCB-4) $3.98. 

CONTENTS : Invitation to the Dance, Artists Life, 
Merry Widow, Treasure. 22 others. 

New recordings of music box melodies have always 
been popular, and the Bornands have been issuing 
them periodically for many years. Adrian V. Born- 
and is a direct descendant of the Swiss Bornand 
family which has been making and repairing music 
boxes since 1825. Six different music boxes may be 
heard on the present disc: two cylinder boxes and 
four disc type, among these latter being the "King of 
the Music Boxes," the 27'inch disc Regina. 

Bill Bell and his Tuba. William Bell (tuba and vocals) 

with orchestra. M2" disc (*GOLDEN CREST 

CR-3015) $3.98. 

CONTENTS: When Yubd Plays the Rhumba on 
the Tuba; Asleep in the Deep; In the Hall of the 
Mountain King; Tuba Man; Elephant's Tango; Mum- 
mers; Carnival of Venice; Osis and Osiris Guide 
Them; Variations on the Theme of Judas Maccabeus; 
]olly Farmer Goes to Town. 

William Bell has been crowned king of the tuba 
players by no less a personage than Arturo Tosca' 
nini, and we think you'll agree when you hear this 
amaaing exposition of his technique especially Car' 
nival of Venice. Besides being lots of fun, this disc 
is recommended to any budding young tuba players. 


The World's Encyclopedia of Recorded Music 
(3rd Supplement). By Francis F. Clough 
and G. J. Cuming. xxvi + 564 pp. Sidg< 
wick and Jackson, Ltd. (London). Price 

Introduction to Opera: a guidebook sponsored 
by The Metropolitan Opera Guild. Edited 
by Mary Ellis Pelts, xiii -f 332 pp. Paper 
bound. Barnes 6? Noble, Inc. (New York) . 
Price $1.65. 

Record Ratings: The Music Library Associa- 
tion's Index of Record Reviews. Compiled 
by Kurts Myers; edited by Richard S. 
Hill, viii + 440 pp. Crown Publishers 
(New York). Price $5.95. 

The Guide to Long-Playing Records (Orches- 
tral Music). By Irving Kolodin. xii + 
268 + vii pp. Alfred A. Knopf (New 
York). $3.50. 

The Guide to Long-Playing Records (Chamber 
& Solo Instrument Music) . By Harold C. 
Schonberg. xi + 280 + vi pp. Alfred A. 
Knopf (New York). $3. 50, 

The Guide to Long-Playing Records (Vocal 
Music). By Philip L. Miller, xvi + 331 
+ xxii pp. Alfred A. Knopf (New York) . 

The World's Encyclopaedia of Recorded Music 
(Including 1st Supplement). By Francis 
F. Clough and G. J. Cuming. 890 pp. 
Sidgwick and Jackson, Ltd. (London). 
Price $17.50. 

The World's Encyclopaedia of Recorded Music 
(2nd Supplement) . By Francis F. Clough 
and G. J. Cuming. xxii -f- 262 pp. Sidg- 
wick and Jackson, Ltd. (London). Price 
NOTE: All the above books have been reviewed 

in previous issues of The J^ew Records. If your local 

dealer does not stock them, orders addressed to H. 

Royer Smith Co., Philadelphia 7, Pa., will be 

promptly filled. The prices quoted include postage 

to any point within U.S.A. 

The first letters in the record number indicate the manufacturer: ANG Angel, BG Bach Guild, C Columbia, CAM Camden. CE Cetra, 
CH cSneert Hall Society. CL Capitol, CLAS-Classic Editions, CSM-Colosseum, D Decca, DT Ducretet-Thomson, EA Exp6nences 
Anonvmes ESO Esoteric, FOLK Ethnic Folkways Library, G IDA Gregorian Institute of America, HMV His Master's Voice (England), 
HS^-Haydn Society L- London Gramophone, LYR-Lyrichord, ME-Mercury, DCOceanic, OL-L'Oiseau Lyre, PE Period, PHM Phil- 
harmonia PLM Polymusic, REN Renaissance, SOT Sounds of Our Times. STR Stradivari, T Teiefunken, UNI Unicorn, UR Urania, 
V Victor, VAN Vanguard, VX Vox, and WEST Westminster. 

* indicates LP 33 1/3 rpm, 
indicates 45 rpm. 


PAGE i6 

Tke New Records 


Issued Monthly by 




VOL 25, NO. 7 


By mail to any address 
$1 per year 

A VERY SIMPLE and easy way to learn 
sufficient French to make one's way 
around France has been recently called to our 
attention. It consists of three 10-inch LP discs 
and a nicely printed 110 page book all housed 
in a sturdy pasteboard box. This course is called 
"Listen 6? Learn French. 1 '' Its price is $4.95. 

This course consists of over 750 phrases and 
sentences which are assembled into lessons with 
appropriate titles, such as : Greetings and Intro- 
ductions, Customs and Baggage, At the Hotel, 
Sports, Bank and Money, Shopping Informa- 
tion, etc. The English and the French of these 
phrases and sentences appear in the book and 
they are spoken on the records slowly and very 
distinctly. The French text appears in both 
proper and phonetic spelling. Because of this, 
and the fact that the recordings are of the very 
highest fidelity, one should not have the least 
difficulty in hearing the proper French pronun- 
ciation and repeating it in the time alloted for 
that purpose between the sentences on the re- 
cordings you see it printed, you hear it spoken 
and you immediately repeat it aloud. 

Of great importance is the book's very com- 
plete index. One may carry the book (sise S 1 /^" 
x 5*4") in his pocket and may quickly refer to 
the index for any word or phrase that he may 
have forgotten. 

1 "Listen 6? Learn French" is not intended to 
be a comprehensive course for learning that 
language, but it is a good introductory one and 
certainly should be of real value to anyone in- 
tending to travel where French is spoken. It will 
be of much more value if the course is secured 
well in advance of one's contemplated trip, so 
that it may be studied leisurely and its contents 
thoroughly digested. If a group is planning to 
make a trip, it may very profitably study to- 
gether. Additional copies of the book may be 

purchased at $2 each (postpaid in U.S.A.) . 

Similar courses in the following additional 
languages are available at $4.95 each: Spanish, 
German, and Italian. If these courses are not 
available locally, orders addressed to the pub- 
lishers of THE NEW RECORDS will be filled 
promptly. Please be sure to indicate the lan- 
guage or languages in which you are interested. 

The Current Market Price of records is the 
retail price that is charged by most leading 
dealers, including the publisher of this bul- 
letin. When the major companies reduced their 
list prices for LP records, some of the smaller 
publishers reduced only their wholesale prices 
and did not change their list prices (see TNR 
Mar. ^55); thus the Current Market Price 
came into being. 

Also, from time to time, in order to stimu- 
late business, some companies have drastically 
reduced prices for limited periods. In order 
that our readers may know the Current Mar- 
ket Price, we are indicating in this and future 
issues the prices that are presently in effect, 
and, although we cannot guarantee these 
prices, they should prevail during the current 

NOTE: The Current Market Prices of all 
Mercury 12-inch LFs (10000-, 20000-, 30000-, 
40000-, 50000-, 80000-, and 90000-series) is 
$3.19; album sets are 20% less than published 
list prices. 

NOTE: The Current Market Prices of 
Westminster Records are as follows: WN/ 
SWN/XWN-18000 series, #3.19; W-LAB- 
7000 series, $5.95; WL-5000 series (discon- 
tinued), $2.39; WP-6000 series, $3.19; album 
sets, 20% less than published list prices. 






We are continually receiving requests for 
back copies of THE NEW RECORDS. Most of 
the issues published during the last twenty 
five years are available. Hie price is lOc each. 
A file of all available issues (at least 160 copies) 
is $5. These prices are postpaid within U.S.A. 

NOTE: Those persons interested in recent 
recordings only may secure all of the issues of 
the last three years beginning September 1954 
(36 copies) at the special price of $2 (postpaid 
within U.S.A.). 


The latest LP "Sampler" discs, most of which are 
limited editions, are listed below: 
This Is Novaes. Guiomar Novaes (piano). M2" disc 
(*VX-SNP-1) $1.98. 

CONTENTS: Organ Prelude in G minor (Bach); 
Concerto Ko. 4 in G, Ojb. 58 3rd movement (Bee- 
thoven); Sonata Ho. II in A, K. 331 Allegretto alia 
Turca (Mozart) ; Waltz in A-jUt, Op. 42 (Chopin); 
La Danse de Puc\ (Debussy); Nocturne NO. 2 in A- 
flat. Op. 32 (Chopin); Capriccio m B minor, Op. 76 
(Brahms); Aufschwung (Schumann); Etude NO. 12 
in C minor, Op. 10 (Chopin); Concerto in A minor 
1st movement (Grieg) . 

This Is Fever. George Feyer (piano) with rhythm ac- 
companiment. 1-12" disc (*VX-SFP-1) $1.98. 
CONTENTS: Excerpts from Echoes of Italy, 
Vienna, Christmas, Paris, Spain, Latin America, 
Budapest, Childhood. (TNR May, July 6? Aug. '57). 
Tchaikovsky: Concerto No. 1 in B-flat minor, Op. 25. 
Edith Farnadi (piano) with the Vienna State 
Opera Orehestra conducted by Hermann Scher' 
chen. One side and Tchaikovsky: Nutcracker Suite, 
Op. 7la. Symphony Orchestra conducted by Her' 
bert Williams. 1-12" disc (*WEST-XWN-18452) 


Current Market Price: $1.98. 


Elgar: Enigma Variations. One side, and Vaughan 
Williams: Fantasia on a Theme by Tallis. Pitts- 
burgh Symphony Orchestra conducted by William 
Steinberg. 1-12" disc (*CL-P-8383) $3.98. 
Fiesta in Hi-Fi. Eastman-Rochester Symphony Or- 
chestra conducted by Howard Hanson. 1-12" disc 
(*ME-MG-50134) $3.98. 

Current Market Price: $3.19. 

CONTENTS : Mexican Rhapsody (McBride ) ; 
Savannah River Holiday (Nelson); Kentucky Moun- 
tain Portraits (Mitchell); Joe CUr\ Steps Out (Var- 
Not too long ago your reviewer suggested that a 

recording of the Enigma Variations by Steinberg and 
the Pittsburghers would be the best to be had, judg- 
ing from a live performance heard a couple of years 
ago. Well, here it is, and the beauty of this reading 
is unique among recordings of the Enigma, There is 
less overpowering percussion here than usual, and 
there is no organ at the end; but every minute of music 
is a model of clarity, balance, and sheer poetry. Stein- 
berg outperforms even the best of the British con- 
ductors who have committed the work to discs. The 
attention to detail, the care in orchestral timbres and 
balancing would take several columns to chronicle. 
The playing of the Pittsburgh Orchestra leaves no 
doubt of its proficiency in this peerless performance. 
The woodwinds are exceptional, and the flexibility 
and accuracy of the strings is hardly to be exceeded. 
Anyone who likes Enigma should not miss hearing 
this reading of the work, and anyone who thinks he 
does not like the music should give it another try 
with this one. This is unquestionably the best of the 
lot and will probably remain so for another genera- 
tion. To hear Steinberg and the orchestra, aided by 
Capitol's good recording balance, bring line and pro- 
file to the Finale of this work is easily worth the price 
of the disc. 

Mercury's Fiesta in Hi'Fi is surely the loudest, most 
brilliant recording we ever heard. It is recorded at a 
very high level, very sharp and edgy, with startlingly 
realistic percussion effects. D-espite all of this, it is a 
mighty good sounding disc if kept at a reasonable 
level. The program is top-notch American writing, 
using American and Mexican themes, and the per- 
formances just crackle with spirit and style. As a hi-fi 
demonstration disc it is without parallel, and as good 
listening it can also be recommended. We -enjoyed all 
of the music and consider it a credit to American com- 
posers of orchestral music. E. E. SHUPP, JR. 
Chausson: Symphony in B-flat, Op. 20. L'Orchestre 
de la Societe des Concerts du Conservatoire de 
Paris conducted by Robert F. Densler. One and 
one-half sides, and Berlioz: Benvenuto Cellini Over- 
ture, Op. 23. L'Orchestre de la Suisse Romande 
conducted by Robert F. Denser. 1-12" disc (*L- 
LL4505) $3.98. 

Debussy; Danses Sacree et Profane. And Ravel: Intro- 
duction and Allegro in G-flat. Phia Berghout 
(harp) with the Chamber Music Society of Am- 
sterdam conducted by Eduard van Beinum. One 
side, and Debussy: Prelude a 1'Apres midi d'un 
faune. And Ravel: Alborado del Gracioso. L'Or- 
chestre de la Suisse Romande conducted by Ernest 
Ansermet. 1-12" disc (*L-LL-1552) $3.98. 
The Chausson Symphony in B fiat is being treated 
to the third good hi-fi version in a short time, with 
two previous versions by Fournet and Paray both 
being highly satisfactory. The present one brings back 
a conductor we hear from occasionally, Robert F. 
Densler a fine, sensitive artist. Densler and the ex- 
cellent Paris Conservatory Orchestra have a well- 
considered performance that lacks only a bit of the 

Indicates LP 83 1/8 ipm. 
Indicates 45 rpm. 







elan and unique quality that is Paray's own spark of 
genius. Paray and the Detroit Orchestra (*ME'MG' 
50108) provide more dash and suppleness and some' 
what more coloring. It is hard to criticize a perform.' 
ance as good as Denver's, but by comparison we must 
admit Paray has the edge. Denver's "filler*" is a sound 
reading of the Berlioz Benvenuto Cellini Overture. 
Reproduction of both works is good, being a trifle 
compressed in loud passages. 

London's record of four French classics brings also 
four exquisite performances of these works. Each 
work already has four or six HP's (except Faune, 
which has many), but the present offerings are far 
above routine and are indeed welcome. Van Beinum 
proves to be a sensitive interpreter of the delicate 
works featuring the harp, and these ravishing readings 
are nicely recorded and not overly big and loud, yet 
very clear and detailed. Ansermet, of course, is good 
in everything, particularly in delicate coloring and 
adjustments. His "Afternoon of a Faun" is controlled 
but not lacking in a necessarily sensuous quality. An' 
sermet does not provide the splash some conductors 
churn up, but the etching is much finer and neater, 
and the Faun is more mannerly and controlled. Anser' 
met also does neat work with the rather delicate 
Alborado del Gracioso, showing complete control of 
all the tricky rhythmic patterns. E. E. SHUPP, JR. 

Dvorak: Symphony No. 2 in D minor, Op. 70. 

Vienna Philharmonic Orchestra conducted by 

Rafael Kubelik. M2" disc (*L'LL-1606) $3.98. 
Dvorak: Symphony No. 5 in E minor, Op. 95 ("From 

the New World") . Vienna Philharmonic Orchestra 

conducted by Rafael Kubelik. 1-1 2" disc (*L-LL- 

1607) $3.98. 

Annotator Alec Robertson reminds us again of the 
wrong numbering system used in the Dvorak sym' 
phonies (wrong numbering seems rather prevalent in 
the musical world and will probably be corrected when 
we get around to phonetic spelling in the English 
language). Thus we are told Dvorak wrote nine sym' 
phonies; the present work known as HO. 2 was actu' 
ally No. 7 and the "New World" was actually No. 9. 

Kubelik delivers a splendid reading of the T^o. 2 
(back to traditional numbering for the rest of our 
essay), and the Vienna Philharmonic responds beau- 
tifully. The Scherbo of this symphony is a prise and is 
delightfully set forth. Kubelik's reading tends to give 
this work a fine, noble stature. !No. 2 is the least na' 
tionalistic of the Dvorak symphonies and Kubelik 
plays it for the cosmopolitan work that it is. Above 
all, he does not overplay it, and yet it emerges as a 
work we feel deserves more such good reading. We 
would say this is the best Ho. 2 available and, being 
well recorded, is certainly recommended. 

The very qualities which tend to make the Kubelik 
reading of !N[o. 2 so great seem to militate against the 
Tsjo. 5. The "New World" is a thrice familiar work 
which is sometimes difficult to appraise in perform.' 
ance unless that performance is new, different, freshly 
slanted, or something to add 2;est to tired ears. It is 

therefore unfair to criticise the present Kubelik effort, 
for it must be admitted that here we have a magnifi' 
cent statement of the work in matters of accuracy, 
orchestral performance, and faithfulness to the intent 
of the score. It is carefully and logically worked out, 
with ideal balances and fine finish. What it may lack, 
for some tastes, is drive and dash. It is not theatrical; 
however, we found on a second hearing that it has 
enduring qualities that are admirable rather than hair' 
raising. If you want more rhetoric in your reading of 
this work, there are several such IP's available. 


Wagner: Die Gotterdammerung Dawn; Siegfried's 

Rhine Journey; Siegfried's Funeral March. One 

side, and Wagner: Die Meistersinger Prelude 

(Act I). And Wagner: Siegfried Idyll. Vienna 

Philharmonic Orchestra conducted by Hans Knap' 

pertsbusch. M2" disc (*L-LL-1586) $3.98. 

When we note a new LP of Wagner's orchestral 

music, we lick our chops, because we like all of it 

and are prone to give good reviews to most any such 

disc that comes down the pike. However, the feature 

of this disc to us is the Gotterddmmerung music, all 

of which is duplicated on Shell's great record (*EPIG 

LC'3321, TNR Feb. '57) ; and we must say the Shell's 

is to be preferred, not only performance'wise, but for 

pairings as well. 

Elgar: Wand of Youth Suites Nos. 1 and 2, Op. 1. 

London Philharmonic Orchestra conducted by 
Eduard van Beinum. 1-12" disc (*L-LL-1587) 

Grieg: Peer Gynt Suites Nos. 1 and 2. One and one' 
half sides, and Grieg: (4) Norwegian Dances. Phil' 
harmonia Orchestra conducted by Walter Susskind. 
1-12" disc (*ANG-35425TP) $3.48. 1-12" factory- 
sealed disc (*ANG-35425) $4.98. 
Debussy arr. Caplet: Children's Corner Suite. One 
side, and Debussy: Petite Suite. And Bizet: Scenes 
bohemiennes. L'Orchestre des Concerts Lamoureux 
conducted by Jean Fournet. 1'12" disc (*EPIC 
LG-3288) $3.98. 

Charpentier: Impressions d'ltalie. L'Orchestre de la 
Societe des Concerts du Conservatoire de Paris 
conducted by Albert Wolff. 1-U" disc (*L-LL- 
1511) $3.98. 

Elgar's Wand of Youth Suites date from the time 
when he was fourteen and were supposed to show 
that children are never correctly understood. Whether 
or not he succeeds in this specific purpose remains for 
the listener to decide. The point is that he has written 
sensitively of scenes of childhood which are finely 
reproduced on this London LP. His approach is quite 
frequently that of Schumann's Kinderscenen. This is, 
then, a beautiful recording quite excellently done. 

The fourteenth recording of Grieg's Peer Gynt 
Suites are quite unnecessary, to say the least. The 
saving grace of this record is the fact that Walter 
Susskind and the wonderful Philharmonia Orchestra 



* indicates "LP $3 1/3 rpm. 
indicates 45 rpm. 





have given them sensitive interpretations, and Angel's 
engineers have not failed us with regard to sound. 
In addition, there are included in this collection four 
Norwegian dances. Considering the amount and 
quality of music here, this is a good buy. 

The Debussy Children's Corner Suite already has 
several orchestral versions on discs, not to mention 
those featuring piano only. Although Gieseking's 
piano interpretation on Angel is enough to make this 
reviewer eternally happy, the orchestral version pre' 
sented here is worth hearing. The Petite Suite is also 
given a good reading along with Bizet's Scenes bo' 
hemiennes. Jean Fournet conducts a suitably Gallic 
interpretation of these three works. 

Charpentier's Impressions d'ltalie will never be con' 
sidered in the same breath with Beethoven's Xlinth, 
but the work does offer a rather imaginative picture 
of the composer's design. After a long, hard day at 
the office, a work of this sort is especially nice for pre' 
dinner relaxing and really has a great deal to offer. 
Not only is it smooth, but also it is moving in parts. 
Albert Wolff and the Paris Conservatory Orchestra 
have done a slick job of presenting these Italian 
impressions. P. 

Tchaikovsky: Symphony No. 3 in D, Op. 29 

("Polish"). London Philharmonic Orchestra con' 

ducted by Sir Adrian Boult. I'll" disc (*L-LL' 

1442) $3.98. 
Brahms: Symphony No. 1 in C minor, Op. 68. Vienna 

Philharmonic Orchestra conducted by Josef Krips. 

M2" disc (*L'LL-1608) $3.98. 

The Tchaikovsky Third Symphony ("Polish") is 
not recognizably Polish at all, not even in the fifth 
movement, Tempo di polacca, from which the work 
derives its name. And unfortunately the symphony is 
not Russian, as are all the other Tchaikovsky sym/ 
phonies, for in this work Tchaikovsky tried to aban' 
don Russian folksong melodies and Russian flavor in 
an attempt to "go Western" and imitate a more or 
less Germanic symphonic style. The result was not 
successful and to this day the Third is his least popu- 
lar work, as attested by the fact that this is the only 
hi'fi LP in the catalogs (two other entries are neg' 
ligible examples at this time). Whether Boult is sue' 
cessful in producing an idiomatic Third we are hard 
put to say, for the work does not appeal to us, and 
Boult does not make a convincing case of it. He does 
not overplay it; in fact, the performance sounds very 
foursquare and straight, and the playing and repro' 
duction are both fine. We might recommend the per" 
formance, but not the music for sheer listening 

As an example of two conductors doing things 
differently, listen to the present disc of Krips and 
the renowned Vienna Philharmonic and then hear 
Steinberg and the Pittsburgh Orchestra. Krips plods 
and grinds through the work, while Steinberg shows 
evidence of having real knowledge and an ability to 
transmit it. Krips reading of the Brahms First is about 
as dry and uninteresting as any we have ever heard; 

nearly any other LP of it is better. The reproduction 
is good, except for too much closeness of the wood-- 
winds the third movement proves the fallacy of this 
for the perspective is lacking and the balance is bad. 
Kubelik, Markevitch, Ormandy, Steinberg, Walter, 
and a few others are a far better choice than Krips 
for a Brahms First. For that matter, so is London's 
earlier edition by Van Beinum! It is interesting to 
compare KripS'Vienna, and Steinberg'Pittsburgh, and 
hear the latter outplay the former. When Krips finally 
wakes up about half way through the finale, the 
orchestra nearly runs away with the music and the 
playing lacks edge and definition. Steinberg hit the 
right tempo in the first place and stuck to it, and the 
Pittsburghers play with admirable finish and ensemble. 
These two make an interesting comparison for anyone 
who cares to take the time to compare them; and we 
found a glowing satisfaction in knowing that Pitts' 
burgh can outplay Vienna. E. E. SHUPP, JR. 

The Orchestra in Full Dimensional Sound. Leopold 
Stokowski and his Symphony Orchestra. 1*1 2" disc 
(*CL-SAL-8385) $6.75. 

CONTENTS: L<t Peri Fanfare (Dukas); Adagio 
for Strings (Barber) ; Suite in B'flat, Op. 4 Gavotte 
(Strauss); Evolution Section I (Farberman); Sym* 
phony >fo. 8 in D minor Scherbo alia Marcia 
(Vaughan Williams); Divertimento for Band 
March (Persichetti) ; Symphony KO. 4 in F minor 
Scherbo (Tchaikovsky); Pictures at an Exhibition 
Hut on Fowl's Legs & The Great Gate of Kiev (Mous' 
sorgsky arr. Ravel). 

Prokofiev: Romeo and Juliet (excerpts from Suites 
Nos. 1, 2 & 3). NBC Symphony Orchestra con' 
ducted by Leopold Stokowski. One side, and 
Schonberg: Verklarte Nacht, Op. 4. Leopold StO' 
kowski and his Symphony Orchestra. 142" disc 
(*V'LM-2117) $3.98. 

Sibelius: Symphony No. 2 in D, Op. 43. NBC Sym- 
phony Orchestra conducted by Leopold Stokowski. 
M2" disc (*V-LM-1854) $3.98. (TNR Apr. '55). 
Whenever Maestro Stokowski appears on the re* 
cording scene, most of the normal evaluative criteria 
must be suspended. Partisan feeling for the perform^ 
ances of this unique conductor is generally very 
intense: either he can do no wrong, or quite the op' 
posite- his every interpretation is condemned. Choos' 
ing no side in this fracas, we are only obliged to say 
that even when we do not agree with his interpreta* 
tions, we find them continuously exciting and inter* 
esting to hear. 

The Capitol disc marks an impressive debut for 
Stokowski on that label. It is a moot point whether 
anyone will wish to pay $6.75 for a record that hasn't 
a complete anything on it. But on the other hand, this 
is a new approach to the "Sampler" gimmick: with 
the selections presented, the orchestra is first heard in 
each of its distinct divisions, then on the second side 
the sections are added one by one until the complete 
orchestra is heard. The selections are aptly chosen: 

* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 






R cords 


The Dukas introduces the brass; Barber's Adagio, the 
strings. All the customary excesses with regard to 
tempo that we have come to expect of Stokowski are 
here: the Tchaikovsky Scherzo is agonisingly slow. 
The final selections from Pictures, however, makes 
this writer want to hear the whole thing from this 
conductor and orchestra. 

A word should be mentioned about the booklet 
accompanying this album. Here are 24 pages devoted 
to an interesting essay on the orchestra, handsomely 
augmented with photos and stunning art work. This is 
a premium disc in every way, and we anxiously await 
further releases by Stoky on the Capitol label. 

The Victor discs offer rich interpretations of sev- 
eral modern composers, emphasising the romantic 
elements in each. The most successful effort is prob- 
ably the Prokofiev, a selection from all three of the 
composer's suites from his Romeo and Juliet. Ever 
since we heard the Schonberg in the original string 
sextet version (*CL-P-8304), we have felt that the 
orchestral arrangement tends to obscure the beauties 
of its design. Suffice to say that Stokowski gives us 
here a rich and resonant interpretation. The Sibelius 
disc is not a new recording, just a new jacket cover. 
AH the observations made by "S" in TNR April '55 
still hold true for us. Pure and undefiled Sibelius 
lovers will raise their hands in horror; we thought it 
was magnificent. N. 

Berlioz: Symphonic Fantastiquc, Op. 14. Philhar' 
monic'Symphony Orchestra of New York con' 
ducted by Dimitri Mitropoulos. 1*12" disc (*O 
ML-5188) $3.98. 

Current Market Price: #2.98. 

One was not really quite prepared for this one! This 
work being a particular favorite of ours and Doratf s 
superb performance on Mercury (*ME-MG-50034, 
TNR Dec. '54) being our choice by a wide margin 
over all succeeding versions of it, we were all set to 
place Mitropoulos 1 disc with "the others."" This usu- 
ally mannered conductor has come up with a gem or 
two on discs, but generally we have thought his re' 
corded performances routine; and the Symphonic 
Fantastique just won't take routine treatment. (Hear, 
for example, Markevitch on *D-DL-9783, TNR Feb. 
'56, to discover what a ''"routine" performance sounds 

Sparing us the "musical flag waving" of Munch 
(*V-LM-1900, TNR Oct. '55) and the distorted 
tempi of von Karajan (*ANG-35202, TNR July '55 ), 
Maestro Mitropoulos keeps the rhythms steady, lets 
the music speak for itself (which it can certainly do), 
yet the whole performance is obviously inspired. 
Mitropoulos has reached, on the present LP, the 
heights he attained with his recording of the Shosta- 
kovich Fifth (*OML-4739, TNR Dec. '53). 

Doratf s recording is still a peach, and we will not 
say that Mitropoulos has eclipsed it in any way (save, 
possibly, that of reproduction, though Mercury's was 
certainly ahead of its time and still sounds great to our 

ears) ; it is just that we were surprised to hear such a 
worthy effort when we didn't expect it. It's doubly 
nice to be able to report that the present LP happens 
also to be Columbia's classical "Buy of the Month" 
for September. J. 

Elgar: Serenade in E minor, Op. 20. And Dvorak: 
Nocturne in B, Op. 40. One side, and Brahms: 
Liebeslieder Waltzes, Op. 52. And Grieg: In the 
Popular Style, Op. 63, No. 1. Boyd Neel Orches' 
tra conducted by Gedric Dumont. 1-1 2" disc 
(*EPIC LO3350) $3.98. 

The principal works on this Epic LP are, of course, 
the Elgar Serenade and the Brahms Liebeslieder 
Waltzes, the Dvorak and Grieg pieces being fillers 
for sides 1 and 2, respectively, Beecham (TNR Sept. 
'55) has a better recording of the Serenade and has 
the advantage of having more logical (Elgar) cou- 
plings. The Liebeslieder Waltzes were meant to be 
sung really vocal chamber music; the present LP is 
the only one now in the catalogs which is not so. 
While it is well done, we must state our preference 
for the original. 

Respighi: The Fountains of Rome. One side, and 
Respighi: Brazilian Impressions. Philharmonia Or- 
chestra conducted by Alceo Galliera. 14 2" disc 
(*ANG-35405TP) $3.48. 1-12" factory-sealed 
disc (*ANG-35405) $4.98. 

There are already three very fine readings of the 
Fountains of Rome in the catalogs (Toscanini, Dorati 
and Quadri), each backed by the Pines of Rome. 
Here's another excellent one, this time with Brazilian 
Impressions on the reverse. We rather prefer the 
coupling of the Pines and the Fountains, but if you 
wish the best recording of Brazilian Impressions pres- 
ently available, here it is. 

Music of Johann Strauss. Minneapolis Symphony 
Orchestra conducted by Antal Dorati. 142" disc 
(*ME-MG-50131) $3.98. 

Current Market Price: #3.19. 

CONTENTS: Voices of Spring; Vienna Bon-Bons; 
Champagne Polka; Artist's Life; Roses from the 

Two Hearts in % Time. John Hendrik and Marcel 
Wittnsch (tenors) with Robert Stohj and his Con- 
cert Orchestra or the Vienna Symphony Orchestra 
conducted by Robert Stols. 1-12" disc (*L-LL- 
1555) $3.98. 

It's been nearly four years since Antal Doratf s first 
Strauss LP was released (*ME-MG-50019, TNR 
September '53), yet it continues to sell well today. 
Though most manufacturers of LP discs are now issu- 
ing really hi-fi records, at the time they were first 
issued the startling fidelity of the Mercury Olympian 
series made them the talk of the trade. The present 
disc continues this great tradition. 

Whoever buys London's disc featuring Robert 
Stols buys a real pig in a poke. Not one word on the 
Jacket describes the contents of this record. No men- 



* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 


The ISiew Records 


tion is made that Marcel Wittrisch sings two arias, 
nor that John Hendrik sings two others. The contents 
are not given. On the label one can learn the fore' 
going, but the sources of the arias and other numbers 
are not listed. The music is all pleasant enough, and if 
you like the music of Robert Stols (though not all of 
it is by Stols again a fact kept out of the jacket 
notes) youll like this disc; it's the sort of item one 
needn't understand to appreciate which is lucky. 

Operatic Highlights for Orchestra. Orchestra of the 

Maggio Musicale Fiorentino conducted by Gianan" 

drea Gavaweni. 1-12" disc (*L'LL4600) $3.98. 

CONTENTS: Le Maschere Overture, and Gug' 

lielmo Ratcliff Intermezzo (Mascagni); Suor Ange* 

lica Intermezzo (Puccini) ; La Wally Prelude (Act 

IV) (Catalani); II Signer Bruschino Overture (Ros' 

sini); Luisa Miller Overture (Verdi); T^orma Ov 

erture (Bellini); Linda di Chamounix Overture 


Gluck: Alceste Overture. And Schumann: Manfred 
Overture, Op. 115. L'Orchestre de la Suisse Ro' 
mande conducted by Karl Munchinger. One side, 
and Handel: Alcina Overture. And Handel: 
Berenice Overture. Boyd Neel Orchestra con' 
ducted by Boyd Neel. 142" disc (*L-LL-1551) 

Suppe: (6) Overtures. Philharmonia Promenade Or- 
chestra conducted by Henry Krips. 1-12"" disc 
(*ANG-35427TP) $3.48. 1-12" factory-sealed 
disc (*ANG-35427) $4.98. 

CONTENTS: Light Cavalry; Poet and, Peasant; 
Morning, 7s[oon and "Night in Vienna; Pique Dame; 
Tantalusqualen; Die Irrfahrt ins Gluc\. 

The first disc listed above features mostly unfami' 
liar music; and even that which is familiar is not often 
heard on discs. Nicely played with terrific reproduc- 
tion. . . . The Gluck-Schumann^Handel disc features 
reissues from some earlier London 10-inch discs. 
The Schumann seems just a trifle out of place here, 
but considering each work separately, you couldn't 
ask for better performances. . . . Suppe wrote up' 
wards of 200 stage works, but nowadays he survives 
largely in his overtures; capital performances with 
Angel's very best reproduction. 

Liadov: (8) Russian Folk Songs, Op. 58. And Bala- 
kirev: Islamey. One side, and Liadov: Kiki Mora, 
Op. 63. And Liadov: The Enchanted Lake, Op. 62. 
And Liadov: Baba Yaga, Op. 56. Bamberg Sym' 
phony conducted by JonelPerlea. 142" disc (*VX" 
PL-10280) $4.98. 

Save for The Enchanted La\e and the Balakirev 
work, this disc duplicates Ansermet's disc (*L'L]> 
1068, TNR Apr. '55); Ansermet includes Tamar 
instead of Islamey, and we prefer Tamar, anyway. 
Our nod would go to Ansermet even if the prices 
were equal; since London LP's are $1 cheaper than 
Vox discs, Ansermet's record is a clear first choice. 

Ellis in Wonderland. Ray Ellis and his Orchestra. 
M2" disc (*C-CL-993) $3.98. 

Current Market Price: $2.98. 

CONTENTS : Ton Are J<[ever Far Away from Me; 
How About You?; For All We Know; When I Fall 
in Love; 36'26'36; Alone Together; Mil\ and Honey; 
P. S., I Love You; Loue Is a Simple Thing; You're M;y 
Girl; Poor Butterfly; Trust in Me. 

Ray Ellis is primarily an arranger, and on this disc 
he was permitted to give his talents full rein, resulting 
in some unusual (but not weird) presentations of sev- 
eral old favorites plus a few new ones, including two 
Ellis originals. We don't know why Mr. Ellis chose 
the title " 3 6'26- 3 6" for one of his numbers; a more 
sensational title might have been "39-23'38." Anyway, 
this is the Columbia popular "Buy of the Month" for 

Grieg: Lyric Suite. One side, and Dvorak: (6) Sla- 
vonic Dances, Op. 72. Philharmonia Orchestra con' 
ducted by Nikolai Malko. M2" disc (*V-LM- 
2107) $3.98. 

Only last month we praised Nikolai Malko's in- 
terpretation of Dvorak's Slavonic Dances, Op. 46. 
This month he gives us Nos. 11 through 16 from Op. 
72, performed with equal elan, coupled with the mel- 
odious Lyric Suite of Edvard Grieg. 


Tchaikovsky: Concerto in D, Op. 35. Alfredo Cam- 
poli (violin) with the London Symphony Orches' 
tra conducted by Ataulfo Argenta. 1*12" disc 
(*L-LL'1647) $3.98. 

Virtuoso Program. Alfredo Campoli (violin) with 
the London Symphony Orchestra conducted by 
(1) Anatole Fistoulari or (2) Pierino Gamba. 1-12" 
disc (*L-LL-1625) $3.98. 

CONTENTS : Introduction and Rondo Capriccioso 
(SamfSaens) (1); Havanaise for Violin and Orches* 
tra (Saint Saens) (1); Zigeunerweisen (Sarasate) 
(2); Legende for Violin and Orchestra (Wieniaw 
ski) (2). 

Campoli, born in Rome, came to live at an early 
age in England. He is, today, the crown prince of 
violinists in that country, and they consider him one 
of the world's greatest. Judging from his picture, he 
looks like a mighty nice chap, and there is no doubt 
he is a virtuoso fiddler of no mean ability. Despite all 
of this, we have never been too fond of Campoli's 
records, and think there are a slew of violinists who 
can out'fiddle him. His tone tends toward the Elman' 
esque mushy-plushy type, though fortunately more 
accurate in pitch. 

After hearing the above pair of discs through for a 
second time, we admit beginning to come under the 
sp-ell of Campoli and think this pair is about the best 
Campoli we ever heard aided by reproduction of 
crystal clarity and notably good balance. We preferred 

* Indicates LP 83 1/3 rpm. 
Indicates 45 rpm. 




The New Records 


the program of four violin favorites to the concerto, 
not for the music, but for what Campoli does with the 
music. The four virtuoso violin pieces are given viiv 
tuoso performances, to be sure; but they are not man' 
handled too badly. Too often this type of music is 
mangled for the sake of extreme virtuosity, and it is to 
Campolf s credit that he plays these pieces with decent 
musicianship and sensitivity as well as biasing tech' 
nique. The accompanists keep the orchestral portions 
at the same level of proficiency. These four works are 
fine, meaty, welMoved staples that are nice to have on 
one disc. 

We will not deny that Campoli, with splendid ac' 
companiment from Argenta, may appeal to some as 
the best of the Tchaikovsky concerto recordings. 
Francescatti, Milstein, Oistrakh and a few others are 
in the preferred list with us; but C'ampolf s smooth 
performance at a bit lower voltage than the others, is 
admittedly not without appeal. One thing is certain: 
the reproduction is elegant. E. E. SHUPP, JR. 

Mozart: Concerto No. 17 in G, K. 453. One side, and 
Mozart: Concerto No. 25 in C, K. 503. Denis 

Matthews (piano) with the London Mosart Players 
conducted by Harry Blech. M2" disc (*CL-P- 
18048) $3.98. 

Haydn: Concerto in D. One side, and Bach: Concerto 
in D minor. Concert Arts Chamber Orchestra con' 
ducted by Sylvia Marlowe (harpsichord). 1'12" 
disc (*CL'P-8375) $3.98. 

After several competent performances of these 
Mosart Concertos, the two represented here are 
slightly superfluous, Although they are what one 
would refer to as "good," they do not equal the 
interpretations given them by Serkin, in both Con- 
certos, or Gieseking in ^o. 25. Good sound and 
feeling are evident in the work of Denis Matthews and 
the Mozart Players, but they do not evince the overt 
emotions of Serkin or the subtleties of Gieseking. 

Sylvia Marlowe plays the harpsichord as though 
she were strumming a mandolin, and the result is 
not exactly excellent. Had she more feeling, finesse, 
and determination to give a clean-cut and definitive 
picture of what she is trying to do, this would, per' 
haps, have been a marvelous recording, for the support 
given her here is inspired. Although Bach may be 
considered as mathematically perfect, his music de' 
mands slightly more than a clear perspective of the 
slide rule. The orchestra performs beautifully in the 
Haydn Concerto as well as the Bach. It is only Miss 
Marlowe who falls short, in that she considers playing 
the notes enough, P. 

Vivaldi: II Cimento dell* Armonia e dell' Invenzione, 

Op. 8 Le Quattro Stagione, Nos. 1-4 ("The Four 
Seasons"). Tino Bacchetta (violin) with FEn' 
semble Instrumental Sinfonia conducted by Jan 
Witold. M2" disc (*I/TWV-91157) $4.98. 
Here's another of those London International LP^s 
with the jacket notes all in French. Although most 

collectors are familiar with the famous The Four Sea* 
sons of Vivaldi, there might be some who are not 
who'd like notes to read about the work. There's no 
excuse for this sort of thing: even granting that 
many persons can read French and that nearly every 
one who's had a little high school French could make 
something out of these notes, we think there' d be 
little argument from any quarter that records intended 
for the American market should have notes in English. 
In the present case it doesn't make too much dif' 
ference, because this London LP does not come up to 
Epic's magnificent recording of The Pour Seasons 
(*EPIC LO3216, TNR Aug. '56); unless you would 
wish to own (as we would) the complete II Cimento 
(*VX'DL-173 S TNR Jan. '56), the Epic disc is to be 

Bach: Concerto in C for Three Harpsichords and 

String Orchestra, BWV. 1064. One side, and Bach: 

Concerto in A minor for Four Harpsichords and 

String Orchestra, BWV. 1065. Karl Richter, Eduard 

Muller, Gerhard Aeschbacher (and Heinrich 

Gurtner) (harpsichords) with the Ensemble of the 

Ansbach Bach Festival conducted by Karl Richter. 

142" disc (*L-LL-1446) $3.98. 

Although there are other similar couplings of these 

two concertos, and two of them also contain the 

Concerto in D minor for Three Harpsichord (*DT- 

DTL-93053, TNR Sept. '56, and *VX'PL-8670), 

we think you'll find the present readings as satis' 

fying as any of the others. 

Beethoven: Concerto No. 5 in E-flat, Op. 73 ("Em' 
peror"). Solomon (piano) with the Philharmonia 
Orchestra conducted by Herbert Menges. 1'12" 
disc (*V'LM-2108) $3.98. 

Grieg: Concerto in A minor, Op. 16. One side, and 
Mendelssohn: Concerto No. 1 in G minor, Op. 25. 
Ania Dorfmann (piano) with the Robin Hood 
Dell Orchestra conducted by Erich Leinsdorf. 1-12" 
disc (*V-LM-2102) $3.98. 

Schumann: Concerto in A minor, Op. 54, One side, 

and Weber: Konzertstiick in F minor, Op. 79. 

Friedrich Gulda (piano) with the Vienna Phil' 

harmonic Orchestra conducted by Volkmar 

Andreae. 1-12" disc (*L-IX-1589) $3.98. 

Herewith is the fifteenth "Emperor" to enter the 

sweepstakes. Victor has accorded pianist Solomon 

superlative reproduction, and the orchestral backing 

is completely adequate. The reading of the work is 

less grandiose than some. The Serkin'Ormandy ver' 

sion remains our favorite. 

The Dorfmann disc comes as a surprise. The 
Robin Hood Dell Orchestra is, of course, the Phik' 
delphia, using a mandatory nowdu'Victor label. The 
honors for the Grieg Concerto seem to fall to the 
ladies, and we would put the present version right 
up in the same class with the Novaes reading on 
Vox (*VX-PL'8520). Leinsdorf do-es his custom' 
arily excellent job of accompaniment. The overside 



* Indicates LP 33 1/3 rpm. 
indicates 45 rpm. 






Mendelssohn is equally well performed. 

With legions of recordings of the Schumann 
Concerto to choose from, we would carp at this one 
merely because the performance carries over to the 
second side. The interruption comes at the ritard 
six measures before the beginning of the third move' 
ment. It gave us that old "up-in-the-air" feeling that 
we hadn't experienced since we stopped playing 
Koussevitssky's Tchaikovsky's Fifth on 78's. Nothing 
about the performance is of merit to warrant having 
a break of the type that LP made unnecessary. The 
Weber is a satisfactory reading. N. 

Rachmaninoff: Concerto No. 3 in D minor, Op. 30. 

Sergei Rachmaninoff (piano) with the Philadel- 

phia Orchestra conducted by Eugene Ormandy. 

M2" disc (*V-LM-2051) $3.98. (TNRDec. '40). 

At the outset we must report that this is a great 
performance of Rachmaninoff's Third Concerto 
the greatest it is ever likely to receive. Since this 
is hardly news to anyone, we make the statement 
only for the record; we much prefer all of Rach- 
maninofPs own recordings of his own concert! 
(available in *V-LM-6123) to any others as per- 

But one notes that, although the already men' 
tioned *V-LM-6123 is currently available, contain- 
ing Rachmaninoff's interpretations of all four of his 
concert!, the previously issued single IP's of Nos. 1, 
2 and 4 (*V-LCT-1118, *V-LCT-1014 6f *V-LCT- 
1019 respectively) have been, or are about to be, 
withdrawn from the catalog. We can only presume 
that a number is deleted when its sales fail to make 
it worth keeping it in the catalog. Why, then, this 
belated issuance of No. 3? (It may be that RCA 
Victor intends to make Nos. 1, 2 and 4 available 
in its "Vault Treasure" series, but no announcement 
of this fact has been made at this writing). Another 
question pops up: why is this not on the Camden 
label? If the great performance of Beethoven's 
Seventh by Toscanini (TNR May '57) is worth 
only $1.98, why is this worth more? 

We have no ready answers to these questions and 
can report only that the present LP is now available. 
Its reproduction is, naturally, far below today's 
standards; if you wish up-to-date reproduction, 
choose the Gilels-Cluytens disc (*ANG-35230, TNR 
Jan. '56). J. 


Italian Chamber Music. Niels Brincker (tenor) with 
members of the Societas Musica Orchestra of 
Copenhagen. M2" disc (*BG-BG-566) $4.98. 
CONTENTS: Trio Sonata in A, Op. 1, 7v[o. 3 
(Albinoni); Cantata for Tenor: "Ombre, Voi che 
Celate" (Stradella); Sonata, in E minor, Op. 2, 7s[o. 
9 (Vivaldi); Sonata in F and Cantata for Tenor: 
"Pensien" (A. Scarlatti); Concerto for Strings in 
D minor, Op. 6, 7s[o. 10 (Torelli). 

The scholarly notes of Dr. Joseph Braunstein on 

the jacket of this Bach Guild LP make mention of 
the fact that, were it not for the great popularity of 
the LP record, probably very little of the music of 
the composers whose works appear on this disc 
would ever be available in recorded form to the 
general public. And great would be the pity, for 
here is a perfectly delightful concert of baroque 
Italian chamber works, featuring the sonata, the 
concerto, and the cantata. 

The only composer brand new to us on this record 
is Alessandro Stradella (c.1645-1682), whose am' 
orous adventures have been told in an opera by 
Flotow and in a novel by Marion Crawford. Dr. 
Braunstein, after relating how Stradella eloped with 
the mistress of a Venetian nobleman, narrowly es- 
caped death twice at the hands of the enraged 
Venetian's hired assassins, and was eventually caused 
to be murdered by a jealous actress, regrets the 
composer's early demise; Dr. Braunstein evidently 
forgets that who lives by the sword dies by the 
sword, and who causes an actress to become jealous 
does so at his peril. The passionate plea to his 
mistress, related by the Cantata "Ombre, Voi che 
Celate," may safely be assumed to be typical of this 
little-known composer's output. 

Albinoni (1671-1750), Vivaldi, Alessandro Scar- 
latti and Torelli will surely be more or less known 
to admirers of the Italian baroque period; such ad- 
mirers will certainly wish to investigate this lovely 
disc. J. 

Back: Sonata in G minor for Oboe and Harpsichord. 
And Hindcmith: Sonata for English Horn and 
Piano. One side, and Hindemith: Sonata for Oboe 
and Piano. And Dutilleux: Sonata for Oboe and 
Piano. Berkshire Woodwind Ensemble. 1-12" disc 
(*UNI-UNLP-1028) $3.98. 

There may be some question as to whether Bach 
actually wrote the present work; certainly he never 
wrote it for oboe and harpsichord. The autograph is 
missing on the original work (for violin and clavier). 
It will sound like youthful Bach to most persons, as it 
does to Albert Schweitzer. 

One will be surprised at how well the three modem 
works seem to fit with the older piece. This whole 
disc is delightful from start to finish. If you are look' 
ing for some chamber music for unusual combinations, 
we couldn't recommend a better record than the 
present one. 

Beethoven: Sonata No. 3 in E-flat, Op. 12, No. 3. 
One side, and Beethoven: Sonata No. 9 in A, Op. 

47 ("Kreutzer"). Anahid Ajemian (violin) and 
Maro Ajemian (piano). 1-12" disc (*MGM-E- 
3416) $3.98. 

We guess that the point of this record is to prove 
that the Ajemian team can play works of the old 
masters as well as those of contemporary composers. 
We have always associated them with such composers 
as Webern, Surinach, Hovhaness, and the like; here 

* indicates LP S3 1/8 nna, 
indicates 45 rpm. 




The ISfew Records 


they demonstrate that they are quite at home with 


Schubert: Rosamutide, Op. 26 (Incidental Music). 

Diana Eustrati (alto), Berlin Motet Choir and 

Berlin Philharmonic Orchestra conducted by Fritz 

Lehmann. Three sides, and Schubert: Magic Harp 

Overture. Berlin Philharmonic Orchestra con* 

ducted by Fritz Lehmann. And Schubert: Serenade, 

Op. 135. Diana Eustrati (alto), members of the 

Berlin Motet Choir and Michael Raucheisen 

(piano). And Schubert: Psalm XXIII, Op. 132. 

Berlin Motet Choir and Berlin Philharmonic Or' 

chestra conducted by Fritz Lehmann. 2' 12" discs 

in box (*D'DXB'144) $7.98. 

The present recording is the second to present the 

complete Incidental Music to Schubert's Rosamunde. 

All the familiar portions of this score are here: the 

typically Schubertian Entr'acte in B'flat is lovingly 

performed. The choral and solo passages however, 

would possibly explain why the work was never a 

resounding success. 

The final side of the set, which contains the 
Magic Harp Overture, also offers the Serenade, Op. 
135 and a setting of the twenty 'third psalm to a 
text in German by Moses Mendelssohn, the com' 
poser's grandfather. The Serenade is scored for con' 
tralto solo and four female voices with piano ac' 
companiment. The Psalm is the gem of the set, a 
gloriously luminous arrangement to a beautiful text. 
We hope these two short pieces eventually find pub' 
lication other than at the odd end of a twoTecord 
set. N. 

The Cadet Glee Club. The Cadet Glee Club of West 

Point directed by C. W. O. Frederic Boots, accom' 

panied by Sp3/c Charles Gigliotti (piano). 1'12" 

disc (*VX'VX-2539fl) $3.98. 

CONTENTS. The Corps (Harling); Song of the 

Vagabonds (Friml); Pilgrim's Songs (Tchaikovsky); 

Blac\ is the Color (trad. an*. Churchill) ; Ballad of 

Roger Toung (Loesser); Lord's Prayer (Malotte); 

Coney Island Babe and George Jones (by the Cadet 

Quartet); Hold 'Em, Joe (Thomas); Benny Havens, 

Oh! (O'Brien); America the Beautiful (Ward); 

Army Blue. 

We liked this disc. Not everyone will. It is not 
great, but it is fun. Anyone who has enjoyed a con' 
cert of the Cadet Glee Club, or who has ever been 
a member thereof, will wish a copy. The Corps tra' 
ditionally opens every West Point Glee Club concert, 
and Army Blue likewise closes each, as occurs on this 
record. The various numbers were recorded at three 
actual concerts (some may find the applause diV 
concerting), and include military, comic, folk and 
religious music a typical, if shortened, actual per' 
formance. What the Glee Club may lack in profes' 
sional polish it more than makes up for in spirit. 

Would a plea for equal time be in order? What 
about a recording of the Glee Club of the Naval 
Academy? And be sure to include Eternal Father, 
Strong to Save, Mr. Vox, if you do! 


Rosa Ponselle in Song. Rosa Ponselle (soprano) with 
piano accompaniment. 1'12" disc (*VXLM'2047) 

CONTENTS: Plaisir d'Amour (Martini); Jeune 
Fillette; Beau Soir, La Chevelure (Debussy); Bon- 
jour Suzon (Delibes) ; Carmen'Carmela; El Mirar de 
la Maja (Granados); La Partida (Alvarez); >{el cor 
piu non mi sento (Paisello); Star vicino (Rosa); A 
vucchella, Ideale, Marechiare, Could I (Tosti); Fa 
la nana bambin (Sadero). 

Songs of Italy. Beniamino Gigli (tenor) with orches' 
tral accompaniments. 1'12" disc (*V'LM'2095) 

CONTENTS: 7s[otte (To core (Companino); 
Ninna Joanna, >[inno Oh/ (Carlini); 'O pittore e 
tutto 'o munno (Angelo); Tutti i miei sogno 
(Sardi); Senzd te (Silveri); Valzer Campagnolo 
(Angelelli); Donnd. milema (Fedri); Canzione nos- 
talgica (Visco); Serenata amara (Gibilaro); Autunno 
(de Curtis); "Hotte sul mare (di Veroli); Rosi Rosi 
(de Luca). 

Golden Moments of Song. Jan Peerce (tenor) with 
orchestral accompaniments. M2" disc (*V'LM' 
2101) $3.98. 

CONTENTS: Mattinata (Leoncavallo); Torna a 
Surriento (de Curtis); O Sole Mio (di Capua); La 
Danza (Rossini); Valencia (Padilla); Ah! Sweet 
Mystery of Life (Herbert); Song of Songs (Moya); 
A Little Love, A Little Kiss (Silesu); I Love Thee 
(Grieg); Serenade (Romberg); For Tou Alone 
(Geehl); Because (d'Hardelot); O Promtse Me 
(Scott); Bless This House (Brahe); I Love Tou 
Truly (Bond); The Holy City (Adams). 

These three discs throw some curious light on 
RCA Victor's artist and repertoire department and 
leave unexplained what struck your humble servant 
as a curious aberration. 

First things first, however. Rosa Ponselle does a 
knowing and artistic job with the songs selected for 
her recital. She is more at home, to be sure, in the 
Italian field the Tosti songs are beautifully done, 
and her Plaisir d'Amour recalls that of Maggie 
Teyte, while Paisiello^s J^el cor piu non me sento 
falls ravishingly on the ear. Miss Ponselle is ob' 
viously enjoying herself in this disc and, artist that 
she is, enables the listener to do the same. A 
magnificent record not so much for the music, 
which is often trifling (but never cheap or bad), but 
because of the singer's art. 

Beniamino Gigli has himself a field day in this 
collection of modern (or semi'modern) Italian popu' 
lar (or semi'popular) songs. Musically the disc offers 



* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 





little or nothing, but suck is Gigh's magnetism that 
one is sure the Italian contingent will eat it up. The 
voice sounds amazingly opulent, and the singer is 
aided by expert microphone placement, good or" 
chestral support and superior recording. This is, by 
far, a more successful recording than the "farewell" 
concert disc made at Canegie Hall on *V'LM'1972 

Now for the curious disc by Jan Peerce. Readers 
of these columns know that we are an outspoken ad" 
mirer of Mr. Peerce, but what on earth ever pos" 
sessed RCA Victor to issue or Jan Peerce to ap" 
prove the record at hand is difficult to understand. To 
begin with (and this may very well be the crux of 
the entire situation), the recorded sound is very poor 
and it is significant that RCA does not identify 
it as "New Orthophonic Recording" but neither 
does it offer any explanation as to why the poor 
sound. In addition, Mr. Peerce does not seem to 
"have it," as the saying goes, and at times ('The 
Holy City, Torna a, Suriento and O Sole Mio) it is 
almost painful. In the tripe department (O Promise 
Me, A Little Love, a Little Kiss, Serenade etc.) he 
is a little better, but really. . . . 

Mozart Songs: Rita Streich (soprano) accompanied 

by Erik Werba (piano). 142" disc (*D-DL-9915) 


CONTENTS: Das Veilchen, K. 476; Die Zufried- 
enheit, K. 473; An Chloe, K. 524; Das Lied der 
Trennung, K. 519; Die tyeine Spinnerin, K. 531; 
Geheime Liebe, K. 150; Wie ungluc\lich bin ich nit, 
K. 147; Der Zauberer, K. 472; Sehnsucht nach dem 
Fruhlinge, K. 596; Un moto di gioia, K. 579; Oiseaux, 
si tons les ans, K, 307; Dans un bois solitaire, K. 
308; Ridente la calma, K. IS 2; Das Kindewpiel, K. 
598; Abendempfindung, K. 523; An die Ein$am\eit, 
K. 391; Die Verschtoeigung, K. 518; Warnung, K. 

Kochel lists fortyone songs in his compilation of 
the works of Mozart, which would lead one to believe 
that Mozart did not consider himself a serious com" 
poser in this particular field of art. The songs are un" 
complicated and charming, although they are far re" 
moved in spirit from the lieder of the past century. In 
fact, it has been said that the texts to which Mosart set 
his music are enhanced by the music, rather than a 
part of the music. The eighteen songs heard on this 
recording must be considered, then, as exquisite 
and in some cases immature compositions by a com." 
poser who devoted his more serious talents to other 

Rita Streich's reputation in the field of Mozart 
opera is respected, for this young singer has turned 
in many a glowing performance in European opera 
houses as well as on records. It is interesting, there" 
fore, to investigate the application of her talents to the 
songs of this composer. It must be said at the outset 
that she acquits herself well. Her voice is beautiful, 
well disciplined, and expressive. 

And the songs themselves are worth the hearing. 
Many of them, such as Das Lied der Trennung, bear 
more resemblance to arias than to songs although, as 
in the case of the previously mentioned work, they 
may follow the pattern of a strophic song. Others 
are clearly ariettas, and a few approach the status of 
lieder. The result of the endeavor is variety, a most 
important quality. 

Athough this reviewer has a devotion to the cause 
of Elisabeth Schwarzkopf and Walter Gieseking in 
the Angel recording of Mosart songs (TNR June 
'56), he readily admits that Miss Streich, along with 
her fine accompanist, Erik Werba, brings to the 
record'buying public excellent interpretations. P. 

The Cries of London. Alfred Deller (counter-tenor), 
April Cantello (soprano), Wilfred Brown (tenor); 
Deller Consort, London Chamber Players and 
Ambrosian Singers directed by Alfred Deller. 
M2" disc (*BG-BG"563) $4.98. 
CONTENTS: These Are the Cries of London 
Town (Cobb); >Jeu; Oysters, A Bellman's Song, The 
Painter's Song, Brooms for Old Shoes (Ravenscroft) ; 
The Ones of London, Country Ones (Dering) ; Muf- 
fin's Ho' (Savage); Have You any Wor\ for the 
Tinker 7 (Nelham); The Cries of London (Weelkes); 
One a Penny, Two a Penny (Atterbury) ; A Quart a 
Penny, I Can Mend Tour Tubs and Pails (Anon.). 

Las Cantigas de Santa Maria. Russell Oberlin 
(counter-tenor) accompanied by Joseph ladone 
(lute). 142" disc (*EA-0023) $4.98. 
On The Cries of London we find some of the city 
and country "noises" which have long since made 
way for the subway train and factory whistle. They 
are presented by the excellent counter-tenor, Alfred 
Deller, and a group of his associates. 

While some of the cries assume the form of madri- 
gals, others are simple announcements of items for 
sale. The total effect of the project is good in that the 
performers do their work beautifully. There is a cer' 
tain charm to this sort of thing which has been influ- 
ential in enhancing many a city of note. One problem 
comes to mind: exactly how often will a person care 
to delve into cries of three centuries ago? If you think 
there is personal appeal for you in such doings, this 
record will give a fine cross section of city and country 
cries of the times. 

Las Cantigas de Santa Maria are songs which stem 
from the court of Alfonso el Sabio of Spain. Alfonso, 
who was born in Galicia, preferred his native tongue 
to Castilian when he wrote poetry. The result is that 
these poems of miracles wrought by the Virgin Mary 
are written in Galician, a language which has now 
evolved into Portuguese. The songs provide a fas< 
cinating picture of the thirteenth century. The general 
attitude is somewhat akin to Chaucer's picture of 
fourteenth century England in which the bawdy mixes 
with the devout and rather enjoys the other's com- 
pany. Thirteenth century Spain was not so narrow 
minded as one might suspect. 

* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 


PAGE 10 





The counter-tenor, Russell Oberlin, delivers the 
songs smoothly and with beauty of tone. This is vol' 
ume three of "Music of the Middle Ages" and proves 
to be a tremendously interesting experience. P. 

Jewish Children Songs and Games. Ruth Ruvin 
(vocals) accompanied by Pete Seeger (banjo). 
MO" disc (*FOLK>FC-724) $4.25. 
CONTENTS: Shpits-Boydim; Du Maydeleh du 

Fines; O\sn; Lomir zich Ibberbetn; Amol Iz Geven a 

Myseh; Kestelech Homntashn; Shayn bin ich, Shayn; 

Be\er Lid; A Genayveh; MichaTku; By dem Shtetl; 

Tomi, Yomi; Tonts, Tonts/ 

Jewish Folk Songs. Martha Schlamme (vocals) with 
orchestra conducted by Robert DeCormier. 1-12" 
disc (*VAN'VRS-9011) $4.98. 
CONTENTS: Chanu\e, O Chanu\el; Geh ich mir 

Spatzieren; Mai Komashmo Lon; Shein bin ich shein; 

Die Mesin\e; Sug mir du shein Meidele; Dire'gelt; A 

pintele; Oy, Dortn, Dorm, Ibern Vaserl; FreiUch; 

Partizaner Lid; Zog 7s[ft Keynmol; Shan\oye; Ti/ in 

Veldele; Die Machetunim gehen. 

Folk Songs. Susan Reed (vocals) accompanying her' 
self on harp or either. 1-12" disc (*ELEKTRA 
EKL-116) $4.98. 

CONTENTS: Blac\ Is the Color; The Old 
Woman; I'm Sad and Tm Lonely; Drill, Ye Carriers; 
Greensleeves; Go Away from My Window; A Mighty 
Ship; Mother, I Would Marry; Barbara Allen; Michie 
Banjo; Zelime; Gue, Gue; Soldier and the Lady; 
Molly Malone; Three White Gulls; Venezuela; If I 
Had a Ribbon Bow; Miss Bailey; Danny Boy. 

Vienna's Favorite Songs. Erich Runs (baritone) with 
instrumental accompaniments. M2" disc (*ANG' 
65034) $3.98. 

CONTENTS: Viener Fia\erlied, Es Steht ein 
alter J<[ussbaum; Wenn dir Herrgot net will; 'S 
Wussdorfer Sternderl; Mutterl'Lied; Wenn der 
Franzl; Mei Mutterl war a Weinerin; Du Guater 
Himmelvater; In Grinzing gibt's a Himmelstrassn; 
Secht's Leut'ln, so war's anno Dreissig; Das Gluc\ is* 
a Vogerl. 

Russian Folk Songs. Ivan Skobtsov (vocals) with 
orchestral accompaniments. 1-12" disc (*MON]> 
TOR MC-2001) $4.98. 

CONTENTS: Blonde Braids; Farewell to Happi- 
ness; Story of the Coachman; Song of the Coachman; 
Song of the Volga Boatmen; Along the Peters\aya 
Road; Village on the Road; Danube, My Danube; In 
the Valley; Barge'Haulers. 

Folk Songs of French Canada. Jacques Labrecque 

(vocals). 1-12" disc (*FOLK FG-3560) $5.95. 

CONTENTS: Sur la Bord de la Seine; A la Claire 

Fontaine; En Revenant des 7<toces; A Paris, sur le 

Petit Pont; J^ous Vid'rons la Bouteille; Genticorum; 

Le Roi Loys; La Prisonneire a la Tour; Les Trois 

Beauz Canards; Au Bois du Rossignolet; Bourn Badi 

Bourn; Les Jeunes Filles a Marier; La Vieillie Galante; 
Dans la Cour du Palais; Au Chant de VAlouette; La 
Fontaine Est Profonde; La Perdriole; Monsieur le 
Cure; Les Mentries; Je VAi Vu Voler; Laquelle 
Marier ons'nous; La Petite Hirondella; Avoine. 

By listing, as meticulously as we can, the contents 
of each of the foregoing records, featuring Jewish, 
American, Viennese, Russian and French'Canadian 
folk songs, we have already devoted more space than 
we can afford to these marvelous discs, and critical 
comment, therefore, must be limited to the worn-out 
statement that each is, in its way, a good example of 
the songs offered. Worthy of especial mention, how 
ever, is the French'Canadian disc by the prodigious 
Jacques Labrecque, who, with perfect diction, sings 23 
folk songs unaccompanied, offering a varied recital in 
a most persuasive manner to hold the interest of the 
hearer from the first note to the last. 

Offenbach: La Vie Parisienne (excerpts). (Sung in 
French). Renee Doria, Andrea Guiot, Christiane 
Harbell (sopranos); Andree Gabriel (messo' 
soprano); Pierre Giannotti, Robert Lilty (tenors); 
Lucien Huberty, Maurice Faure (baritones) ; Julien 
Giovanetti (bass); Orchestra and the Rene AHx 
Choir conducted by Marcel Cariven. M2" disc 
(*EPIC LC-3344) $3.98. 

Most everyone has heard some orchestral music of 
Offenbach and has no doubt had his toes set to tapping 
by this composer's lilting and sprightly rhythms. Here 
one can hear the "originals,'" for nearly all the Offen' 
bach tunes were originally meant to be sung. 

We don't see how anyone who likes Offenbach's 
music in orchestral transcriptions can resist this disc. 
The singers are all to the manner born, and one will 
recognise a great many melodies he has heard in 
Gaite Parisienne and elsewhere; even the "Can'Can" 
is here, expertly sung by Dario Moreno. This Epic LP 
has been awarded the Grand Prix du Disque, cer- 
tainly deserved: artistically, intrinsically, and from an 
engineering standpoint it is top drawer. 

Schumann: Dichterliebe, Op. 48. One side, and 

Brahms: (6) Songs. (Sung in German). Dietrich 

Fischer'Dieskau (baritone) accompanied by Jorg 

Demus (piano). M2" disc (*D'DL-9930) $3.98. 

CONTENTS OF BRAHMS: Sommerabend, Op. 

85, >&>. 1; Mondenschein, Op. 85, >&>. 2; Es liebt 

sich so lieblich, Op. 71, 7s(o. 1; Meerfahrt, Op. 96, 

>&>. 4; Es schauen die Blumen, Op. 96, l^o. 3; Der 

Tod, das ist die \uhle l^acht, Op. 96, l^o. 1. 

This is the sixth recording of Schumann's Dtchter- 
liebe; it features some very smooth and polished 
singing on the part of Dietrich Fischer'Dieskau and 
some equally suave pianistics by Jorg Demus. In fact, 
the faded romanticism of Heine's lyrics as well as 
Schumann's melodious but certainly dated settings 
take on a certain charm that this writer had not 
noticed since he last played his prised Gerhard 
Hiisoh recording of the music. This disc, then, is 
by all odds the best recording of the music and can 



* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 


The New Records 


be recommended without reserve. 

The six Brahms lieder are equally well rendered 
-one suspects that Herr Fischer-Dieskau is rap- 
idly becoming the interpreter of German heeler, for 
he has made superb recorded performances of the 
two great Schubert song cycles (Die Schone Mill' 
term, TNR Feb. '55, and Die Winterreise, TNR 
Mar. '56) and now, in addition to the sterling 
Brahms songs, the very fine Dichterliebe. 

There are no texts, but very adequate notes. A 
most attractive jacket and excellent sound round out 
a disc that may be considered a real treat. 


An Englishman Sings American Folk Songs. Lonnie 
Donnegan (vocals) with instrumental accompani- 
ments. M2" disc (*ME-MG-20229) $3.98. 

Current Market Price: #3.19. 

CONTENTS: Wabash Cannonball; How Long, 
How Long Blues; Wrec\ of the Old 97; Ramblin Man; 
Fran\ie and Johnny; Don't You Roc\ Me, Daddy-O; 
Kobodys Child; I Shall J^ot Be Moved; I'm Ah" 
bammy Bound; Railroad Bill; Old Riley. 

This disc runs the whole gamut of American folk 
music from beginning to end. Of particular interest 
is the complete version (14 verses) of Fran\ie and 
Johnny, which is played and sung with a delightful 
staccato rhythm. Also present are train rhythms, bal- 
lads, blues, work songs, a Negro spiritual, and two 
songs of Leadbelly (Huddie Ledbetter). Donnegan 
sings all types with great feeling, and his slight 
British accent does not detract from the presentation. 
A thoroughly enjoyable album, recommended for the 
collector of folk music. 



Rousseau: Le Devin du Village ("The Village Sooth- 
sayer") (complete). (Sung in French). Soloists, 
TOrchestre de Chambre Louis de Froment con' 
ducted by Louis de Froment. 142" disc (*ANG- 
35421TP) $3.48. M2" factory-sealed disc (*ANG- 
35421/L) $5.98. 

Colette Janine Micheau (s) 

Colin Nicolai Gedda (t) 

Soothsayer Michel Roux (bs-bt) 

The Association Jean-Jacques Rousseau is cele- 
brating, from 1956 to 1962, the bicentenary of "The 
Return to Nature." The period was chosen because 
on April 9th, 1756, Rousseau made the symbolic 
gesture of abandoning Paris for the solitude of 
1'Ermitage de Montmorency. This, the first record- 
ing of Rousseau's operatic venture, is a part of the 
"celebration 11 ; and, from a technical and interpretive 
angle, it may be accounted a resounding success. 

This form of pastoral opera, which served as a 
model for the youthful Mozjart's Bastien et Bastienne, 
became very popular, and LeDevin du Village enjoyed 
a considerable success in its time. It has now sunk to 

the melancholy level of an historical curiosity, and 
its revival by Angel Records is at once a labor of 
love and genuine service to students both of music 
and the great Jean-Jacques. 

The present performance has sparkle and charm, 
although this, along with the excellent voices of the 
singers, can do little to conceal the essential poverty 
of musical ideas. Janine Micheau is a charming 
Colette; and Nicolai Gedda, a somewhat sober Colin. 
Michel Roux is a sedate soothsayer. Quite frankly, 
the whole affair suffered in this corner because of 
the twelve-year-old Mosart's setting of the same situ- 
ation. This, however, is not fair; but then, to para- 
phrase Bernard Shaw, who are we that we should 
be fair? 

Fine recorded sound, exquisite and informative 
notes and libretto are included with the factory 
sealed package. This one is primarily for specialists. 

Offenbach: La Perichole (abridged). (Sung in Eng- 
lish). Soloists, Metropolitan Opera Chorus and 
Orchestra conducted by Jean Morel. 1-12" disc 
(*V-LOC-1029) $4.98. 

La Perichole Patrice Munsel (s) 

Paquillo Theodor Uppman (bt) 

Don Andres de Ribeira Cyril Ritchard (sp) 

Don Pedro de Hinoyosa Ralph Herbert (bt) 

Count of Panatellas Paul Franke (t) 

The Old Prisoner Allesio de Paolis (t) 

One of the more outstanding box office successes 
of the past Metropolitan Opera's season was Offen- 
bach's La Perichole. One does not have to look very 
far for the reasons: it is tuneful and just a little bit 
vulgar with a few lapses into downright bad taste. 
These latter, one suspects (perhaps unjustly) are the 
work of the translator in all events this writer can 
see no excuse for such expressions as, "You're the 
Viceroy's mistress, by God!", for in addition to being 
in the worst of taste, it is also blasphemous. 

Like a great many Metropolitan Opera produc- 
tions (and recordings) this one also leaves some' 
thing to be desired artistically, vocally and musically. 
Miss Munsel is an agile soprano, with a perfectly 
placed voice who does everything well but does not 
sing with any degree of expression or conviction. 
The same applies to Mr. Uppman, but to a somewhat 
lesser extent. On the other hand, Cyril Ritchard 
has all the conviction and expression and polish in 
the world- but he can't sing for peanuts (since he 
doesn't make any claims to do so, one should not be' 
labor the point). 

The best performances are by Ralph Herbert, who, 
in this reviewer's estimation, deserves much better 
roles than he is usually given and who is a first-rate 
Don Pedro; and, of all people, Alessio de Paolis who 
steals a part of the show not by singing but by 
reading his lines with a delightful and genuine 
Italian accent. 

This writer is haunted by a feeling that he has 

* indicates LP S3 1/3 n>m. 
indicates 45 rpm. 







had on several previous occasions, that he is turning 
in a minority report; nevertheless there it is. It re' 
mains only to note that the sound is superb and that 
there is a fine booklet giving notes, the libretto and 
many excellent photographs. WILLIAM A. OLSEN 


Bach on the Biggest. Robert Elmore, playing the 
auditorium organ of the Convention Hall, Atlantic 
City, N. J. 1-12" disc (*ME-MG-50127) $3.98. 

Current Market Price: #3.19. 

CONTENTS: Toccata, and Fugue in D minor; 
Wachet auf; In dulci jubilo; Toccata, Adagio and 
Fugue in C. 

Before commenting critically on the performances 
heard on this remarkable disc, a few statistics will 
be of interest to those not familiar with the audi* 
torium. The Atlantic City Convention Hall is the 
world's largest auditorium. It occupies four city 
blocks, a thirteen'story building could be set upon 
the floor and not touch the roof, and even Mickey 
Mantle could not bat a ball from the stage to the 
rear gallery. It has ve and one half million cubic 
feet of space and seats 42,000. And from personal 
experience we can vouch for the reverberation period 
in this cavernous hall it echoes endlessly. 

The organ which Senator Emerson L. Richards 
designed (and Midmer'Losh built) staggers the 
imagination with its sise, power, and magnitude. 
Seven manuals, 1,250 stops, 33,000 pipes, the largest 
of which is 64 feet long, 225,000 feet of lumber in 
the organ, eight chambers, eight motors with a com,' 
bined total of 395 H.P. and 455 ranks of pipes 
make up this gargantua of music. Hearing and seeing 
this organ in person is like nothing else in the realm 
of organs, including the two reeds on 100" wind 

The distance between chambers and from the 
various chambers to the console make the playing 
of this instrument a task for only a select few. 
Sound from the main chamber on the left side of 
the stage (to say nothing of the gallery divisions 
located further back in the hall) reach the organist 
at the console noticeably later than sounds from 
the right main chamber immediately above him. 
Would you like to try to keep everything perfectly 
even in rhythm in this program of Bach? Well, 
Robert Elmore is one of the few living organists 
who could be entrusted to record this giant instru- 
ment. His playing is little short of remarkable con' 
sidering the obstacles. 

Mercury, using a single microphone has achieved 
reproduction that is also rather remarkable consider' 
ing the difficulties at hand. From personal knowledge, 
we might say that the entire organ was not used in 
recording probably only the left and right cham* 
bers, for several gallery divisions are still out of 
commission from the results of a hurricane a few 

years ago which wrecked the blowers in the base' 
ment (but not the pipe chambers). However, the 
main glories of the organ are to be heard to good 
advantage in this thrilling disc. It is unfair to com' 
pare this to other Bach organ discs, but it is safe 
to say that organ enthusiasts will find this disc of 
the world's largest organ a rare experience. We 
would also heap exceptionally high praise on the 
other Elmore disc, made on the largest theatre organ, 
in the Ballroom of this same auditorium, where El* 
morels virtuoso artistry is heard in a superb pro' 
gram (*ME'MG'50109, reviewed also in this issue), 


Pipes, Pedals and Fidelity. Buddy Cole, playing his 

own theatre organ. M2" disc (*C'CL'1003) $3.98. 

CONTENTS: Serenade in Blue; Peanut Vendor; 

One Morning in May; Mine; Every Time I See Tou 

I'm in Love Again; C&rioca; Caravan; Willow. Weep 

for Me; Jean-nine, I Dream of Lilac Time; I Get the 

Blues When It Rains; Tou Go to My Head. 

Boardwalk Pipes. Robert Elmore, playing the Ball' 

room Organ at Convention Hall, Atlantic City, 

N. J. M2" disc (*ME-MG-50109) $3.98. 

Current Market Price: #3.19. 

CONTENTS: Stars and Stripes Forever (Sousa 
arr. Elmore); Stars in My Eyes> Caprice Viennois, 
Old Refrain, Liebesfreud (Kreisler arr. Elmore); 
Fantasy on Nursery Themes (Elmore); E\log (Kra> 
mer); Squirrel (Weaver); Marche Champ etre 
(Boex) ; Trumpet Voluntary ( Clarke) . 

Probably no instrument so taxes the recording 
engineers as the theatre organ, with its multitude of 
stops, effects and its tremendous volume of sound. 
Both Columbia and Mercury have done well to cap' 
ture the voicings of the theatre organs on the pres' 
ent brace of LP's. Buddy Cole plays the organ now 
installed in his own home, formerly the one in the 
studios of United Artists. Robert Elmore plays a 
giant organ located in the mammoth ballroom of 
Convention Hall in Atlantic City, N. J. Mr. Cole's 
is a "reverie" type record soft, soothing, familiar 
tunes most anyone would like; Mr. Elmore's is a 
recital, featuring a variety of numbers from a 
Sousa march to Clarke's (formerly attributed to Pur' 
cell) Trumpet Voluntary. Both discs are extremely 
well done; Elmore's will prove the more difficult for 
your woofers. 

A Demonstration of the Studio Organ at 22 rue 
Duroc. Andre Marchal, playing his own organ. 
M2" disc (*2OD1AC LP-334) $3.98, 

Bach: Das Orgelbiichlein 12 Chorale Preludes. One 
side, and Bach, Toccata, Adagio and Fugue in C. 

Andre Marchal, playing his own organ at 22 rue 

Duroc. M2" disc (*ZODIAC LP-335) $3.98. 

The demonstration record of the organ in MarchaFs 

studio is a fascinating experience. Marchal speaks in 

French, his daughter follows with an English trans' 

lation, and this is followed by MarchaFs playing of 

PAGE 13 


* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 





the ranks just discussed. Hie spoken parts are very 
brief and to the point (and nontechnical) and the 
demonstrations are beautifully played in a manner 
best suited to explore the color, range, and character' 
istics of the stops. Every word of the spoken text is 
printed on the jacket in both French and English. 
Many organists not necessarily interested in the 
spoken word will find the improvisations interesting. 

Andre Marchal is considered one of the very great' 
est organists of our day. Organist of Saint'Eustache, 
Marchal has been blind since birth. He has a large 
repertoire and is famous the world over as a recitalist. 

The Bach record contains twelve chorale preludes 
from the Orgelbuchlein, and they are all beautifully 
played. The closeness of a studio recording does not 
hurt these works too much, although there is no 
"coating" quality at any time. For the most part, the 
effect is acceptable. But in the Toccata, Adagio and 
Fugue in C, the lack of space entirely robs this work 
of any effect of grandeur. As a lesson in the technical 
handling of the piece, this recording may have value 
to a student; but if you enjoy hearing it you have 
the wrong idea of what a pipe organ is all about. With" 
out auditorium space pipe organs just cannot develop 
a tone and bloom and the ensemble of an organ can' 
not fuse. If you do not believe it, hear this side and 
then listen to the same work recorded in a church. 
There is no denying the excellence of the perform/ 
ance here, but we bet Bach would be the first to prefer 
it played on a church organ. E. E. SHUPP, JR. 


Beethoven: Sonata No. 30 in E, Op. 109. One side, 
and Beethoven: Sonata No. 31 in A-flat, Op. 110. 

Walter Gieseking (piano). 142" disc (*ANG- 
35363TP) $3.48. 142" factory-sealed disc 
(*ANG-35363) $4.98. 

Beethoven: Sonata No. 30 in E, Op. 109. One side, 
and Beethoven: Sonata No. 32 in C minor, Op. 
111. Victor Schioler (piano). 142" disc (*CL-P- 
18046) $3.98. 

Beethoven: Sonata No. 30 in E, Op. 109. One side, 
and Beethoven: Sonata No. 31 in A-flat, Op. 110. 

Egon Petri (piano). 142" disc (*CONGORD- 

3002) $3.98. 

Those making a collection of Gieseking's record' 
ings will find a wonderful pair of Beethoven Sonatas 
to add to their libraries this month. Anyone interested 
in comparing interpretations of the Sonata ?v{o. 30 will 
have a field day with these three discs. Gieseking, as 
noted above, is superb. Schioler was a surprise to us; 
his playing exhibited unwonted warmth, and Capitol's 
reproduction, as has been previously mentioned in 
these columns, leaves absolutely nothing to be de' 
sired. Petri is studied, too labored for us, and Con' 
cord's reproduction is slightly on the thin side; Con' 
cord supplied the scores to both works with its disc. 

Haydn: (4) Sonatas. Ernst Levy (piano). 1'12" disc 

(*UNKJNLP'1036) $3.98. 

CONTENTS: Sonatas 3s[os. 32 in B minor; 50 in 
C; 51 in D; 46 in A-flat. 

Ernst Levy was introduced to readers of THE NEW 
RECORDS last November with his very fine LP of 
Beethoven's 23rd and 32nd Sonatas. The present disc 
will prove that he is equally at home with Haydn, and 
most collectors of piano discs will derive great pleasure 
from this Unicorn record. Incidentally, we should take 
this opportunity to congratulate the Artists and Reper* 
toire man (or woman) at Unicorn; a quick glance at 
its catalog will reveal that Unicorn has recorded a 
wide variety of worthwhile items and has maintained 
a high artistic caliber throughout, and the sound 
emanating from Unicorn discs is as excellent as you'll 
find these days. 


The Song o Songs. Morris Carnovsky, Carol Vea2;ie, 

Anne Meacham and Henry Bate (reading). 1'12" 

disc (*EA-0011) $4.98. 

Side one of this disc is one of the most unusual 
recordings we have ever come across! It is a choral 
reading of the Song of Solomon in English (King 
James version) with a simultaneous reading of it in 
Hebrew (Safardic pronunciation). Carol Veasie, 
Anne Meacham and Henry Bates are the choral 
readers while Morris Carnovsky reads the Hebrew. 
The English version is more pronounced; the He' 
brew being almost in the form of an accompanying 
drone. Side 2 of this remarkable disc is devoted to 
the reading in Hebrew alone, again by Mr. Car' 

Different though it is, it is difficult to recom' 
mend the disc to anyone save those interested in 
choral readings (remember the old 78 rpm Halligan 
records by the Verse Speaking Choir of the College 
of Chestnut Hill?). Not denying the earnestness of 
the readers nor the 'excellence of their performance, 
the simultaneous English and Hebrew is hard to 
understand, and we do not understand why the 
Hebrew is there at all. The accompanying 6'page 
folder giving the English words helps, but the exact 
purpose of this record still remains an enigma to us. 

Rozsa: Kipling's Jungle Book Suite. One side, and 
Rozsa: Thief of Bagdad Suite. Frankenland State 
Symphony Orchestra conducted by Miklos Rossa, 
with Leo Genn (narrator). 142" disc (*VXLM' 
2118) $3.98. 

Miklos Rozsa, Hungarian'born composer, came to 
the United States in 1940, became a faculty mem' 
ber of the University of Southern California, and 
has received two academy awards for his motion 
pictures scores (1945 and 1947). The works re' 
corded here were composed for the London Film 
Productions of the same name. Collectors of re' 

* Indicates LP 38 1/3 n>m. 
Indicates 45 rpm. 


PAGE 14 


New Records 


cordings of motion picture music might be attracted 
to this disc except for the narration supplied by 
Leo Genn; this addition makes it a record of two 
stories with musical backgrounds. 


The Italian Scene. Corpo Bandistico delF Azienda 

Tramviaria di Milano conducted by Franco Lissio. 

1-12" disc (*VX-VX-25480) $3.98. 

CONTENTS: Inno di Mameli (National An- 
them) (Novaro); Campane di San Giusto (Arona); 
Marcia d'Ordinanza della. Marina, Inno del Piave 
(Mario); Inno di Garibaldi (Olivieri); Rapsodia di 
Canzoni Milanesi di Autori Diversi; Flic Floe, Marcia 
d'Ordinanza dei Bersaglieri, Passo di Corsa dei 
Bersaglieri (Mamprin); Rapsodia di Canzoni dell 
1848 di Autori Diversi; Aida Grand March 
Hi-Fi. Band of the Grenadier Guards conducted by 

Maj. F. J. Harris. 1-12" disc (*L-LL-1623) $3.98. 

CONTENTS: The Spirit of Pageantry (Fletcher); 
Aida Grand March (Verdi); Lustspiel Overture 
(Bela); Wee MacGregor Patrol (Amers); Light 
Cavalry Overture (Suppe); The Windjammer Over" 
ture (Ansell); Hielan Laddie. 

Album of Military Band Music. Band of the Grena- 
dier Guards conducted 'by Maj. F. J. Harris. 1-12" 

disc (*L-LL-1622) $3.98. 

CONTENTS: Suite 7s[o. 1 for Military Band, Op. 
28 (Hoist); Merchant of Venice (Rosse); (3) Irish 
Pictures (Ansell); (3) Dale Dances (Wood). 
Band Music. Band of H. M. Irish Guards conducted 

by Capt. G. H. Jaeger. 1-12" disc (*V-LM-2020) 


CONTENTS: St. Patricks Day, Let Erin Remem- 
ber, Shepherd's Hey, Irish Washerwoman (trad.); 
Fitter Pat Parade (Lavalle); Andalucia (Lecuona); 
Snow Maiden Dance of the Tumblers (Rimsky- 
Korsakov); Fandango (Bradford-Perkins); Jigger's 
Corn (Jaeger); Marche Lorraine (Ganne); Perjse- 
tuum mobile (Strauss); Diabolero (Spurgin); La 
Sorrella (Gallini); Wood "Nymphs (Coates); El 
Caballero (Olivadoti). 

One doesn't associate recordings of band music 
with Italy (unless, of course, one owns the marvelous 
LP of the Carabmieri Band of Rome, *ANG-3537l, 
TNR Nov. '56); the Band of Milan's Street Car 
Conductors proves that there is some fine band 
music in the land of opera and plays it rather well. 
. . . The Band of the Grenadier Guards is too well 
known to aficionados of band music to require much 
comment from us; these two new ones, one of stir' 
ring music (*L-LL'1623) and the other of concert 
selections (*L-LL-1622) will be eagerly snapped up 
by admirers of this capital organization. . . The 
Band of H. M. Irish Guards essays a lively program 

of well-known and some unfamiliar band numbers. 
Nice variety, excellent playing, lots of spirit. 

Das ist Marschmusik. Musikkorps der Schutspolisei 

(Berlin) and chorus conducted by Heins Winkel. 

142" disc (*L-TWB'91174) $4.98. 

CONTENTS: Vi\toria'Marsch; Die Regiments- 

\inder; Gluc\ aufl; Gold und Silber; Der Hohenfried* 

berger Marsch; Graf Zeppelin Marsch; I. Bataillon 

Garde; Unter dem Siegesbanner; Kamaraden auf 

Seel; Allen Voranl; Schatz, ach Schatz, reise nicht so 

weit von hier; Plaza"Marsch; J^iedersachsen^Marsch; 

Gruss an Europa. 

We don't know why the publisher of this disc 
wanted to spoil it by inserting a chorus on a couple 
of the numbers; the band by itself is fine, but the 
chorus is mediocre at best, as it was in this 
tion's previous issue (TNR May '57). 


Bloch: Poeme Mystique. One side, and Grieg: Sonata 
No. 2 in G, Op. 13. Jascha Heifets (violin) accom- 
panied by Brooks Smith (piano). 1-12" disc (*V- 
LM-2089) $3.98. 

Bach: Sonata No. 3 in A minor for Violin Solo ("So- 
nata No. 2"). One side, and Bach: Sonata No. 6 
in E for Violin Solo ("Partita No. 3"). Jascha Hei- 
fetz (violin). 1-12" disc (*V-LM-2115) $3.98. 
(TNR Jan. '54). 

During the thirties all the printed copies of 
Bloch's second violin sonata, Poeme Mystique, were 
destroyed by the Third Reich. After hearing Heifets* 
recording of his Sonata Jsfo. 1 (*V-LM-1861, TNR 
Jan. '55, now about to be withdrawn from RCA 
Victor's catalog) Blodh wrote HeifeU asking him 
whether heM like to perform the long'dormant 
Poeme; Heifets was immediately interested, and 
Bloch sent him a photostat of his only printed copy 
of the music. This is the resultant recording. 

Composed late in 1924, the sonata unfolds in a 
single movement, spanning a wide emotional range, 
the underlying theme being faith. The work opens 
mysteriously, and ends seemingly on a triumphant 
"up-beat," probably expressing the idea that faith 
never quite ends, though it grows stronger if properly 
nurtured. The wonted Hebraic elements of Bloch 
are not so prominent as in some of his works 
notably the first Sonata. Poeme Mystique requires 
considerable talent, even for the piano part; and 
Heifets and Smith come through with flying colors, 
as well in Poeme as in the only available recording 
of Grieg's lovely little Sonata Tsfa. 2. A very much 
worthwhile disc and a welcome addition to the re- 
corded repertoire. 

RCA Victor has lifted the second recording listed 
above from Mr. Heifetzf very fine album of the 
complete Six Sonatas for Violin Solo. Sonata K[o. 1 
and Sonata l^o. 4 ("Partita No. 2' 1 ) have already 
been so made available (*V-LM-1976, TNR Aus 

PAGE 1 5 


ites LP 33 1/3 rpm. 
* Indicates 45 rpm. 





Segovia and the Guitar. Andres Segovia (guitar). 

M2" disc (*D'DL-9931) $3.98. 

CONTENTS: Cancion del Emperador (Josquin 
trans, de Narvaez;); Variations on "Gudrdame las 
vacas' (de Narvaez); Song and Galliard for Lute 
(Dowland); Preambulo and Gavota (A. Scarlatti); 
Sonata, L. 352 (D. Scarlatti); Dos Impresiones L&' 
vantinas (Espla) ; Fantasia-Sonata (Manen). 

What more can be said about the greatest clas' 
sical guitarist of our day, who has done seemingly 
unending research in transcribing many hundreds 
of pieces for his instrument and to whom more 
works for the guitar have been dedicated, probably, 
than any other? Here is his latest LP; it is a charm' 
ing mixture of ancient and modern music. Save for 
the Josquin and de Narvaez; pieces, all of the nunv 
bers on Side 1 were transcribed for guitar by 
Segovia; Joan Manen^s Fantasia'Sonata, which OC" 
cupies all of Side 2, was written for the guitar and 
was inscribed by the composer, "For y para Andres 
Segovia" ("For and because of Andres Segovia"). 

Panorama of Musique Concrete (Vol. II). M2" disc 

(*DT'DTL'93121) $3.98. 

CONTENTS: Tarn-Tarn IV (Henry); Astrology 
(Henry); Antiphony (Henry); Vocalises (Henry); 
Study (Philippot); Symphonic pour un Homme Seul 
(Schaeffer & Henry); R. A. I. Bird (Schaeffer 6? 
Moods, Impressions and Fantasies, New Concert Or' 

chestra conducted by Nat Nyll. 1-12" disc (*VX- 

VX-25270) $3.98. 

CONTENTS: Percussion Fantasy (Black); Jota 
(Liter); SavoirFaire (Curzon); (2) Southern ImpreS' 
sions (Liter); Apertij (Brownsmith); Impressions of 
London (Binge); Khumba (Liter). 

Just as we put Panorama of Musique Concrete on 
our phonograph we heard screams from the kitchen: 
"Take that record off! I just put a cake in the oven, 
and those noises will knock it flatter than a pancake!*' 
Women just don't understand these things; but then, 
we hasten to add, neither do we. When reviewing 
Vol. I (TNR Apr. "57) we told how the sounds were 
generated that one hears on this disc, and interested 
readers are referred to that issue, and also to TNR 
July '57 to Leuning ^ Ussachevsky's music for tape 

The only similarity between the Vox LP and the 
Ducretet-Thomson one is the cover. Nat Nyll and 
the New Concert Orchestra play seven musical im' 
pressions all on regular instruments. Most interest' 
ing is Stanley Black's Percussion Fantasy, which (as 
one might guess) makes wide use of percussion instrU' 
ments. Not at all hard to take. 


The World's Encyclopaedia of Recorded Music 
(3rd Supplement). By Francis F. Clougih 
and G. J. Cuming. xxvi -f- 564 pp. Sidg' 
wick and Jackson, Ltd. (London). Price 

Introduction to Opera: a guidebook sponsored 
by The Metropolitan Opera Guild. Edited 
by Mary Ellis Peltz. xiii + 332 pp. Paper 
bound. Barnes S* Noble, Inc. (New York) . 
Price $1.65. 

Record Ratings: The Music Library Associa- 
tion's Index of Record Reviews. Compiled 
by Kurtz; Myers; edited by Richard S. 
Hill, viii + 440 pp. Crown Publishers 
(New York). Price $5.95. 

The Guide to Long'Pkrying Records (Orches' 
tral Music). By Irving Kolodin. xii + 
268 + vii pp. Alfred A. Knopf (New 
York). $3.50. 

The Guide to Long'Playing Records (Chamber 
6? Solo Instrument Music) . By Harold C. 
Schonberg. xi + 280 -f- vi pp. Alfred A. 
Knopf (New York). $3.50. 

The Guide to Long'Playing Records (Vocal 
Music). By Philip L. Miller, xvi -f 381 
+ xxii pp. Alfred A. Knopf (New York) . 

The WorJd^ Encyclopaedia of Recorded Music 
(Including 1st Supplement). By Francis 
F. Clough and G. J. Cuming. 890 pp. 
Sidgwick and Jackson, Ltd. (London). 
Price $17.50. 

The World's Encyclopaedia of Recorded Music 
(2nd Supplement) . By Francis F. Clough 
and G. J. Cuming. xxii + 262 pp. Sidg- 
wick and Jackson, Ltd. (London). Price 
NOTE: All the above books have been reviewed 

in previous issues of The J^ew Records. If your local 

dealer does not stock them, orders addressed to H. 

Royer Smith Co., Philadelphia 7, Pa., will be 

promptly filled. The prices quoted include postage 

to any point within U.S. A. 

The first letters In the record number Indicate the manufacturer: ANG Angel. BG Bach Guild C Columbia CAM -r.stmrin\ 

CH Concert Hall Society, CL Capitol, CLAS Classic Editions, *o- -!" -- ~ - Ul -' te w ! uin _ DI . k* M camdej 

Anonymes, ESO Esoteric* FOLK E1' " ~ 

HS Haydn Society, L London Gran.,., _^ 

harmonia. PLM Poly music, REN Renaissance, SOT Sounds of ' 
AN Vanguard, VX Vox, and WEST Westminster. 

. . . 

Capitol, CLAS-Classic Editions, CSM-Co oseum, D-Deccv DT-Dure-ThomTon EA~Ex^rew 
-Ethnle Folkways Library GlGA-Gregorian Institute of America, HMV-H lls SSSfc Voice (SnglJBJ! 

Gramophone, LYR Lynchord, ME Mercury, OC Oceanic OL- L'Oiseau Lvra PE Perlnri PHM -PhJl- 


* Indicates LP 33 1/3 rpra. 
Indicates 45 rpm. 


PASE 16 

The New Records 


Issued Monthly by 




VOL 25, NO. 8 

OCTOBER, 1957 

By mat I to any address 
$1 per year 

NEW RELEASES for the fall have been 
arriving thick and fast, and our studio 
is once again piled high with review copies. 
In order to conserve space and cover as many 
of these new releases as possible, we are cut- 
ting our editorial matter short this month and 
getting right to the business at hand. 


The Current Market Price of records is the 
retail price that is charged by most leading 
dealers, including the publisher of this bul' 
letin. When the major companies reduced their 
list prices for LP records, some of the smaller 
publishers reduced only their wholesale prices 
and did not change their list prices (see TNR 
Mar. '55); thus the Current Market Price 
came into being. 

Also, from time to time, in order to stimu- 
late business, some companies have drastically 
reduced prices for limited periods. In order 
that our readers may know the Current Mar- 
ket Price, we are indicating in this and future 
issues the prices that are presently in effect, 
and, although we cannot guarantee these 
prices, they should prevail during the current 

NOTE: The Current Market Prices of all 

Mercury 12-inch LFs (10000% 20000-, 30000-, 
40000-, 50000-, 80000-, and 90000-series) is 
#3.19; album sets are 20% less than published 
list prices. 


We are continually receiving requests for 
back copies of THE NEW RECORDS. Most of 
the issues published during the last twenty- 
five years are available. The price is lOc each. 
A file of all available issues (at least 160 copies) 
is $5. These prices are postpaid within U.SA. 

NOTE: Those persons interested in recent 
recordings only may secure all of the issues of 
the last three years beginning October 1954 
(36 copies) at the special price of $2 (postpaid 
within U.S. A). 


Mozart: Symphony >{o. 40 in G minor, K. 550. One 
side, and Mozart: Symphony Ho. 41 in C, K. 551 
("Jupiter"). Chicago Symphony Orch. Reiner. 
142" disc (*V'LM'2114) $3.98. (TNR Feb. '56), 

Millocker: Der Bettelstudent ("The Beggar Stu- 
dent 1 *) (highlights). (Sung in German). Soloists, 
Chorus and Orchestra of the Vienna State Opera 
Paulik. M2" disc (* VAN- VRS- 1004) $4.98. 


Calypso Jazz Sampler. 14 hits from 9 Caribbean 
albums. 1-12" disc <*SOT-XX-2) $1.98. 
CONTENTS: Don\ey Want Water; Brown 
S\inned Gal; Mamma Loo\a Booboo; Creature from 
the Blac\ Lagoon; others. 

Audio Follies. "Bargain Sampler of indecent propor- 
tions from 15 famous Cook Albums." 1-12" disc 
(*SOT-XX-1) $1.98. 

CONTENTS: Trains, WurliUer organ, steelbands, 
calliope, either, etc. 

Chopin in Hi-Fi. Lucerne Festival Orchestra con- 
ducted by Ernest Falk. M2" disc (*PE-SPL-308) 

Tchaikovsky: Concerto No. 2 in G, Op. 44. Tatiana 
Nikolayeva (piano) with the State Orchestra of 
the USSR conducted by Konstantine Anosov. 
M2" disc (*CLAS-CE-3) $1.98. 
San Francisco Record Tid-Bits. Various instrumental 
groups. 1-12" disc (*SAN FRANCISCO 
M-33012) $2.98. 

CONTENTS: Tour Fathers Moustache #1; 
Got'cha; 1900 in Hi-Pi (orig. cylinders); Intro to 
Jazz; Razz'ma' f Tazz in Hi Fi (nickelodeons) ; Plin\ety 
Plan\ Plun\ (player pianos); Tour Fathers Mous- 
tache #2; Intro to Jazz #2; Music for Moochers, Gold 
Diggers & Cattle Rustlers; Intro to Jazz #3; Haughty 
9Q'$ in Hi Fi; 23 S\idoo in Hi Fi; Oorti'pah'pah in 
Hi Fi. 



Rf cords 


Zabaleta Harp Sampler. Nicanor Zabaleta (harp). 

M2" disc (*ESO-1501) $1,98. 

CONTENTS: Villancete (Anon.); Romance (Pa- 
lero); Hachas and Pavane (Ribayaz); Segiudill&s 
(Anon.); Solo fur die Harfe (K.P.E. Bach); Fantasy 
(Spohr); Divertissement (Caplet); Sonata (Hinde' 


Mozart: Symphony No. 39 in E-flat, K. 543. One 
side, and Mozart: Symphony No. 40 in G minor, 
K. 550. Royal Philharmonic Orchestra conducted 
by Sir Thomas Beecham, I'll" disc (*OML' 
5194) $3.98. 

Mozart: Symphony No. 39 in E-flat, K. 543. One 
side, and Mozart: Symphony No. 40 in G minor, 
K. 550. Concertgebouw Orchestra of Amsterdam 
conducted by Karl Bohm. 1-12" disc (*EPIC 
LO3357) $3.98. 

Back in the middle 30'e when important chapters in 
phonograph history were being written in England 
(the Glyndebourne recordings, Sir Hamilton Harty's 
Handel arrangements, Edwm Fischer's Mozart Piano 
Concertos to mention but a few) Sir Thomas 
Beecham was an indefatigable scribe, and his record' 
ing of Mozart's Symphony Tvfo. 40 in G minor (circa 
1937) remained a landmark well into the LP period. 
In fact, it remained so for us until now when 
(a veritable Marcel Proust) Beecham has recaptured 
the past, and we have a performance of the G minor 
Symphony on LP that does the miraculous score 
justice. What with all the nonsense that is written 
about Mozart, plus all the screwy "renditions" (pos< 
sibly from the old Anglo-Saxon rendan, to tear 
apart) that have been recorded, this sane and must' 
cal presentation comes like a drink of clear, cool 
water. There is no fussiness, no exaggerated dy 
namics, wilful tempi or excessive rubati it is a 
classic performance, relaxed and charged with an 
18th century elegance but (and here is where 
Beecham's greatness comes in) there is also the 
darker undertone, the bitter core so often over* 
looked in Mozart. 

The foregoing also applies to Sir Thomas' ap' 
proach to the more extrovert Symphony jN>. 39 in 
E'flat. This symphony offers fewer spiritual problems 
than its successor; it i$, essentially, a 'happy work, 
and it is as such that it emerges here. Prior to this 
recording this reviewer felt that Erich Leinsdorf's 
magnificent Westminster disc (TNR May "56) was 
the best; now, however, there are two recordings of 
the work that belong in every library: Leinsdorf's 
and Sir Thomas 1 . The different approaches, both 
sound, make fascinating listening and comparison, as 
do, incidentally, the different recording techniques. 
It's almost a shame that we have to cover Karl 
Bohm's readings of the same brace of symphonies in 
the same review, for they came as an anticlimax. 
Straightforward readings are these, difficult with 

which to find fault, yet completely in the shadow o 
Sir Thomas' 1 magnificent performances. Epic's soun< 
is up to its usual excellence. 

The Columbia disc also offers good sound, ex 
cerpts from Alfred Einstein's scholarly book oj 
Mozart for jacket notes (these could not be im 
proved on). WILLIAM A. OLSEN 

Haydn: Symphony No. 45 in F-sharp minor ("Fare 
well"). One side, and Haydn: Symphony No. 82 it 
C ("The Bear"). Southwest German Radio Or 
chestra, Baden-Baden, conducted by Rolf Rein- 
hardt. 142" disc (*VX-PL-10340) $4.98. 

Though there are other recordings of the "Fare' 
weir* Symphony presently available, this is the only 
one of "The Bear" currently in the LP catalogs. Fine 
reproduction on this Vox disc makes it a worthwhile 
offering; conductor Reinhardt seems right in his ele" 

Stravinsky: Petrouchka. One side, and Stravinsky: 
L'Oiseau de Feu (Suite). Paris Conservatory Or* 
chestra conducted by Pierre Monteux. 1'12" disc 
(*V-LM-2m) $3.98. 

Tchaikovsky: Symphony No. 5 in E minor, Op. 64. 

Toronto Symphony Orchestra conducted by Sir 
Ernest MacMillan. 142" disc (*CAM-CAL-374) 

Pierre Monteux has long been associated with the 
works of Stravinsky. Monteux premiered Petrouch\a 
and has always been admired for his performances 
of Stravinsky's music. RCA has kept modern re' 
cordings of Monteux-conducted Stravinsky in its 
catalogs; at present the LP lists include three Mon' 
teux readings of Le Sacre du Printemps (with the 
San Francisco, Boston, and Paris Conservatory Or' 
chestras). Monteux is, of course, most famous for 
his premiere of Sacre and his readings of it down 
through the years. This wonderful old gentleman, 
now in his eighties, has a way with Stravinsky that 
is almost unique. The present disc is a revelation 
once again for Stravinsky admirers, for the Monteux 
magic shines through time and again. There is 
greater clarity, logic, and conviction in these read' 
ings than is likely to be found elsewhere; and there 
is also a remarkable musical picture steady and con' 
tinuous, with no musical claptrap or technical prob- 
lems showing. The long line and overfall picture is 
here, the workmanship is apparent only if you look 
for it. This is certainly true of Firebird, a remark' 
able performance that could hardly be bettered. 
Reproduction is superlative. 

Most of the Camden LP classics are 78 rpm re' 
cordings of about two decades ago transferred to 
LP. The present Tchaikovsky Fifth is an exception. 
It is a current recording and is a pretty good value 
for the price. It would not be a good value at the 
regular LP price of $3.98, but for half that amount 
it passes. Sir Ernest and the Toronto boys beat out 
a mighty Fifth with some really fine moments and 

indicates LP 83 1/8 rpm. 
Indicates 45 rpm. 




The N 



no really bad ones. Most of the $3.98 IP's are just 
better, that's all better orchestral sheen and polish. 
If you can't hear the mistake in the brasses at the 
end of this disc, it's a good buy at the price, the 
ugliest album cover of the year notwithstanding. 


Tchaikovsky: Serenade in C, Op. 48. Sorkin Chamber 
Orchestra conducted by Leonard Sorkin. One side, 
and Mendelssohn: Octet in E-flat, Op. 20. Fine Arts 
Quartet, augmented. 142" disc (*VAN'VRS' 
1003) $4.98. 
NOTE: For review of this disc see under CHAM' 


Kempe Conducts. Saxon State Orchestra or Orchestra 
of the Munich State Opera conducted by Rudolf 
Kempe. 1-12" disc (*UR-UR'8010) $3.98. 
CONTENTS: Der Rosen\avalier Preludes to 

Act I & III (R. Strauss); Lohengrin Preludes to 

Acts I & III and Die Meistersinger Prelude to Act 

III, Sachs' Monolog, Prelude to Act I, Dance of the 

Apprentices (Wagner). 

Wagner: The Ring of the Nibelunga (highlights). 
NWDR Symphony Orchestra conducted by Hans 
Schmidt-Isserstedt. M2" disc (*CL-P- 18047) 
CONTENTS: Das Rheingold -Entrance of the 

Gods into Valhalla; Die Wal\ure Ride of the Val' 

kyries, Magic Fire Music; Siegfried Forest Murmurs; 

Die Gotterda'mmerung Siegfried's Rhine Journey, 

Siegfried's Funeral Music. 

Wagner: Lohengrin Prelude to Act I, Prelude to 
Act III, Bridal Chorus, In fernem Land. And 
Wagner: Die Meistersinger Prelude to Act I, 
Prelude to Act III, Wahnmonolog, Prize, Song. 
Chorus and Orchestra of the Hamburg Opera con' 
ducted by Leopold Ludwig, with Walter Geisler 
(tenor) and James Pease (baritone). 1<12" disc 
(*DT-DTL-93054) $3.98. 

Munch Conducts Wagner. Boston Symphony Orches' 

tra conducted by Charles Munch. 142" disc 

(*V'LM-2119) $3.98. 

CONTENTS: TrninhauserOverture, Venusberg 
Music; Die Gotterda'mmerung Siegfried's Rhine 
Journey; Die Wal\ure Magic Fire Music. 

More music of the immortal Wagner this month, 
but most of it is very uneven. Kempe seems mannered, 
first too fast, then unbearably slow. Wagner's music 
needs little, if any, interpreting; Kempe is better with 
the Rosen\avalier excerpts . . . Schmidt'Isserstedt's 
disc is difficult to criticise; it is not bad, but not bril- 
liant. Steinberg should have tackled these items for 
Capitol (TNR June '57 8? May '53) . . . Leopold 
Ludwig is a new name to us. He and the soloists on his 
Wagnerian record do quite well with their material, 
and the results were satisfying . . . Easily the out- 
standing of this quartet of discs is the Munch one. 
W'e were quite unprepared for it, never having heard 

any Wagner conducted by M. Munch. Memories of 
Toscanini were conjured up as we listened; this is a 
real thriller. 

Mozart: Symphony No. 38 in D, K. 504 ("Prague") . 
One side, and Mozart: Symphony No. 39 in E-flat, 
K. 545. Philharmonia Orchestra conducted by Otto 
Klemperer. M2" disc (*ANG-35408TP) $3.48. 
142" factory-sealed disc (*ANG-35408) $4.98. 
Mozart: Serenade in G, K. 525 ("Eine Heine Nacht' 
musik"). And Mozart: Serenata Notturna in D, 
K. 239. One side, and Mozart: Divertimento in D, 
K. 251. Boyd Neel Orchestra conducted by Boyd 
Neel. 1-12" disc (*UNI'UNLP-1042) $3.98. 
Mozart's last three symphonic miracles were com." 
posed in a single summer: 1788. They are acknowl- 
edged to be the epitome of the composer's develop' 
ment of the form and leagues ahead of any of the 
previous symphonies. In the present recording, 
Klemperer makes a very convincing case to put the 
Symphony >{o. 38 in the same exalted atmosphere 
with the final three. Although in the brighter key 
of D major (and cast in a three'movement, minuet' 
less form), the >Io. 38 still has its moments of 
melancholy. The trumpets in the score contrast with 
the mellow clarinets found for the first time in the 
Symphony >fo. 39. In the E'flat symphony, Klem' 
perer's reading is one of the best available. Our long' 
time favorite version of this work, by Beecham, has 
been withdrawn, but a new one by him was just re' 
leased, reviewed elsewhere in this issue. Strong com' 
petition comes also from Angel's own von Karajan, 
where the coupling is the Clarinet Concerto. Von 
Karajan gives a less urgent, slightly more velvety 
presentation of the work; Klemperer's tempos are 
slightly faster throughout. 

Mozart's most popular serenades receive gorgeous 
performances on this disc, as does the less familiar 
Divertimento T^o. 11. The latter work is scored for 
strings, two horns, and a solo oboe. The Einc \leine 
is the equal of any present version, matched pos' 
sibly by Prohaska on Vanguard. The Serenata Hot' 
turna lacks the beautiful glow of the Zagreb en' 
semble (*VAN'VRS'482), but is by no means a 
poor performance. Unicorn's sound, engineered by 
Peter Bartok, is impeccable. N. 

Franck: Symphony in D minor. Boston Symphony 
Orchestra conducted by Charles Munch. M2" 
disc (*V'LM-2131) $3.98. 

Debussy: La Mer. One side, and Ibert: Escales ("Ports 
of Call"). Boston Symphony Orchestra conducted 
by Charles Munch. 1-12" disc (*V-LM'2H1) 

There will be many who will claim this to be the 
greatest reading of the Franck D minor, and we 
would not wish to argue the point. If it is not the 
greatest or even our favorite, we will gladly admit 
that it is magnificent. It is not the overly lush type, 
nor is it the too fast and brusque type; it is rather 
a thoughtful and extremely careful reading that 



* indicates LP 33 1/3 rpm. 

indicates 45 rpm. 


The ISlew Records 


moves along and does not dawdle, "but is gentle and 
poetic at the right times. There is some fabulously 
beautiful playing extracted from the Boston by 
Munch. For sheer beauty of orchestral sound, this is 
about the best thing yet from Munch and the B.S.CX 
The mikmg of the woodwinds is rather conspicuous, 
the brass plenty heavy in the climaxes, but the total 
effect is stunning. Someone goofed in mastering the 
"A" side; about one'third the way through there is 
some wavy volume for a few seconds, but this is 
soon forgotten in the glow of this beautiful reading, 
playing, and reproduction. 

Munch etches a striking picture of the sea with 
careful control of instrumental color and dynamics. 
Here is a virtuoso performance that never loses sight 
of the music and the picture painting to get tangled 
up in its own technical fussiness. The art is much 
greater when the technical aspect is unnoticed be' 
cause the musical beauty is so prominent, and 
Munch achieves this feat with the B.S.O. in La Mer 
and again in Escales. The various ports of call take 
on distinctive colorings characteristic of the locale; 
and, again, one must admire the artistry of the 
orchestra members. RCA Victor has housed this 
disc in a fine album with ten pages of excellent sea 
pictures and descriptive notes. The reproduction of 
the Boston orchestra on the present pair of discs is 
as good as anything you can hear on discs today. 


Overture! Hollywood Bowl Symphony Orchestra con" 

ducted by Felix Slatkin, M2" disc (*CL-P-8380) 


CONTENTS: 1812 Overture (Tchaikovsky); 
Light Cavalry Overture, Poet and Peasant Overture 
(Suppe); William Tell Overture (Rossini). 
Espana! Hollywood Bowl Symphony Orchestra con' 

ducted by Felix Slatkin. 1-12" disc (*CL'P-8357) 


CONTENTS: Capnccio Espagnol (RimskyKor' 
sakov) ; Alborada del Gradoso, Bolero (Ravel) ; Iberu 
Triana (Albeniz;). 
Fiesta! Hollywood Bowl Symphony Orchestra con' 

ducted by Carmen Dragon. 1-12" disc (*CL-P' 

8335) $3.98. 

CONTENTS: Le Cid Aragonaise (Massenet); 
Carmen Chanson boheme (Biset) ; La Paloma ( Yra< 
dier); Jota Aragonesa (Glinka); La Virgin de la 
Macarena (Monterde); Las Chiapanecas (trad.); 
LesFilles de Cadiz (Delibes); Andaluza (Granados); 
Jamaican Rumba (Benjamin); La Golondrina (Serra' 
dell); Granada (Lara). 

We looked back on our critique of Grieg's Peer 
Gynt Suites and the Caucasian Sketches of Ippolitov 
Ivanov by the Hollywood Bowl Orchestra (TNR 
June '56), and noted that ". . . we never thought too 
highly of (it), although . . . this group is of a 
much higher caliber than it was a few years back." 
Evidently the record-buying public thinks extremely 
well of the Hollywood Bowl Orchestra, for their re- 

cordings of the popular classics are continually among 
the best'sellers. Here are three more, containing music 
that nearly everyone loves, played in the best "pops" 
style, with CapitoFs well'known magnificent repro' 

Prokofiev: Peter and the Wolf, Op. 67. Sterling Hoi- 
loway (narrator) with orchestra. One side, and 
Dukas: L'Apprenti Sorcier (from the film "Fan' 
tasia"). Orchestra conducted by Leopold Stow 
kowski. M2" disc (*DISNEYLAND WDL-3016) 

Prokofiev: Peter and the Wolf, Op. 67. Philadelphia 

Orchestra conducted by Eugene Ormandy, with 

Cynl Ritchard (narrator). One side, and Britten: 

Young Person's Guide to the Orchestra, Op. 34. 

Philadelphia Orchestra conducted by Eugene Or' 

mandy. 1-12" disc (*OML-5183) $3.98. 

Here is a favorite of the kiddies, presented in two 

versions as different as night and day. Sterling Hollo* 

way and the Disney crew have taken Prokofiev's 

work and chopped it into little bits, making it 

easier for digestion by the lollypop s-et. The narra' 

tion has been changed; the scene which involves 

Grandfather has been excluded, and Sonia (the 

duck) does not die in the belly of the wolf, making 

a happy ending for all. Holloway s voice is just 

perfect for the reading, and he injects sly humor 

into many of the passages. The album is definitely 

not a best buy, however, for the other side consists 

of nothing more than a very mediocre performance 

of Dukas* The Sorcerer '$ Apprentice, stretched out 

to fill the whole side of the disc. 

Columbia's presentation is a different story. Cyril 
Ritchard narrates the tale of Peter in its entirety, 
and Ormandy leads the Philadelphia Orchestra 
through the musical score with beautiful ease. The 
Britten work is performed with great verve, and the 
splendid reproduction makes the disc a wonderful 
record for the audiophile. L. 

Brahms: Symphony No. 1 in C minor, Op. 

land Orchestra conducted by George Ssell. M2" 
disc (*EPIC LC-3379) $3.98. 
Beethoven: Symphony No. 3 in E-flat. Op. 55 

("Eroica"). Cleveland Orchestra conducted by 

George Szjell. 1-12" disc (*EPIC LO3385) $3.98. 

Current Market Price: #2.98. 

It is no small accomplishment to record two works 
as familiar as these and emerge with a creditable 
result. Almost every major conductor has had his 
say about both of these favorite symphonies. Sur' 
prising it is, then, to find that there is still a possi' 
bility of injecting a new breath of vitality into their 
interpretation. We are not saying that Maestro Szell 
has come along with the best of either symphony; 
suffice it to say, however, that he has hit very close 
to the top of the mark on both and has provided 
two very exciting listening experiences. 

There is a wealth of beauty in the fine brass 
sounds that the Cleveland Orchestra has given us in 

* indicates LP 33 1/3 rpm. 
indicates 45 rpzou 






the final movements of both symphonies. The Cho' 
rale section of the Brahms work seems almost the 
equal of the Philadelphia Orchestra sound in live 
performance and considerably better than its present 
recording (*OML-4477). The final measures of 
Shell's "Eroica" generate a tremendous electric ex- 
citement, certainly the peer of any version except 
Toscaninf s. Our touchstone for the Beethoven has 
been the Steinberg (*CL-P'8334, TNR May '56) 
since its issue; the present reading is less meditative 
in the slow movement and generally lacks the refined 
sound of the Pittsburgh Orchestra under Steinberg. 
SzelFs Brahms lacks the careful beauty that Walter 
can evoke, but it may in part, at least be more 

Here are two surprisingly good recordings of 
standard works. If you do not have either sym' 
phony, they are nearly as good as any available. 
The temporary bargain price on the "Eroica" makes 
it a very attractive prise, indeed! N. 

Vienna. Chicago Symphony Orchestra conducted by 
Fritz; Reiner. M2" disc (*V'LM-2112) $3.98. 
CONTENTS: Morning Papers Waltz, Emperor 
Waltz, Blue Danube Waltz (Strauss); Invitation to 
the Dance (Weber); Village Swallows (Josef 
Strauss); Der Rosen\avalier Waltzes (R. Strauss 
arr. Reiner). 

The feature of this disc is the bound'in 11 -page 
monograph on Vienna, with pictures of such points 
of interest as the State Opera House, the Johann 
Strauss monument, and various street scenes. The 
music is all too familiar, yet seemingly always wel- 

Rimsky-Korsakov: Tale of the Tsar Saltan Suite, Op. 
57. One side, and Rimsky-Korsakov: May Night 
Overture. And Rimsky-Korsakov: Russian Easter 
Overture, Op. 36. I/Orchestre de la Suisse 
Romande conducted by Ernest Ansermet. 1-12" 
disc (*L-LL-1635) $3.98. 

Here is a most welcome disc, one that recognizes 
Romsky-Korsakov's genius for orchestration and cap' 
tures it in superlative sound. Ansermet is a recognised 
expert with the Russian repertoire, and the selections 
recorded here are all excellent readings. The Tsar 
Saltan, an exciting work, is a suite selected by the 
composer from his ninth opera. Musically, the move- 
ments are united by a trumpet fanfare, which forms 
the introduction to each of them and plays an impor- 
tant part in the last. 

The May Tvfight Overture is an earlier work (Rim- 
sky's second opera) and is typically Russian, some' 
what indebted to folk themes. It is the performance of 
the familiar Russian Easter, however, that distin- 
guishes this disc. From the opening chorale movement 
to the exultant coda, Ansermet's reading is one of the 
most exciting things we have heard in many a month. 
Sonically, the disc out-ffrr's anything London has 
done. Highly recommended. N. 

Music of Richard Rodgers. Andre KostelaneU and 
his Orchestra. 2-12" discs in folder (*OC2L-3) 

CONTENTS: How Was I to Know; A Ship 
without a Sail; You Too\ Advantage of Me; Soldo* 
quy; Wait 'til You See Her; Most Beautiful Girl in 
the World; Lover; Carousel Waltz; Do I Love You; 
Ev'ry Sunday Afternoon; Have You Met Miss Jones?; 
Over and Over Again; Little Girl Blue; Thou Swell; 
I Could Write a Bo&\; It's a Grand 7#g'ht for Sing' 
ing; Loneliness of Evening; Oklahoma! (medley); 
Where's That Rainbow; My Funny Valentine; Mimi; 
My Romance; You Have Cast Your Shadow on the 
Sea; South Pacific (medley); Quiet Wight; Dancing 
on the Ceiling; With a Song in My Heart. 

Music of George Gershwin. Percy Faith and his Or- 
chestra. 2-12" discs in folder (*C-C2L-1) $7.98. 
CONTENTS: Fascinatin Rhythm; A Foggy Day; 
Soon; Clap To' Hands; Embraceable You; Mine; 
Somebody Loves Me; I Got Plenty o' l^uttin; Sum- 
mertime; Be$s, You Is My Woman; My Man's Gone 
How; l^ice Wor\ if You Can Get It; For You, for 
Me, for Evermore; Liza; 'S Wonderful/; Love Is 
Here to Stay; They Can't Ta\e That Away from 
Me; The Man I Love; Love Wal\ed In; Oh, Lady 
Be Good; Preludes Tsfos, 2^3; Maybe; Someone to 
Watch over Me; They All Laughed; Bidin' My 
Time; I Got Rhythm. 

Music of Jerome Kern. Paul Weston and his Or- 
chestra. 2-12" discs in folder (*C-C2L2) $7.98. 
CONTENTS: Smo\e Gets in Your Eyes; You Are 
Love; She Didn't Say Yes; They Didn't Believe Me; 
Why Was I Born?; Who?; Yesterdays; All the 
Things You Are; Why Do I Love You?; The Touch 
of Your Hand; Loo\ for the Silver Lining; The 
Song Is You; Can I Forget You; Just Let Me Loo\ 
at You; Lovely to Loo\ At; In Love in Vain; I 
Dream Too Much; Long Ago and Far Away; Folks 
Who Live on the Hill; All Through the Day; The 
Way You Loo\ Tonight; Dearly Beloved; I'm Old 
Fashioned; A Fine Romance. 

Music of Cole Porter. Michel Legrand and his Or- 
chestra. 2-12" discs in folder (*C-C2L-4) $7.98. 
CONTENTS: Love of My Life; Ev'ry Time We 
Say Goodbye; So in Love; I Love You; I Get a 
Kic\ Out of You; Love for Sale; I Am in Love; 
Begin the Beguine; In the Still of the >{ight; True 
Love; Just One of Those Things; From this Moment 
On; All through the Nig^t; It's All Right unth Me; 
Wight and Day; What Is This Thing Called Love?; 
I've Got You under My S\in; Anything Goes; 
Blow, Gabriel Blow; Too Darn Hot; Ridin' High; 
You Do Something to Me; Don't Fence Me In; 

In this stream-lined long playing age, Columbia 
provides a cross-section of America's greatest popU' 
lar music in four double-disc volumes a veritable 
two-inch shelf of classics by George Gershwin, 
Jerome Kern, Richard Rodgers and Cole Porter. The 



* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 





"Twin CL Series" makes its debut with these authori' 
tative collections performed by incomparable inter- 
preters of popular music Percy Faith, Andre Kos- 
telanetz, Michel Legrand and Paul Weston. 

As these albums will make most acceptable 
Christmas Gifts, we suggest that dealers lay in a 
good supply of them; we cannot imagine any lover 
of show music not being thrilled to receive one. 

R. Strauss: Bin Heldenleben, Op. 40. Saxon State 
Orchestra, Dresden, conducted by Karl Bohm. 
1-12" disc (*D-DL-9927) $3.98. 

Strauss' 1 Bin HelcZenleben provided the culmination 
of a ten'year period of the development of the tone- 
poem, probably the musical form for which he is most 
readily recognized today. At the age of 34, he had 
Don Juan, Death and Transfiguration, Till, Zara* 
thustra, and Don Quixote behind him. Small wonder, 
then, that we can detect in the present work an ele- 
ment of self-satisfaction bordering on smugness. 

Still, Ein Heldenleben is a thrilling work, though 
we must admit that the present recording presents us 
with a slightly lethargic hero. Bohm's reading of this 
work lacks for us the vitality of Reiner's recording 
with the Chicago Symphony (*V-LM-1807, TNR 
Oct. "54) , yet what we interpret as lethargy may be 
assessed by other hearers as an increase of dignity and 
stature. The disc is adequate sonically and should 
appeal to many. Our own personal preference, how- 
ever, remains the Reiner version. N. 

Rossini: Guglielmo Tell Overture. And Offenbach: 

Orfee aux Enfers Overture. One side, and Sme- 
tana: The Bartered Bride Overture. And Thomas: 
Mignon Overture. And Suppe: The Beautiful 

Galatea Overture. Philadelphia Orchestra con- 
ducted by Eugene Ormandy. 1-12" disc (*C-ML- 
5206) $3.98. 
An unusual collection of familiar overtures done 

to a turn by the Philadelphians under Ormandy. 

Brilliant playing with reproduction to match. 

Beethoven: Symphony No. 9 in D minor, Op. 125 

"Choral"), Frances Yeend (soprano), Martha Lip- 
ton (meMO'SOprano), David Lloyd (tenor) and 
Mack Harrell (baritone); Westminster Choir di- 
rected by John Finley Williamson; and Philhar- 
monic-Symphony Orchestra of New York con- 
ducted by Bruno Walter. 1-12" disc (*C-ML-5200) 

Current Market Price: #2.98. 

This is a completely new recording, in spite of 
the fact that Dr. Walter has recorded all or part of 
the Ninth for Columbia on two previous occasions. 
In the fall of 1949 the first such recording was re- 
leased; the critics generally did not praise the choral 
movement. Then in October 1953 a second issue of 
the same recording was made, only with the choral 
movement re-done by the same artists; this edition 
generally found favor with the critics because of 
the improvements that had been made. 

Now, however, we have another issue by virtually 
the same forces except for the soloists; only Mack 
Harrell has been retained from the previous four- 
some. Frances Yeend is superior to her predecessor 
(Irma Gonzalez); the others are about on a par. 
This marks the first time that Beethoven's "Choral" 1 
Symphony has been recorded on a single LP disc 
by first-rate artists (but not the first time by any 
artists; see TNR Jan. '57). As such, the disc would 
be a bargain at its regular price; since it is Colum- 
bia's classical "Buy of the Month" for October, 
the sale of this item should be very, very brisk. 



Beethoven: (5) Concertos. Artur Rubinstein (piano) 
with the Symphony of the Air conducted by Josef 
Krips. 5-12" discs in box (*V-LM-6702) $15.98. 
Five discs for the price of four, each concerto 
complete on one disc, and Rubinstein's artistry all 
contribute toward making this an outstanding and 
unusual issue. The five discs, housed in a box, are 
accompanied by a fine sixteen page booklet artisti- 
cally laid out with pictures and notes. 

The music is the thing, and it is this about which 
we are most concerned. There is, of course, a con- 
sistent level of excellence in performance and repro- 
duction. Both soloist and orchestra are dependable 
always, and since the whole project was recorded in 
ten days there is a unanimity that is pleasing. Yet, 
one does not listen to five Beethoven concertos at 
one sitting (this set is not arranged in automatic 
sequence, which is as it should be each work on 
a single disc) so unanimity is not so important as 
individual excellence of each work. 

Rubinstein's approach is humble and sympathetic 
rather than overly-ambitious and heaven-storming. 
His playing of the Beethoven concertos leans heavily 
toward the musical, gentle romantic rather than the 
big, granite, pounding type of Beethoven. There are 
many examples of individual Rubinstein touches, but 
they are always logical and tasteful and would be 
entirely convincing to anyone not familiar with the 
usual conventions. Concertos NOS. 1 and 2 are 
rather lightweight, speaking broadly, and T^o. 3 is 
not overburdened with avoirdupois. There is, if 
anything, an excess of lyricism at the expense of 
strength; yet, one must prefer this to a too brittle 
or too ponderous performance. The pianist's technical 
work is ever a joy, clean and clear with a wonderful 
tone that never gets harsh. The lovely and rhapsodic 
T^o. 4 is possibly the greatest performance of the five 
from this artist, for here Rubinstein's style is truly at 

The magnificent Tvjo. 5, "Emperor," is a colossal 
example of how an artist of Rubinstein's calibre can 
impose his conception on a work and make it con- 
vincing. Here is not a reading of the breadth and 
power usually associated with the work, yet the sheer 
elegance of the playing and the innate musicianship 

* indicates LP 33 1/3 rpm. 
Indicates 45 rpm. 







and logic of this great man does no malice to the 
score and succeeds in producing a fine statement of 
the music. 

Recorded with spacious hall resonance, the Sym' 
phony of the Air under Josef Knps mirrors the 
style of the soloist with uncanny exactness. There 
is a sweet Viennese patina throughout the orchestral 
playing and complete rapport between soloist and 
conductor and orchestra. E. E. SHUPP, JR. 

Vivaldii: H Cimento dell' Armenia e dell* Xnvenzlone, 

Op. 8 I quattro stagioni ("The Four Seasons"). 
Reinhold Barchet (violin) with the Pro Musica 
String Orchestra, Stuttgart, conducted by Rolf 
Reinhardt. M2" disc (*VX-PL-9520) $4.98. 
(TNR Jan. '56) 

At long last The Four Seasons, taken from Vox' 
magnificent complete reading of II Cimento (TNR 
Jan. '56) has been made available. Either this one 
or Epic's by Ayo and I Musici (TNR Aug. '56) 
should satisfy anyone desiring to add this lovely 
item to his library. 

Dvorak: Concerto in A minor, Op. 53. One side, and 
Glazounov: Concerto in A minor, Op. 82. Nathan 
Milstein (violin) with the Pittsburgh Symphony 
Orchestra conducted by William Steinberg. M2" 
disc (*CL'P-8382) $3.98. 

Tchaikovsky: Concerto in D, Op. 35. Ivry Gidis (vio" 

lin) with the Vienna Symphony Orchestra con^ 

ducted by Heinrich Hollreiser. One side, and 

Tchaikovsky: Concerto No. 1 in B-flat minor, Op. 

23. Monique de la Bruchollerie (piano) with the 

Vienna Symphony Orchestra conducted by Rudolf 

Moralt. M2" disc (*VX-PL-10350) $4.98. 

Ravel: Concerto in G. Vlado Perlemuter (piano) with 

the Concerts Colonne Orchestra conducted by 

Jascha Horenstein. And Ravel: Menuet Antique. 

Vlado Perlemuter (piano). One side, and Ravel: 

Concerto for the Left Hand. Vlado Perlemuter 

(piano) with the Concerts Colonne Orchestra con* 

ducted by Jascha Horenstein. And Ravel: Pavane 

pour un Infante definite. Vlado Perlemuter (piano). 

M2" disc (*VX'PL-9220) $4.98. (TNR Jan, '56). 

A pairing of less hackneyed concertos brings Mil" 

stein to us playing, with magnificent feeling and in' 

sight two works which he admits hold a special 

place for him. With the Glazounov he made his 

his first public orchestral appearance as a child, un' 

der the direction of the composer, and also his debut 

in the United States under Stokowski in Philadel' 

phia. The Dvorak is a Milstein favorite for its Sk' 

vonic folklore background; he also considers it uii' 

justly neglected. We have never cared too much for 

the Dvorak, but must admit Milstein makes a mighty 

good case for it in this recording. Here is masterful 

fiddling backed up with intense conviction, and he 

puts it over with brilliance. Milstein' s playing is al' 

ways solid and secure as well as brilliant, and his 

tone is big and rich. Other recorded versions of the 

Dvorak, including Oistrakh's, do not excel this one 
for interpretation or performance. The very same 
words apply to the Glazounov, a concerto we always 
thought a pleasant lyrical diversion, not too long 
and taxing on the listener; just good, pleasant music. 
Steinberg and the orchestra have a hand in the sue' 
cess of this disc, as do the Capitol recording engi' 

A bit of re'coupling brings two good Vox re' 
cordings of the Tchaikovsky concertos for piano and 
for violin together on one disc. Mile. Bruchollerie 
plays a most poetic as well as very accurate piano 
concerto. After just hearing Campoli do the violin 
concerto, Gitlis sounds like he's in a terrific hurry, 
and the urgency is greater as the work progresses. 
He has a dazzling technique, but he misses most of 
the message. Reproduction is good, but gets sizzly 
near th labels in this bargain coupling; each work 
runs about thirty minutes. 

Lifted from the complete piano music of Ravel 
album (TNR Jan. '56), Vox offers both piano con' 
certos, plus two short solos. "This is Ravel playing 
of a high order by a great exponent of the music, 
as reported in these columns a year and a half ago. 
Logical couplings and superb playing make this a 
recommended disc. E. E. SHUPP, JR. 

Liszt: Concerto No. 1 in E-flat. One side, and Liszt: 
Concerto No. 2 in A. Julius Katchen (piano) with 
the London Philharmonic Orchestra conducted by 
Ataulfo Argenta. 1-12" disc (*L-LL-1683) $3.98. 
Five other LP's couple the Liszt Ho. 1 and >fo. 2 
Concertos, a perfectly natural and logical coupling. 
These Liszt piano concertos are tops in glittering vir' 
tuoso writing for the piano and orchestra, and cer> 
tainly make no demands on the listener, for the music 
is obvious and predictable and moves on swiftly by 
its own impulse. There are no uninteresting segments 
or padding, and all of the music has a blatant convk' 
tion. Liszt was getting on in years by the time these 
two concertos were performed, and he owed nothing 
to the classical concerto or to his contemporaries in 
form, for these two concertos were rather different. 
They used the orchestra to good advantage, they are 
played without a break and lack classical form 
(strictly speaking); and they were, in a small way, a 
step forward in the direction music has taken, even in 
our day. 

The >{o. 1 is the much more popular of the two, 
having about twice as many recordings in the cata' 
logs. Julius Katchen, in a blaze of accurate technical 
playing, essays the grand manner usually associated 
with music of the Liszt school. There is not the feeling 
of speed for speed's sake, but rather a complete sym' 
pathy with the urgency of the music. He carves the 
outlines of the music with mighty strokes and achieves 
many moments of thrilling grandeur. In this task his 
accomplice on the podium, Ataulfo Argenta, has a 
field day too. The orchestral portions are important 
in the music, and Argenta loses no opportunity to 



indicates LP 38 1/3 rpm. 
indicates 45 rpm. 


The New Records 


make them ring. These boys see eye to eye, and they 
create an impressive account of the music. The IN[o. 2 
is inclined to a more introspective shade of music, 
and both Katchen and Argenta take care of this 
nicely, rising to impressive heights when necessary. 
For those who like the Lisst concertos, this disc will 
prove a real joy, with its magnificent performances 
by pianist and orchestra and the stunning reproduc' 
tion. E. E. SHUPP, JR. 

Vieuxtemps: Concerto No. 4 in D minor, Op. 31. 

Zino Francescatti (violin) with the Philadelphia Or' 

chestra conducted by Eugene Ormandy. One side, 

and Lalo: Symphonic Espagnole, Op. 21. Zino 

Francescatti (violin) with the Philharmonic'Sym.' 

phony Orchestra of New York conducted by Dimi' 

tri Mitropoulos. M2" disc (*C-MI>5184) $3.98. 

Henri Vieuxtemps wrote six concertos for his 

chosen instrument, and, while they do not challenge 

the efforts of Beethoven, Brahms and Sibelius in 

this genre, they are pleasant, tuneful works in the 

manner of Paganini and Viotti. This is the first (it 

seems incredible) recording of the 4th Concerto, and 

M. Francescatti and the Philadelphia Orchestra 

under Ormandy do it full justice. The lovely mekv 

dies and virtuoso fireworks are presented in happy 


Laic's Symphonic Esfragnole (it is neither sym' 
phony nor Spanish) is in an entirely different class 
it is at least the eighth LP version, and one can 
only report that Francescatti and Dimitri Mitropou' 
los play it with all the elan and sparkle that M. 
Edouard Lalo could have dreamed of in his happiest 
moments. The recording, incidentally, omits the third 
movement, Intermezzo. 

The sound in both instances is very good; both 
orchestra and, of course, soloist receive handsome 
treatment, and the result is a genuinely fine disc 
that lies in the "near great" field. W. A. O. 

Tchaikovsky: Concerto in D, Op. 35. Jascha Heifets 
(violin) with the Chicago Symphony Orchestra 
conducted by Frits Reiner. 1'12" disc (*V'LM' 
2129) $3.98. 

Rachmaninoff: Concerto No. 1 in F-sharp minor, Op. 
1. One side, and R. Strauss: Burleske in D minor. 
Byron Jam's (piano) with the Chicago Symphony 
Orchestra conducted by Fritz Reiner. 1'12" disc 
(*V-LM-2127) $3.98. 

One thing this pair has in common is uncommonly 
fine orchestral accompaniments, for RCA Victor has 
a dependably good accompanist in Fritz Reiner. The 
orchestral part on both discs is splendid, not only as 
regards Reiner's direction, but also as far as beau' 
tiful orchestral playing is concerned. 

We had mixed reactions as we listened to the 
Heifetz performance of the Tchaikovsky Concerto, 
and a second hearing did not change the opinion. 
Here is a man striving for an "ultimate" perform^ 
ance, and the listener is too often conscious of this 
very fact, which points up every tiny flaw, every 

scrape, every rough edge, every deviation from pitch, 
however slight. Other great readings invariably carry 
the listener along with the musical message, and in 
nearly every case the listener is not aware of minor 
imperfections. We just cannot warm up to the 
Heifets reading as a sincere, compelling musical 
experience, particularly considering that it is a thrice* 
familiar musical work of broad Romantic appeal. 
Francescatti, Milstein, Morini, Oistrakh, and Stern 
(and for that matter, maybe even Rabin and Ricci) 
present just as brilliant a display of fireworks but 
seem to have much more interest in driving home 
the music with conviction and placing the poetry 
and drama paramount. Our suggestion is to com' 
pare a couple of the above mentioned with the 
Heifetz before making a hasty decision. 

Byron Janis' readings of the Rachmaninoff HO. 1 
and the Strauss Burleske are examples of strikingly 
fine piano playing, technically, and a remarkable 
grasp of the musical content. The Rachmaninoff is 
poetic and grand, the Strauss bright and sparkling. 
Even the quality of the reproduction is different 
(purposely?), with the Strauss closer and brighter, 
the Rachmaninoff a bit more distant and mellower. 
This is clearly a disc to be recommended and to 
be admired, and each work compares very favorably 
with any other recorded version. 


Mendelssohn: Concerto in E minor, Op. 64. One side, 
and Bruch: Concerto No. 1 in G minor, Op. 26. 

Ruggiero Ricci (violin) with the London Sym' 
phony Orchestra conducted by Pierino Gamba. 
M2" disc (*L-LL-1684) $3.98. 
Saint-Saens: Concerto No. 3 in B minor, Op. 61. One 
side, and Paganini arr. Kreisler: Concerto in One 
Movement. Alfredo Campoli (violin) with the 
London Symphony Orchestra conducted by Pierino 
Gamba. M2" disc (*L-LL-1624) $3.98. 
London Gramophone's youthful conductor, Pierino 
Gamba, together with violinists Ricci and Campoli, 
perform the above quartet of violin concertos quite 
well. The Bruch'Mendelssohn pairing is available in 
no less than four other versions, notably the one by 
Milstein and Steinberg (*CL-P-8243). 

The other disc is a most welcome addition. It 
provides a first hearing of the Kreisler arrangement 
of the first movement of the familiar Paganini Con' 
certo HO. 1 in D. Kreisler rescored it entirely and 
revised and edited the solo part. Violin enthusiasts, 
especially Kreisler fans, will value the disc for this 
work alone. Francescatti performs the Saint'Saens 
Concerto HO. 3, together with the entire Paganini 
Cancerto HO. 1 (*C'ML-4315), and this is the ver' 
sion recommended if you wish the full Paganini 
work. Nevertheless, Campoli's performance of the 
Saint'Saens is especially fine particularly in the 
second movement duet for low'register clarinet and 
violin, where his excellent intonation is particularly 
evident. For us, the Kreisler transcription is the 

* Indicates LP S3 1/3 rpnou 
indicates 45 rpm. 




The New Records 


reason for adding this disc to our library; the fine 
reading of the Saint'Saens is an added bonus which 
will undoubtedly prove welcome. N. 

R. Strauss: Concerto No. 1 in E-flat (1883). One side, 
and R. Strauss: Concerto No. 2 in E-flat (1942). 

Dennis Brain (French horn) with the Philhar' 

monia Orchestra conducted by Wolfgang Sawal' 

lisch. M2" disc (*ANG'35496TP) $3.48. M2" 

factory-sealed disc (*ANG-35496) $4.98. 

Here is a must for any comprehensive library of 

classical music. The two Strauss horn concertos will 

probably never be recorded or performed as they 

are on this disc. One thing is certain they will 

never again be performed by Dennis Brain, for he 

was killed in an automobile accident on the second 

of September (1957). 

Brain had left for London after the final concert 
of the Edinburgh Festival. Speeding down the road 
just outside London, his sports car skidded off the 
road, overturned and smashed into a tree. Brain was 
killed instantly. 

His loss will have a tremendous impact upon the 
musical world for he was a great virtuoso of the 
horn, playing all types of music with equal ease. 
Brain made his formal debut at the age of 17, play 
ing with his father and the world-famous Busch 
Chamber Players. 

This recording, along with Brain's performance 
of the Hindemith horn concertos (due to be re- 
leased by Angel in early 1958), is a fitting memorial 
to one of the world's finest horn players. The Phil- 
harmonia Orchestra will find it difficult to fill the 
seat of first horn with a musician of equal talent. 



Mendelssohn: Octet in E-flat, Op. 20. Fine Arts Quar- 
tet, augmented. One side, and Tchaikovsky: Sere- 
nade in C, Op. 48. Sorkin Chamber Orchestra con- 
ducted by Leonard Sorkin. 1-12" disc (*VAN- 
VRS-1003) $4.98. 

Vanguard in its jacket notes makes the point that 
the two works presented on this disc encompass the 
entire development of the nineteenth century ro' 
mantic movement. Mendelssohn composed his Octet 
in 1825; Tchaikovsky wrote the Serenade in 1880. 
The Octet is a youthful work (Mendelssohn was 
sixteen when it was written), and the exuberance of 
youth is reflected throughout. The Fine Arts Quartet 
is augmented by performers of equal caliber to form 
the double quartet for which the work is scored. 

We were particularly impressed with the present 
reading of the Tchaikovsky Serenade by this small 
chamber group, since it emphasized for us a quality 
of this work that had never previously occurred to 
us: it is essentially a chamber work and could very 
likely be performed by a group almost as small as 
heard in the Mendelssohn. The available versions 

of this work come and go, and have enjoyed a wide- 
range variety of interpretations from the timid 
(Malko) to the barbaric (Ormandy). The present 
reading lies somewhere in the middle, very close to 
the Steinberg version. The jacket notes point up the 
use of the work for Balanchine's ballet Serenade, 
wherein the order of the last two movements are 
interchanged so that the work ends with the touch- 
ing EUgie, one of Tchaikovsky's most eloquent 
statements. The present recording, however, retains 
the usual order. ^- 

Beethoven: Quartet No. 7 in F, Op. 59, No. 1 ("Ra- 
soumovsky No. 1"). Koeckert Quartet. 1-12" disc 
(*D-DL-9917) $3.98. 

Beethoven: Sonata No. 1 in D, Op. 12, No. 1. One 
side, and Beethoven: Sonata No. 3 in E-flat, Op. 12, 
No. 3. Leonid Kogan (violin) and Gregory Gins- 
burg (piano). 1-U" disc (*VAN-VRS-6029) 

An eminently satisfying reading of Beethoven's 
Quartet >Io. 7 appears this month by the Koeckert 
Quartet, recognized as Germany's leading chamber 
music ensemble. A hasty check in the Schwann LP 
catalog indicates that all competing recordings of 
this are at least four years old; the more modern re- 
production of the present disc should make it pre- 
ferred even over the Columbia-Budapest recording 
(*C'ML'4579), for performance-wise it is its equal 
. Leonid Kogan re-demonstrates his great artistry, 
as he has so often done for us on discs, in collabora- 
tion with Gregory Ginsburg, in this pair of Bee- 
thoven Sonatas for Violin and Piano. A nice coupling, 
though it is only fair to mention that Fournier and 
Doyen get Sonatas >{os. 1 and 2, and 3 on their 
Westminster disc at a dollar less (*WEST>XWN- 



Verdi: Rigoletto (complete), (Sung in Italian). Solo- 
ists, Chorus and Orchestra of the Rome Opera 
House conducted by Jonel Perlea. 2-12" discs in 
album (*V-LM-6051) $7.98. 

Duke - Jussi Bjoerling (t) 

Rigoletto Robert Merrill (bt) 

Gilda Roberta Peters (s) 

Sparafucile Giorgio Tozxi (bs) 

Maddalena Anna Maria Rota (c) 

Giovanna Silvana Celli (ms) 

Count Monterone Vittorio Tatowi (bt) 

This writer can remember very well the thrill he 
had hearing RCA Victor's full length recording of 
Rigoletto with Erna Berger, Jan Peerce, Leonard 
Warren and Italo Tajo. We sang its praises in the 
November 1950 issue of THE NEW RECORDS. Much 
more recently came the even more exciting, if not 
quite as musical, version on Angel with Callas, di 
Stefano, Gobbi and Zaccaria, noted in THE NEW 
RECORDS for April 1956. Now, somewhat inexplic" 



* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 


The ^ew Records 


ably, RCA Victor releases a new recording of 
Verdi's matchless score and, in this writer's opinion, 
lays a good-sized egg. 

Jussi Bjoerling's Duke of Mantua is well known 
in this country and is, in many quarters, highly 
admired. Roberta Peters is what Berlioz used to 
refer to as a "performer on the larynx" in short, 
she is vocally accurate and remains, without a 
shadow of a doubt, Miss Roberta Peters, coloratura 
soprano; any resemblance to Gilda is purely coinci' 
dental. Robert Merrill's Rigoletto can't hold a 
candle to Gobbfs, nor is it as expressive as Warren's, 
although it is a little more smooth vocally; but then, 
Rigoletto was not a smoothie by any means. Towi 
struck us as being only a so-so bass, but perhaps he 
didn't have too much opportunity (although Tajo 
nearly stole the show from Warren in the first act 

Perlea seems content to keep everyone together 
and lets it go at that which seems strange after 
the magnificent Aidd he conducted a year or so ago. 
The sound is good, but to crowd all of Rigoletto 
on two LP discs doesn't exactly make for high 
quality, despite variable groove pitch. The package 
is a departure, too, in that the two records form the 
end pieces, and the notes and the libretto are inside 
in book form there is even a "dust jacket." We 
prefer the more conventional box type package. 


Meyerbeer: Lea Huguenots (abridged). (Sung in 
French). Soloists, Academic Chorale de Paris and 
TOrchestre de F Association des Concerts Pasdeloup 
conducted by Jean Allain. 2" 12" discs in album 
(*WEST-OPW-1204). $9.95. 

Current Market Price: #7.96. 

Marguerite de Valois Renee Doria (s) 

Valentine . . Jeanne Rinella (s) 

Urbain Simone Coudere (ms) 

Raoul Guy Fouche (t) 

Saint'Bris Adnen Legros (bs) 

Comte de Nevers Charles Cambon (bt) 

Marcel Henri Medus (bs) 

"And now, my dear Watson, we have had some 
weeks of severe work, and for one evening I think, 
we may turn our thoughts into more pleasant chan- 
nels. I have a box for Les Huguenots. Have you 
heard the de Resskes? Might I trouble you then to 
be ready in half an hour, and we can stop at Mar' 
cini's for a little dinner on the way?" 

The foregoing and probably very familiar closing 
lines from Conan Doyle's immortal The Hound of 
the Bas\ervilles serve to demonstrate how much a 
part of operatic life Meyerbeer's fantastically suc- 
cessful Les Huguenots had become and equally fan- 
tastic was its sudden drop from popularity about the 
beginning of the first World War. Many theories 
have been advanced for this change on the part of 
the operating public. The increasing popularity of 
Wagner's "music dramas," the lack of singers having 

the ability to negotiate the difficult music (after all, 
it was Les Huguenots that brought about the 
Met's famous "Nights of Seven Stars" Melba, 
Nordica, Scalchi, the two de Resskes, Plangon and 
Maurel!). But whatever the cause, this writer has 
always felt that something very fine had disappeared 
when such operas as Les Huguenots, Robert Je 
Diable and L'Africaine were dropped from the 

Now, thanks to some real courage and imagination 
on Westminster's part, we have an abridged record- 
ing of the still famous Les Huguenots. It would 
be ridiculous to expect singing of the calibre that 
one is told existed towards the end of the last Gen- 
tury, but with the exception of a few lapses on the 
part of the tenor (why must he sing "Famour" as 
"Fa-ha-ha^mour" and "toujours" as "tou-'hou-hou- 
jours 1 '?) the singing is on an unexpectedly high 
level. The ladies do very well, and the basses are 
surprisingly good. 

Included in this abridged recording are the great 
Conjuration et Benediction des Poignards (Con" 
spiracy and Blessing 1 of the Swords), the remarkable 
final duet (O Ciel, ou courreZ'Vous?), as well as the 
duel septet, a longish scene between Valentine and 
Marcel and the duet between Marguerite and Raoul. 
The Page's Air, Raoul's Plus blanche que le blanche 
ermine and Marguerite's Beau pays, as well as Mar- 
cel's two bravura arias Seigneur rampart and Piff' 
Paffl, along with the overture and another orchestral 
piece are included among the shorter excerpts. 

The set is highly recommended for the genuine 
"grand opera" fan the average opera lover (i.e., 
the Puccini, Wagner, Verdi man) is cautioned to 
hear it first, although a single hearing will not do 
the work justice. One should have a predilection for 
the era and some nostalgic tendencies; the rewards 
will be generous indeed. The recorded sound is first- 
rate, and a libretto is included. 


Wagner: Tannhauser (excerpts). (Sung in German). 
Leonie Rysanek (soprano), Wolfgang Windgassen 
(tenor), Eberhard Waechter (baritone) and Josef 
Greindl (bass) with orchestra. 1-12" disc (*D-DL- 
9928) $3.98. 

Mozart: Die Zauberflaute (excerpts). (Sung in Ger- 
man). Rita Streich, Maria Stader (sopranos); 
Ernst Hafliger (tenor); Dietrich Fischer-Dieskau 
(baritone); Josef Greindl (bass); RIAS Symphony 
Orchestra and Chamber Choir and the Berlin 
Motet Choir conducted by Ferenc Fricsay. 1-12" 
disc (*D'DL-9932) $3.98. (TNR May '56). 
This month Decca adds two more records to its 
operatic excerpts series; both are, in the main, highly 

Tannhauser is particularly fine. The excerpts in- 
cluded are the Overture, Dich teure Halle, the Land- 
grave's Address, Blic\'ich umher, the Pilgrim's 
Chorus, the ubiquitous Song to the Evening Star, 

* indicates LP 33 1/3 rpm. 
indicates 46 rpm. 


PAGE 10 





Elisabeth's Prayer and the rousing Rome ?s[arration. 
All the soloists are top'flight (Windgassen is excep' 
tionally fine in the difficult Rome Narration). The 
three conductors, Rother, Ludwig and Leitner, all 
have essentially the same approach to the score so 
there is not the disparity between the various num' 
bers stylistically that one might expect. Good sound. 
The Magic Flute excerpts, taken from the com' 
plete set reviewed in the May 1956 issue of THE 
NEW RECORDS are, of course, beautifully sung. One 
can, (and does) however, quarrel with the portions 
selected. Why include the scene between Tamino 
and Sarastro which, when taken out of context, does 
not mean a great deal and ditto the trial by fire and 
water scene in the last act. Omitted are Papageno's 
Ein Madchen oder WeibcTien, and Ach ich fuhls, 
to mention but two glaring lacunae. But, perhaps, 
one should be thankful rather than complain this is 
gorgeous music and ideal for those who do not care 
to invest in the whole opera. It might even tempt 
some to do just that, too. W.A.O. 

The Art of Rosa Ponselle. Rosa Ponselle (soprano) 

with instrumental accompaniments. 242" discs in 

box (*CAM'CBL-100) $3.98. 

CONTENTS: La Vestale Tu che invoco, O nume 
tutelar; Ernani Ernani involami!; Aida Pur ti riv 
eggo, La tra foreste; La Gioconda Suicidio!; L'Afri' 
cana In grembo a me; Horma Casta diva, Mira o 
Norma; La Forza del Destine La vergine degli angeli, 
Pace pace mio dio, Finale; A 1'Aime (de Fontenailles); 
Si tu le Voulais (Tosti); Nightingale and the Rose, 
Op. 2, Ho. 2 (RimskyKorsakov); On Wings of 
Dream (Arensky); Ave Maria (Kahn); Serenade 
(Tosti); Good-Bye (Tosti); 'A Vucchella (Tosti); 
Lime d 'Estate (Tosti); Elegie (Massenet); When I 
Have Sung My Songs (Charles). 
Lieder Recital. Lotte Lehmann (soprano) with piano 

accompaniments. 1-12" disc (*CAM-CAL-378) 


CONTENTS: Das Madchen spricht, Op. 107, HO. 
3; Mem Mddel hat einen Rosenmund; Botschaft, Op. 
47, ^o. 1 (Brahms). In dem Schatten meiner Loc\en; 
Ana\reons Grab; Auf ein altes Bild; Auch l^leine 
Dance; Peregrina HO. 1 (Wolf). Gretel, Op. 11, HO. 
5 (Pfitzner). Ich liebe dich (Beethoven). Selige Hacht 
(Marx). Lehn* dine Wang' an meine Wang', Op. 1, 
Ho. 1 (Jensen). Die Manner sind Mechantl, Op. 95, 
HO. 3; Der Erl\omg, Op. 1; An die Musi\, Op. 88, 
Ho. 4 (Schubert). 

Once in a blue moon there is issued a set of records 
that permits the reviewer to open all the stops, to use 
such adjectives as fabulous, legendary, magnificent, 
sublime, and glorious and, what is more, to use them 
both truthfully and accurately. For example, our Funk 
and Wagnalls states that "magnificent denotes the 
possession at once of greatness, splendor and rich- 
ness' 1 ' could there be a better description of the Rosa 
Ponselle of the Twenties? Now, in a sudden access of 
generosity, RCA Victor makes available, at the low 

price of $3.98, a two record album that contains such 
legendary recordings as the two Vestale arias, the two 
Horma scenes, the Nile duet from Aida with the in' 
comparable Martinelli plus the Forza del Destino en' 
sembles with Martinelli and Pinsa. There is also an 
astonishing Ernani involami and a miraculous Africana 
excerpt. In addition there are some Tosti songs that 
Mme. Ponselle has made her own over the years, Luna 
d'Estate, A' Vuchella, Addio (sung in English) plus 
quite a few others. The transfers from the original 
masters is an amazing job there is very little surface 
noise and virtually no rattling. RCA also furnishes an 
attractive box and three pages of biographical data on 
the rare and radiant Rosa that are fascinating, as one 
might well expect. The fourth page is given over to 
listing all the selections along with recording dates. 
At the price, then, this set positively should not be 
passed up by anyone who professes the least interest 
in vocal music. Students of the voice are advised to go 
without lunch for a few days, if necessary, in order 
to buy it. 

After all the musical excitement and vocal opulence 
of the Rosa Ponselle records, Lotte Lehmann's lieder 
seem tame but this is not exactly fair, for Mme. Leh- 
mann is a very different sort of singer and this Camden 
disc of some fifteen assorted songs is a masterly one. 

Old timers can amuse themselves by figuring out 
how much this music would have cost in the pre'LP 
days. Certainly, in such cases as these, their record 
dollar is back on the gold standard, both vocally and 
monetarily, with a vengeance! WILLIAM A. OLSEN 


Anna Russell in Darkest Africa, Anna Russell (come' 
dienne) with instrumental accompaniments. 1'12" 
disc (*OML-5195) $3.98. 

Anna Russell continues with her barbed jabs at the 
entire musical world, and readers of THE NEW 
RECORDS know already that she sends us into stitches. 
The title of this disc has little to do with its con- 
tents, deriving from the fact only that it was re' 
corded at the Johannesburg Music Festival On side 
one Miss Russell presents her own version of Haw 
letto, singing soprano, mewo'soprano, tenor, bari' 
tone and accompanying herself at the piano; further, 
where the sense is important, she sings in simul' 
taneous English and Italian. On side two she gives a 
lecture (Backwards with the Fol\ Song) on folk 
singing, with Jose Rodriguez Lopes at the piano or 
accompanying herself on the guitar; then she lee' 
tures on "How to Enjoy Your Bagpipe" from the 
series Wind Instruments I Have Known. Miss Rus' 
sell has also written the illuminating jacket notes for 
this Columbia LP. 

If you liked Anna Russell Sings? (*GML-4594, 
TNR Dec. '57), Anna Russell Sings.' Again? (*C- 
ML-4733, TNR Oct. '53), Anna Russell's Guide to 
Concert Audiences (*OML-4928, TNR Nov. '54), 



* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 


The "N 



or A Square Tal\ on Popular Music (*OML'5036, 
TNR Aug. '55), you will surely eat this one up! 

Put the Blame on Mame. Somethin' Smith and the 
Redheads with orchestra conducted by Jay Raye. 
142" disc (*EPlCLN-3373) $3.98. 

Current Market Price: #2,98. 

CONTENTS: Seven Tears with the Wrong 
Woman; Lies; My Melancholy Baby; Bill Bailey, 
Won't Tou Please Come Howe; Put the Blame on 
Mame; Cruising Down the River; Tou Always Hurt 
the One Tou Love; 'Way Down Yonder in ^ew 
Orleans; Tou Cant Be True, Dear; Honey; You're 
J^obody 'til Somebody Loves Tou; Mandy. 

This is Epic's "High Fidelity Hit of the Month." 
It is very middle'class, compared to other such 
albums. Somethin" Smith has an odd way of slur' 
ring notes, making a mouth'washy sound. The teen* 
agers will like it because it's danceable, and the 
musical repertoire offered will bring back fond 
memories of the Roaring Twenties to many of the 
oldsters. Recommended only for followers of the 

The Restoration Sophisticate. Roger Lewis, Syd Alex* 
ander (tenors); Sanford Walker (baritone); Peter 
Warms (bass). M2" disc (*CONCORD 4003) 
$4.98. (TNR June '51). 

This disc of the sophisticated (naughty) songs of 
the English restoration was originally issued, under 
the Allegro label, in June 1951 and was reviewed 
at that time in TNR. It enjoyed a rather lively sale 
then; if you've been looking for a copy, it is now 
available again. 

Monteverdi: H Ballo delle Ingrate. (Sung in Italian.) 
Alfred Deller ( countermen or); April Cantelo, 
Eileen Mclaughlin (sopranos); David Ward (bari- 
tone) ; Ambrosian Singers; instrumental soloists and 
London Chamber Players directed by Alfred Deller 
M2" disc (*BG<BG-567) $4.98. 

Italian Songs. Alfred Deller (counter-tenor ) with 
Desmond Dupre (lute and gamba) and George 
Malcolm (harpsichord). 142" disc (*BG-BG-565) 

CONTENTS: Ken d* Amoroso Afetto, Amarilli 
(Caccini); Pallidetta qual Viola, Da te Parto (Sara- 
dni); ValH Profonde (Marco da Gagliano); Difesa 
non ha t O Cessate di Piagarmi, Bellezza che s'ama, 
O Dolcissima Speranza, La Speranza mi Tradisce (A. 
Scarlatti); Da Grave Incendio (Berti); Dolce mio 
ben (Donate); Dunque Basciar (Wert); Sonata tn 
A for Harpsichord (Paradisi); Toccata for Harpsi- 
chord (Rossi). 

The two discs listed above are real treasures. The 
first, a stirring performance of one of Monteverdi's 
finest works, belongs in every collection of baroque 
music; and if your curiosity has not led you into 
this magnificent period of European music, here is 
a fine way to start. Space does not permit any de- 
tailed description of the music's many glories take 

this writer's word for it, the record will bear many, 
many hearings. The soloists are superb a real find 
is David Ward, who sings Pluto. He is listed as a 
baritone but actually he is a fine, sonorous bass with 
an accurate sense of pitch and musical low notes. 
The recorded sound and performance are beyond 
cavil. As is always the case with old music such as 
this, scholars will differ as to how it should be per- 
formed, but the proof of the pudding still lies in 
the eating, and this representation carries conviction 
and makes sense along with all its unearthly beauty. 
One can neither ask for nor expect more. 

The collection of Italian baroque songs, sung by 
Alfred Deller, is another gem. It is the same sort 
of ideal phonograph record the first one is one 
capable of being played many times, actually de- 
manding repetition, for one just can not get all the 
beauty and subtlety in a few cursory hearings. Most 
readers of THE NEW RECORDS are probably familiar 
with Alfred Deller and counter tenors, so one needs 
only state that he sings all this lovely and tuneful 
music with his usual aplomb. 

There are excellent notes, texts and translations 
of all the songs, as well as of II Ballo delle Ingrate. 
This is made possible by the use of some of the 
smallest darned type you ever saw (or tried to see). 
Still, it is there and that is something. Recorded 
sound, in both cases, is very good indeed. 


Britten: Les Illuminations, Op. 18. Janine Micheau 
(soprano) with 1'Orchestre des Concerts Lamou- 
reux conducted by Paul Sacher. And Ravel: Don 
Quichotte a Dulcinee. One side, and Debussy: (3) 
Ballades de Francois Villon. Camille Maurane (barp 
tone) with 1'Orchestre des Concerts Lamoureux 
conducted by Jean Fournet. And Ravel: Sheliera- 
zade. (Sung in French). Janine Micheau (soprano) 
with 1'Orchestre des Concerts Lamoureux con' 
ducted by Jean Fournet. 1-12" disc (*EPIC LO 
3355) $3.98. 

Britten's Les Illuminations appeared last on a 
London disc, sung by Peter Pears (*L-L1>994, 
TNR Nov. '54); although the work was written for 
a tenor, we have no quarrel with Mme. Micheau's 
interpretation, for hers is a lovely voice, in every 
way equal to the tortuous work at hand. Mme. 
Micheau also sings Ravel's Sheherazade on this reo* 
ord; we would not prefer hers to Jennie Tourel'e 
(who certainly had a way with this song cycle), but 
we would be the first to admit that Tourel's Colum- 
bia disc (taken from 78's) is all but archaic, son' 
ically. It will again be demonstrated here that Janine 
Micheau possesses as beautiful a soprano voice as 
there is around today; and the apparent ease with 
which she sings these French songs makes them a 
great joy to listen to. 

Camille Maurane is a name new to us; we cannot 
locate any other LP's by him, and Epic's notes tell 
us nothing. His is a light baritone too light for the 

* indicates LP 83 1/8 rj>m. 
indicates 45 rpm. 


PAGE 12 





Ravel and Debussy songs he essays. Gerard Sousay 
did the Don Juichotte a few years ago (*L'LD> 
9091, now deleted, TNR July '54); the Don was a 
swashbuckling, if bumptious, character, and M. 
Maurane makes him out almost to be a diplomat. 
Villon, the cynical criminal, requires a heavier char' 
acterisation than Maurane cares (or is able) to give 

One must, perforce, recommend this disc with 
some reservations: those interested in the lovely 
voice of Janine Micheau will find her part well worth 
the price of the disc. If the Don Quichotte or the 
Villon ballades interest you, you'd best wait for a 
better version even though the present disc is the 
only one listed in the current LP catalogs for either 
work. J. 

Adlcr: The Pajama Game. Doris Day, John Raitt, 
Carol Haney, Eddie Foy, Jr., and members of cast 
of the Warner Bros. film. 1-12" disc (*COL'5210) 

Now that the motion picture of The Pajama Game 
has been released, we have no doubt that the 
present LP, based on the movie version, will prove 
a best seller. We note that Warner Brothers bop- 
rowed practically the entire Broadway cast, substi' 
tuting Doris Day for Janis Paige an improvement, 
for our money. 

Lieder Recital. Lotte Lehmann (soprano) with piano 
accompaniments. 1-12" disc (*CAM'CAL-378) 
NOTE: For review of this disc see under OPERA. 


Eliot: Four Quartets. T. S. Eliot (speaking). 1*12" 

disc (*ANG-45012) $3.98. 

NOTE: The follounng review is reprinted from 
our April 1948 issue, when the imported 78 rpm 
edition of this recording was released. 

The distinguished English poet and critic, T. S. 
Eliot, was born in Saint Louis, Missouri in 1888 
and became a naturalised British citizen in 1927 
after having lived in London from 1914. The British 
Council, whose aim is to spread the knowledge of 
British culture, has subsidised this series of discs. 
They contain Mr. Eliot's "Four Quartets,'* which is 
made up of the following poems: 1) Burnt T^orton; 
2) East Co\er; 3) The Dry Salvages; 4) Little 

In a note that accompanies these discs, Mr. Eliot 
makes the following interesting observations: 

"A recording of a poem read by its author is no 
more definitive an ^interpretation* than a recording 
of a symphony conducted by the composer. The 
poem, if it is of any depth and complexity, will 
have meanings in it concealed from the author; and 
should be capable of being read in many ways, and 
with a variety of emotional emphases. 

"What the recording of a poem by its author can 

and should preserve, is the way that poem sounded 
to the author when he had finished it ... The chief 
value of the author's record, then, is a guide to the 

"Another reader, reciting the poem, need not feel 
bound to reproduce these rhythms; but, if he has 
studied the author's version, he can assure himself 
that he is departing from it deliberately, and not 
from ignorance." 

From these remarks we gather that these records 
contain the "Four Quartets'" 1 as they "sounded to 
the author when he had finished" them. We found 
Mr. Eliot's reading deeply impressive; it brought to 
light much that we had not got from the printed 
page. With this thought in mind, we recommend 
them, and we hope that many students in our col' 
leges will have an opportunity of hearing these 
recordings. R. 


Sound Off! Merill Staton Choir. M2" disc (*EPIC 
LN-3370) $3.98. 

CONTENTS: Caissons Go Rolling Along; Coast 
Artillery Song; U. S. Air Forces Song; Liberty 
Song; Yan\ee Doodle; Battle Hymn of the Republic; 
All Quiet Along the Potomac Tonight; Just Before 
the Battle, Mother; Eating Goober Peas; Tenting 
Tonight; 'Round Her Tvjedj. She Wears a Teller Rib' 
bon; Battle Cry of Freedom; When Johnny Comes 
Marching Home; Over There; Good-bye Broadway, 
Hello France; There's a Long, Long Trail; K'K>K> 
Katy; Pac\ up Tour Troubles; My Buddy; Hinl(y 
Dinl{y Parley Voo; This Is the Army, Mr. Jones; 
CormV in on a Wing and a Prayer; Praise the Lord 
and Pass the Ammunition'; Sound Ojf ("Duck' 
worth Chant"). 

Up Anchor! Merill Staton Choir. M2" disc (*EPIO 

LN-3378) $3.98. 

CONTENTS; Anchors Aweigh; S\y Anchors 
Aweigh; Semper Paratus; J^avy Hymn; Marines' 
Hymn; Haul Away, Joe; Blow the Man Down; Rio 
Grande; The Maid of Amsterdam; Tfyncy Lee; 
Shenandoah; Torpedo Jim; 'Tour Boy Is on the Coal 
Pile How; Dear Old Pal; Hey, Babe, Hey!; We Saw 
the Sea; I Threw a Kiss in the Ocean; Bell Bottom 

With the release of these stirring discs by the 
Merrill Staton Choir, which was previously heard 
on Gentlemen, Be Seated (TNR May '56) and 
Here Comes the Showboat (TNR Apr. "57), one 
dedicated to the army and air force, the other to 
the navy, coast guard and marines, a personal quest 
of ours (and that of record dealers from coast to 
coast) is ended: gentle readers, at long last a re* 
cording of Eternal Father, Strong to Save (Navy 
Hymn) is available. This, as any record dealer can 
tell you, is the haunting theme of the TV show, 
Havy Log, and for some unaccountable reason no 
satisfactory recording of it has been available until 

PAGE 13 


indicates LP 33 1/3 rpm. 
indicates 46 rpm. 


The Neo; Re cords 


As might be expected, both of these discs are 
top flight and warmly recommended. 
Stravinsky: Petsephone (complete). (Sung in 
French). Vera Zorina (narrator); Richard Robin- 
son (tenor); Westminster Choir directed by Dr. 
John Finley Williamson; and the New York Phil' 
harmonic Orchestra conducted by Igor Stravinsky. 
M2" disc (*C-ML-5196) $3.98. 
Stravinsky: Persephone (complete). (Sung in 
French). Claude Nollier (narrator); Nicolai Gedda 
(tenor); Chorale de FUniversite de Paris and 
Chorale de la Maitrise de la Radiodiffusion fran* 
caise; TOrchestre de la Societe des Concerts du 
Conservatoire de Paris conducted by Andre Cluy 
tens. M2" disc (*ANG'35404TP) $3.48. 1-12" 
factory-sealed disc (*ANG-35404) $4.98. 
NOTE: As an experiment with these recordings 
of a new opus, we assigned each version to a differ* 
ent critic, neither \nowing of the other's wor\. 
When the two separate reviews were submitted, each 
was presented with the other recording and the 
other critic's review and were as\ed to write, to- 
gether, a composite review of the two discs. After 
much discussion and editing , the following is the 
result. Ed. 

As has often happened in the past, two new re- 
cordings of a work hitherto unavailable on LP are 
released at the same time. As it turns out, choosing 
between them is a most difficult and unenviable 
task, for both have their excellences, and there are 
not many weak spots in each. 

Columbia has selected the well-known Vera Zorina 
for the title role, while Angel chose Claude Nollier, 
a former member of the Comedie franchise; both are 
superb. Mile. Nollier's French diction is, perhaps, a 
trifle more musical than Miss Zorina's, yet the lat- 
ter's obvious feeling for the part, coupled with her 
previous experience with it, offers little choice in 
this department. 

In the role of Eumolpus, the Elusinian Priest, 
Angel has a clear advantage in Nicolai Gedda. His 
tenor voice contrasts beautifully with the musical 
quality of Mile. Nollier's part, the one highlighting 
the other. Richard Robinson, in the Columbia pres- 
entation, dedicated though he may be, does not 
have the natural equipment that Gedda has. In the 
stage production Eumolpus is placed on a pedestal 
above the performers and serves as a singing com- 
mentator on the action; Gedda gives this impression, 
even on discs, where Robinson does not. 

On balance, however, Columbia offers the un- 
deniable attribute of a composer-conducted perform- 
ance (commemorating the 75th birthday of Igor 
Stravinsky) plus a fine choir and orchestra not 
superior, however, to Angel's. Though we are not 
always partial to composers conducting their own 
works, in the present case one is certain that Stra- 
vinsky knows best. This is one of those works 
which makes one think that any minute a full- 
bloomed melody is going to pop out, but it never 
does. One gets the feeling, as it were, that Cluytens 

"apologises" for this and tries to make the score 
more palatable, where Stravinsky, unconcerned with 
such things, brings out meanings that only he knows 
are there. While the forgoing is admittedly personal, 
one feels bound to report it, even with the almost cer- 
tain knowledge that many persons even scholars 
may prefer M, Gluytens" 1 presentation. 

As to matters of reproduction there will be dis- 
agreement. Angel's is full, rich, resounding, while 
Columbia's is close-to, brilliant almost harsh. Each 
is perfect for its own performance, reflecting, we 
feel, the desires of the conductors. Chacun d son 
gout! P. ^ J. 

Hail, Holy Queen. Choir of the Trappist Monks of 
Gethsemani, Kentucky, directed by Ralph Jusko. 
M2" disc (*OML-5205) $3.98. 
The Choir of the Trappist Monks of the Monas- 
tery of Our Lady of Gethsemani, Nelson County, 
Kentucky, will be remembered for its earlier disc 
entitled Laudate Dominum (*C'ML-4394, TNR 
June '51). On this, its second disc, the 60-voice 
choir presents selections from the Liturgy of Our 
Lady, including selections from the First Vespers, 
the Night Office, The Mass, and some miscellaneous 
Chants of Our Lady. The excellence of this group 
results from a desire to aid in prayer, rather than 
from any wish to win acclaim in or outside of Geth- 
semani; yet the purity and beauty of the tones 
emanating from this disc will, we rather feel, add to 
the reputation the choir has gained from its first disc. 


Highland Pageantry. Pipes and Drums and Regi- 
mental Band of the Black Watch (Royal Highland 
Regiment) directed by Warrant Officer John Baker, 
L. R. A. M. 1-12" disc (*V-LPM-1525) $3.98. 
CONTENTS: Fanfare for a Dignified Occasion; 
All the Blue Bonnets; Road to the Isles; Atholl 
Highlanders; Lord Alexander Kennedy; Brouw- 
Haired Maiden; Scotland the Brave; Steamboat; Loch 
Rannoch; Siege of Delhi; Thic^ Lies the Mist on 
Tonder Hill; Katey Dalr^m|>le; Lad}; Dorothy Stew* 
art Murray; Highland Pageantry; Wee MacGregor; 
March medley; Harry Lauder Songs Medley; Bar- 
ren Rocks of Aden; Blac\ Bear Highland Laddie. 

Scottish Splendor. Pipes and Drums and Regimental 

Band of the Black Watch (Royal Highland Regi' 

ment) directed by Warrant Officer John Baker, 

L. R. A. M. M2" disc (*V-LPM-1526) $3.98. 

CONTENTS: Edinburgh Castle; Hofyrood; Swing 

of the Kilt; Rational Emblem; Highland Cradle 

Song; Captain Orr-Ewnng; Quito's Wedding; 

Ktlt Is My Delight; Farewell to the Cree\; Skye 

Boat Song; Scotland the Brave; Garb of Old Gaul; 

All the Blue Bonnets; Bonnie Dundee; My Home; 

Bonnie Strathyre; Steps of Glory; Gaily Through the 

World; Wien bleibt Wien; Constellation; Second to 

?v[one; The Gladiators' Farewell; Gypsy Blood; Vis- 

* Indicates LP 33 1/8 rpm, 
Indicates 45 rpm. 


PAGE 14 


The New Records 


count Tvfelson; Sons of the Empire; Wait for the 
Waggon; La Ritarta Italiana; Hoch Hapsburg; To 
the Front; Under Freedom's Flag; The Middy; Boys 
of the Old Brigade; Donald Blue. 

We understand that the Pipes and Drums and the 
Regimental Band of the Black Watch is playing to 
packed houses at every appearance it makes during 
its tour of the United States; at least, that was the 
case when it appeared here in Philadelphia. Dealers 
report substantial sales of these two discs following 
such appearances; which is small wonder, for the 
records make wonderful mementos of the occasion. 

Yet these LP^s should prove appealing even to 
those who have not had the good fortune to observe 
the Black Watch in action; for this is stirring music 
mostly played by the Regimental Band alone, the 
pipes being featured in only one or two numbers per 
side as a single hearing of each disc will demon' 
strate. Those making collections of martial band 
music should certainly investigate them. 


The Art of Moriz RosenthaL Moris Rosenthal 
(piano). 1-12" disc (*CAM-CAL-377) $1.98. 
CONTENTS: Sonata in B minor, Op. 38 (Cho- 
pin); Air and Variations (Handel); Chant Polonaise 
Ho. 5 (Listt); Tarantelle in A'flat, Op. 43 (Cho- 
pin); Blue Danube Waltz (Strauss). 

Moriz Rosenthal was a musician's musician. He 
studied under Mjkuli, who had studied under Cho- 
pin; later Rosenthal studied under Lisst, himself. 
Johannes Brahms, then no youngster, often climbed 
four flights of stairs to RosenthaPs apartment to 
discuss current compositions. The recordings on this 
moderately-priced Camden disc, none ever previ- 
ously issued, were made in 1928 (Blue Danube), 
1939 fSonata, Air and Variations,) and 1942; this 
LP makes available to students and connoisseurs 
alike the great art of one of the greatest pianists 
who ever lived. 


Music from the Hoffnung Music Festival Concert. 

Morley College Symphony Orchestra, with Dennis 
Brain (hosepipe), Yvonne Arnaud (piano), other 
instrumentalists and musical (?) effects, all super- 
vised and directed by Gerald Hoffnung. 1-12" disc 
(*ANG-35500TP) $3.48. 1-12" factory-sealed disc 
(*ANG-35500) $4.98. 

CONTENTS: Introduction by T. E. Bean; Fan- 
fare (Baines); A Grand, Grand Overture (Arnold); 
Concerto for Hosepipe and Strings 3rd movement 
(L. Mosart); Concerto Popolare (Reizenstein) ; 
Symphony J<[o. 94 in G ("Surprise"") Andante 
(Haydn arr. Swann); Mazurka 7s[o. 49 in A minor, 
Op. 68, J^o. 2 (Chopin arr. Abrams); Lochinvar 
(for speakers and percussion) (Searle); Variations 

on "Annie Laurie" (Jacob). 

This LP disc is utterly beyond description! We 
can only hope to give the reader some idea of what 
awaits him when he (gently) places his stylus in 
the opening groove. Gerald Hoffnung is a British 
cartoonist who has been satirising music, via his 
cartoons, for years, depicting weird instruments 
with zany players; his latest book, Hojffnung Music 
Festival, was dedicated to the Morley College Sym- 
phony Orchestra and its conductor, Lawrence Leon- 
ard, and during some discussions between Hoffnung 
and his publisher, it was decided to make an at- 
tempt to bring his book to life. The present record- 
ing contains excerpts from this actual concert. 

The program opens with a roll of drums and a 
dashing fanfare of trumpets that ends in a sad plop. 
Malcolm Arnold's A Grand, Grand Overture is 
scored for orchestra, organ, rifles, 3 Hoover vacuum 
cleaners (2 upright in B-flat, 1 horizontal with de- 
tachable sucker in C), and an electric floor polisher. 
The late Dennis Brain makes a hosepipe (only genu- 
ine garden hose used) sound amazingly musical in 
Leopold Mozart's Concerto (originally for alpen- 
horn). The Concerto Pookre exhibits a clash of 
wills between conductor, who presumes that he is 
directing the Tchaikovsky Concerto, and soloist who 
thought that the Grieg Concerto was to be played. 
The Andante from Haydn's "Surprise" Symphony 
contains many surprises that Haydn never thought 
of. Impresario Hoffnung joins three other tuba 
players in the Chopin Mazurka; it is the funniest 
for us. Gordon Jacob's Variations on "Annie 
Laurie'' features the following instruments: heckel- 
phone, 2 contrabass clarinets, 2 contra-bassoons, 
hurdy-gurdy, serpent (looks like a bassoon that 
melted, then hardened in the shape of a huge snake), 
contrabass serpent, subcontrabass tuba (invented and 
played by Hoffnung), harmonium and 2 piccolos. 

As we said, you'll have to hear it to appreciate it. 
By all means, get the factory-sealed edition of this 
one; the notes and pictures are half the fun. This 
disc punctures instrumental music in much the same 
fashion as Anna Russell deflates vocal music. J. 
Billy Graham Crusade with the Musk of Paul 

Mickelson. Paul Mickelson (organ). 142" disc 

(*V-LPM-1405) $3.98. 

CONTENTS: Old Rugged Cross; Jesus Lover of 
Uy Soul Medley; Ring the Bells of Heaven; Fairest 
Lord Jesus; Rest for the Weary; Deep River; Go 
Down, Moses; Lead Me Gently Home, Father; It 
Too\ a Miracle; My Faith Loo\s Up to Thee; He'll 
Give Tou a Song; T^ot Dreaming; I'd Rather Have 
Jesus; Lord's Prayer. 

Billy Graham Crusade in Song with George Beverly 
Shea. George Beverly Shea (baritone) with choir 
and orchestra. 1-12" disc (*V-LPM-1406) $3 98 
CONTENTS: How Great Thou Art; The Wonder 

of It All; Old Fashioned Home; Balm in Gilead; 

Sunshine; Tvjinety and JSfrne; I Must Tell Jesus; Oh, 

How Sweet to Know; He's Got the Whole Wide 

PAGE 15 


* Indicates LP 33 1/3 rpm. 
indicates 45 rpm. 





World in His Hands; America, the Beautiful; Lord, 

I'm Coming Home; Lord's Prayer. 

Billy Graham Crusade in Music by Tedd Smith. 

Tedd Smith (piano) with orchestra. M2" disc 
(*V'LPM'H07) $3.98. 

CONTENTS: God of Our Fathers; How Sweet 
the Name of Jesus Sounds; He Whispered "Peace 
Be Still;" I Surrender All; Master, the Tempest Is 
Raging; Beyond the Sunset; Be Still, My Soul; O 
God, Our Help in Ages Past; Sometimes I Feel Like 
a Motherless Child; HO One Understands Li\e Jesus; 
Jesus Shall Reign; Unto the Hills. 
Problems of the American Home. Crusade Sermon 

by Billy Graham. M2" disc (*V*LPM'H04) 


Hundreds of thousands of persons were attracted 
to Madison Square Garden last summer to the Cru' 
sade of Billy Graham and his Team, and untold mil' 
lions more tuned in to the Crusade on Saturday 
nights via television; there's little doubt that many 
of these persons would be interested in the above- 
listed four discs, which make suitable mementos of 
this Revival. The thrice'familiar hymns are performed 
in a spirit of enthusiastic reverence, and Dr. Graham's 
sermon, wherein he discusses love and marriage and 
the duties of the respective partners to each other, 
is delivered in his well-known forceful manner. 

Nostalgia in Hi-Fi. Various mechanical musical in- 
strum ents, recorded at the Musical Museum, Deans- 
boro, N. Y. 1-12" disc (*GOLDEN CREST 
CR-4002) $4.98. 

Golden Crest states that this disc has a 3 -fold 
purpose: to present to the younger generation a 
"new sound"; to recall to the older generation 
golden memories of days gone by; and to provide a 
means of testing the finest of reproducing equip- 
ment. We don't know whether the younger genera- 
tion will appreciate the squawks from this vast 
assortment of mechanical music makers, but we old 
timers can certainly appreciate many of them 
though there were several that this writer had never 
heard of. 

For the record, reproduced on this LP are the 
following instruments: Wurlitter 1909 Band Organ; 
Mills Violano (automatic violin and piano); Sublime 
Harmonic Piccolo Swiss Music Box; Swiss Cylinder 
Music Box with Bells; Italian Grind Organ; Regina 
15 -inch Disc Changer Music Box; 6-Tune Swiss 
Music Box with Reed Organ; 27-Key Organette; 
Frati Grind Organ; 20-Key Molinari Organ Grind' 
er's Organ; Gem Roller Organ; Steamboat Organ; 
De Kleist Hand-Cranked Barrel Organ; Italian Street 
Piano; Regina Sublima (mechanical dulcimer); Link 
Nickelodeon with Marimba; Early 44-Note Peerless 
Nickelodeon; and a Wurlitzer Dance Hall Nickelo- 


The World's Encyclopaedia of Recorded Music 
(3rd Supplement). By Francis F. Clough 
and G. J. Cuming. xxvi + 564 pp. Sidg' 
wick and Jackson, Ltd, (London). Price 

Introduction to Opera: a guidebook sponsored 
by The Metropolitan Opera Guild. Edited 
by Mary Ellis Pelts, xiii + 332 pp. Paper 
bound. Barnes 6? Noble, Inc. (New York). 
Price $1.65. 

Record Ratings: The Music Library Associa- 
tion's Index of Record Reviews. Compiled 
by Kurts Myers; edited by Richard S. 
Hill, viii + 440 pp. Crown Publishers 
(New York). Price $5.95. 

The Guide to Long-Playing Records (Orches' 
tral Music). By Irving Kolodin. xii + 
268 + vii pp. Alfred A. Knopf (New 
York). $3.50. 

The Guide to Long'Playing Records (Chamber 
8* Solo Instrument Music) . By Harold C. 
Schonberg. xi -f- 280 + vi pp. Alfred A. 
Knopf (New York). $3.50. 

The Guide to Long'Playing Records (Vocal 
Music). By Philip L. Miller, xvi + 381 
+ xxii pp. Alfred A. Knopf (New York) . 

The World's Encyclopaedia of Recorded Music 
(Including 1st Supplement). By Francis 
F. Clough and G. J. Ginning. 890 pp. 
Sidgwick and Jackson, Ltd. (London). 
Price $17.50. 

The World's Encyclopaedia of Recorded Music 
(2nd Supplement). By Francis F. Clough 
and G. J. Cuming. xxii + 262 pp. Sidg' 
wick and Jackson, Ltd. (London). Price 
NOTE: All the above books have been reviewed 

in previous issues of The T^ew Records. If your local 

dealer does not stock them, orders addressed to H. 

Royer Smith Co., Philadelphia 7, Pa., will be 

promptly filled. The prices quoted include postage 

to any point within U.S.A. 

* indicates LP 33 1/3 rpm 
indicates 45 rpm 


PAGE 16 




Issued Monthly by 





VOL. 25, NO. 9 


By mail to any address 
$1 per year 

The World Treasury of Grand Opera. Edited 
by George R. Marek. xi + 674 pp. Har- 
per 6? Brothers (New York). Price $6.95. 

George R. Marek, who recently became Vice 
President and General Manager of RCA Vic- 
tor's Record Division, has for many years been 
a constant observer and highly interesting com- 
mentator on the operatic scene. Among his 
previous books, A Front Seat at the Opera and 
The Good Housekeeping Guide to Musical 
Enjoyment have been widely read. His present 
volume devoted to Grand Opera with its sub- 
title, "Its Triumphs, Trials and Great Per- 
sonalities/' is, in reality, a fine big Reader for 
those who are interested in this form of musical 

Mr. Marek has chosen some seventy-odd es- 
says, articles, and selections from various works 
all having to do with some facet of grand 
opera. As we glance through the several pages 
devoted to the contents we find, among a long 
list of well-known writers, these names: Francis 
Toye, Ernest Newman, Frans Werfel, Herbert 
F. Peyser, Romain Rolland, Alfred Einstein, 
Thomas Mann, Willa Gather, Olin Downes, 
Vincent Sheen, Leo Tolstoy certainly such a 
distinguished and versatile list insures that the 
subject will be considered from almost every 
possible angle. 

This is the sort of book that one picks up 
from time to time and reads some of the short 
pieces as they may attract his fancy. Many of 
the selections we had read before, but we were 
very glad to have Mr. Marek call diem to our 
attention again they are all certainly well 
worth re-reading- We believe that most opera 
lovers will welcome this volume and that many 
of them will .be very happy to have a copy of it 
on their night tables. 


The Current Market Price of records is the 
retail price that is charged by most leading 
dealers, including the publisher of this bul- 
letin. When the major companies reduced their 
list prices for LP records, some of the smaller 
publishers reduced only their wholesale prices 
and did not change their list prices (see TNR 
Mar. '55); thus the Current Market Price 
came into being. 

Also, from time to time, in order to stimu- 
late business, some companies have drastically 
reduced prices for limited periods. In order 
that our readers may know the Current Mar- 
ket Price, we are indicating in this and future 
issues the prices that are presently in effect, 
and, although we cannot guarantee these 
prices, they should prevail during the current 

NOTE: The Current Market Price of all 
Mercury 12-inch LP's (10000-, 20000-, 30000-, 
40000-, 50000-, 80000-, and 90000-series) is 
$3.19; album sets are 20% less than published 
list prices. 

* * * 

25 November the price of Angel "Standard 
Package" IPs will be increased from $3.48 to 
$3.98 per record; there will be no change in 
the prices of Angel "Factory-sealed" LFs. 
"Standard Package" discs are indicated in THE 
NEW RECORDS by the letters "TP" affixed to 
the catalog number. Thus the prices of the 
"Standard Package" records listed in this issue 
will not be correct on and after November 25th. 


We are continually receiving requests for 
back copies of THE NEW RECORDS. Most of 




the issues published during the last twenty" 
five years are available. The price is lOc each. 
A file of all available issues (at least 160 copies) 
is $5. These prices are postpaid within U.S. A. 
NOTE: Those persons interested in recent 
recordings only may secure all of the issues of 
the last three years beginning November 1954 
(36 copies) at the special price of $2 (postpaid 
within U.S.A.). 


Beethoven: Concerto >{o. 1 in C, O|>. 15\ Rubin' 
stein (piano) with Symphony of the Air Knps. 
1-12" disc (*V-LM-2120) $3.98, (TNR Oct. 

Beethoven: Concento HO. 2 in B'fat, Op. 19. Rubin- 
stein (piano) with Symphony of the Air Krips. 
M2" disc (*V-LM-2121) $3.98. (TNR Oct. 

Beethoven: Concerto Tvfo. 3 in C minor. Op. 37. 
Rubinstein (piano) with Symphony of the Air 
Krips. M2" disc (*V-LM-2122) $3.98. (TNR 
Oct. '57). 

Beethoven: Concerto 7v[o. 4 in G, Op. 58. Rubin' 
stein (piano) with Symphony of the Air Krips. 
M2" disc (*V-LM-2123) $3.98. (TNR Oct. 

Beethoven: Concerto >&>. 5 in E'flat. Op. 73 ("Em- 
peror"). Rubinstein (piano) with Symphony of 
the Air- Krips, M2" disc (*V-LM-2124) $3.98. 
(TNR Oct. '57). 

Couperin: Legons de Te'nebres No. 1 (for Wed. 
of Holy Week). One side, and Couperin: (3) 
Songs and Couperin: Motet ("Audite omnes"). 
(Sung in French). Hugues Cuenod (tenor) with 
instr. ace. Pinkham. (harpsichord). 1*12" disc 
(*CONCORD 4005) $4.98. (TNR Apr. ^51). 

Haydti Society Sampler. Excerpts from various 

Haydn Society records. 1-12" disc (*HS-SR-1) 


CONTENTS: Air de Tromjsette (Charpentier); 
Sacred Concerto "O Herr Hflf (Schiiu); Varia- 
tions on a Hew Ground (Purcell); Concerto for 
Flute, Bassoon and Harpsichord (Vivaldi); Varia- 
ations on "Salve tu Domine," K. 398 (Mosart); 
Concerto for Trumpet (TorelH); Organ Prelude: 
"Vater unser" 1 (Bach); Coronation Anthem (Han' 
del); Concert en Sextuor Tvjo. 1 (Rameau); Moment 
Musical, Op. 94, Mo. 1 (Schubert). 
Montilla Sampler. Orquesta de Camara de Madrid 

conducted by Daniel Montorio. 142" disc 

(*MONTILLA FM-79) $1.98. 

CONTENTS: Bogota (Tucci); La Leyenda del 
Beso (Soutullo y Vert); El Santo de la Isidra (Tor* 
regrosa); 7 others. 

Beethoven: Symphony No. 5 in C minor, Op. 67. 
One side, and Schubert: Symphony No. 8 in B 
minor ("Unfinished"). Vienna State Opera Or- 
chestra conducted by Felix Prohaska. 1-12" disc 
(*VAN-SRV-106) $1.98. 

Baroque Music. 1-12" disc (*ESO-ES-1502) $1.98. 
CONTENTS: Canzona per Sonar a Quattro 
(Gabrielli); Toccata and Riceratre (Frescobaldi); 
When the Coc\ Begins to Crow (Purcell); Sonata 
!N>. 2 in E minor (Rosenimiller) ; Tsfel Dolce dell* 
Oblio (Handel); Hachas and Pavane (Ribayas); 
Trio Sonata in C (Bach) . 

Siena Pianoforte Sampler. The Siena Pianoforte, 
played by various artists, M2" disc (*ESO-ES- 
1503) $1.98. 
CONTENTS: Choconne (Bach); Sonata in G, 

L. 487 (Scarlatti); Variations on Greensleeves; Ttir^- 

ish March (Mozart); Leyenda Prelude (Albenis); 

Children's Corner (Debussy); Punch, The \Vitch 

Doll (Villa-Lobos). 

Mozart: Symphony No. 41 in C, K. 551 ("Jupiter"). 
One side, and Mozart: Divertimento No. 2 in D, 
K. 131. Royal Philharmonic Orchestra conducted 
by Sir Thomas Beecham. 1-12" disc (*ANG- 
35459TP) $3.48. 1-12" factory-sealed disc 
(*ANG-35459) $4.98. 

"In every great work of art, 1 " 1 wrote Charles Mor- 
gan in his wonderful novel The Fountain, "an art- 
ist dies and rises again, and we, who enter into its 
illusion, die to this world and are reborn." These 
lines were remembered by the writer as he listened, 
entranced, to Sir Thomas Beecham's stunning 
performance of the incomparable "Jupiter" Sym- 
phony truly he was "dead" to this world and re- 
emerged only when the music ceased. 

Sir Thomas has long had a well deserved reputa- 
tion as an interpreter of Mozjart and he surpasses 
himself here. Just as last month he has the final 
phonographic word on the E flat and G minor Sym- 
phonies so here he records a model performance 
everything fits together beautifully; the deliberate 
but never fussy tempi, the spaciousness of his con- 
cept of the score, its drive without once being hur- 
ried are all hallmarks of a Beecham-Mozart col- 

The very lovely, though smaller work (it is not a 
"great work of art" in the sense the C major Sym- 
phony is) on the other side also receives a definitive 
performance. Alfred Einstein insisted, and for his 
usual good reasons, that the work is more a serenade 
than a divertimento and also, as usual, he is right. 
And serenade treatment it receives from the re- 
doubtable Sir Thomas. He manages to bring an open- 
air freshness and an ingenuousness that is at once 
disarming and persuasive. 

* indicates LP 33 1/3 rpm. 
indicates 46 rpnu 






The recorded sound is very good; clear, resonant 
and full of concert hall realism. The disc is obviously 
an admirable one and is a must for all music lovers. 
Mozarteans are advised to buy two copies for it is 
certain they will wear out the first copy in very 
short order. WILLIAM A. OLSEN 

Moore: Farm Journal. Oslo Philharmonic Orchestra 
conducted by Alfredo Antonini. One side, and 
Bauer: Suite for String Orchestra. And Bauer: Pre- 
lude and Fugue for Flute and Strings. Vienna Or- 
chestra conducted by F. Charles Adler. 1*12" disc 
(*COMPOSERS CRM01) $5.95. 

Luenlng: Symphonic Fantasia. And Luening: Ken- 
tucky Rondo. Vienna Orchestra conducted by F. 
Charles Adler. One side, and Antheil: Serenade 
No. 1 fpr Strings. Oslo Philharmonic Orchestra 
conducted by Alfredo Antonini. And Howe: Stars. 
And Howe: Sand. Vienna Orchestra conducted by 
William Strickland. M2" disc (*COMPOSERS 
CRI-103) $5.95. 

Kohs: Symphony No. 1. One side, and Scott: Binorie 
Variations. And Scott: Hornpipe and Chantey. 

Vienna Orchestra conducted by F. Charles Adler 
M2" disc (*COMPOSERS GRI-104) $5.95. 

Kennan: (3) Pieces for Orchestra. And Bergsma: 
Gold and the Senor Commandante. One side, and 
Rogers: Once Upon a Time. Eastman-Rochester 
Symphony Orchestra conducted by Howard Han- 
son. 1-12" disc (*ME-MG-50147) $3.98. 

Current Market Price #3.19. 

Contemporary American music is very well served 
by the collection of works found on these discs. It is 
indeed a strange world in which definitive perform- 
ances of American compositions are served up by 
European orchestras, but we are still the richer for 
having them committed to discs. 

Moore's Farm Journal and the works by Marion 
Bauer make pleasant listening. The Journal is a 
folksy and nostalgic piece, while Miss Bauer's works 
are classic in form and proportion. The work for 
flute and strings is beautifully played. 

Kentucky Rondo is the finale to Luening's Lotus' 
ville Concerto, a work composed in 1951, The Fan- 
tasia is much older, and speaks of an ambitious 
youth. Age has mellowed and softened the writing 
of many composers, so that their mature work- 
while less daring is the greater musical accomplish' 
ment. George Antheil, the bad boy of Ballet Meat- 
nique fame, has written a string serenade that takes 
plenty of patience on the part of the listener to 
recognize its merits. Despite its obvious structural 
excellence, it is not a pretty work. Mrs. Howe's brief 
tone poems are distinguished by their imaginative 

We were not tremendously impressed by the 
works on the other Composers record (CRM04), 
though the performances are the equal of the others 
of the set. 

Mercury's contribution to the American reper- 
toire is of the same calibre as any of its earlier 
efforts. Kennan's Three Pieces were composed in 
Rome and clearly show the Respighi influence. 
Bergsma's ballet suite is a compendium of musical 
styles and daring effects. Once Upon & Time is a col' 
lection of fairy tales, the last of which ("The Ride of 
Koschei the Deathless") draws upon the same legend 
as Stravinsky's Firebird. Hanson and the Eastman 
musical forces are at their customary level of excel' 
lence, as is Mercury's sound. N. 

Hoist: The Planets. Los Angeles Philharmonic Or' 

chestra and the Women's Voices of the Roger 

Wagner Chorale conducted by Leopold Stokowski. 

1-12" disc (*CL'P-8389) $3.98. 

For his Capitol debut (excluding the "sampler" of 
TNR Sept. '57) the redoubtable Leopold Stokowski 
has elected to record Gustav Hoist's suite, The 
Planets. By so doing, he tangles batons (or some' 
thing) with two top'flight British conductors on 
their own fields; but more of this a little later. 

The Planets was written between 19144916 and 
is a suite of seven movements, namely: Mars the 
Bringer of War; Venus, the Bringer of Peace; Mer- 
cury, the Winged Messenger; Jupiter, the Bringer of 
Jollity; Saturn, the Bringer of Old Age; Uranus, the 
Magician; and J^eptune, the Mystic. All connections 
with classic mythology and astrology are disclaimed 
there is no program other than that implied in 
the titles. 

One can readily understand Stokowskfs enthusi' 
asm for the score, what with its mystical implications 
and the opportunities the very vagueness of the 
program offers. And, make no mistake about it, our 
maestro extracts every last ounce of meaning his 
meaning, to be sure from the music. This, one 
feels, is as it should be. In this case the listener is 
treated to a very personalized tour of Hoist's solar 
system; it is always interesting and, at times, exciting. 

How close the blond maestro (his picture on the 
jacket of this album is a doozie!) comes to Hoist's 
intentions is a moot point those who are inter' 
ested in traditional or even authentic performances 
are advised to seek out Sir Adrian and Sir Mai' 
colm the adventuresome will welcome Leopold Stc*- 
kowski. The sound here is very good, indeed, and 
the jacket notes are informative and well written. 


Britten: The Prince of the Pagodas, Op. 57. Orches' 
tra of the Royal Opera House, Covent Garden, 
conducted by Benjamin Britten. 2' 12" discs in box 
(*L-LL-1690/1) $7.96. 

London's notes for this album epitomise Britten's 
ballet suite as a "profoundly satisfying . . . musical 
experience." It appeared to us as a great many 
things, all indicative of Britten's genius for choreo- 
graphic music and orchestration. By no stretch of 
the imagination, however, could it ever be typified 
as a "profoundly satisfying . . . musical experience"! 



* indicates LP 33 1/8 rpm. 
indicates 45 rpm. 





Rather it is a continuously complex musical pattern 
of strange rhythms, striking musical sonorities, and 
in the case of this recording thrilling sound. 

The story of the ballet itself is inconsequential, 
but the mood of the work may be attributed to the 
composer's tour of the Orient shortly before the 
ballet was composed. There is an easily distinguish' 
able pattern of character themes, identified as much 
by their instrumental timbres as by their melodic 
pattern. Britten also successfully integrates oriental 
instruments into his orchestral fabric with astounding 

This is most emphatically not music to relax by, 
but this should not suggest that it has not its own 
rewards. The Prince of the Pagodas is a major work 
from one of the leading composers of our time. 
Having it committed to discs by the hand of the 
composer may be recognized as a signal service on 
the part of London. Future musical judgments will 
render the final verdict on the Pagodas, and thanks 
to the present recording we can always know how 
its creator meant it to be. N. 

Moussorgsky arr. Ravel: Pictures at an Exhibition. 

Philharmonia Orchestra conducted by Herbert von 
Karajan. M2" disc (*ANG-35430TP) $3.48. 
1-12" factory-sealed disc (*ANG-35430) $4.98. 

Von Karajan has given us what is undoubtedly 
the most beautiful rendering of this score that can 
be had. Considered merely as a succession of gor' 
geous sounds, the present disc has no close com' 
petit. or TempG'Wise, however, there are more than 
a few matters about which one might take issue. 

First of all, until this Angel disc came along, only 
Kubelik (*ME<MG'50000) and Rodsinski (*WEST< 
W'LAB'7019) required two full sides for the Pic- 
tures. In the case of von Karajan, the reasons are 
obvious: a slowness of tempo and a desire to pro' 
vide wide groove spacing for the loud passages. 
Though von Karajan and Toscanini (*V-LM-1838) 
are poles apart in this music, particularly as regards 
tempi, we must observe that each offers a unanimity 
of concept that does not seem wrong, taken as a 
whole. Compare particularly the Great Gate at Kiev: 
taken out of context, Toscaninf s fiery pace and von 
Karajan T s majestic slowness makes one almost think 
that two different works were being played. Never' 
theless, -each taken as the final movement of a com.' 
plete performance, both seem right. 

We have often wondered whether some alert re- 
cording firm might issue an LP coupling with the 
piano version of the Pictures on one side and Ravel's 
orchestration on the other. This, it seems to us, 
would be the ideal package certainly for the stU' 
dent of the music, at any rate. Nevertheless, as most 
persons prefer the orchestrated version, an adequate 
choice is available. Surely among Kubelik, Toscanini, 
Ormandy (*C'ML'4700), or the present disc one's 
favorite will be listed; for sheer sonic splendor, von 
Karajan's effort cannot be equaled. N. 

Vaughan Williams: Symphony No. S in minor. 

One and one'half sides, and Vaughan Williams: 
Partita for Double String Orchestra. London Phil- 
harmonic Orchestra conducted by Sir Adrian 
Boult. 1-12" disc (*L'LL"1642) $3.98. 

Boult's limited edition of the Vaughan Williams 
symphonies appeared in 1954, and since that time 
all of the works have been made available sepa- 
rately. The Symphony 7s(o. 8, premiered in 1956, 
has now been added, so that owners of the earlier 
issues can have all of England's master'composer's 
symphonic works by the same conductor and orches' 

In less than a year's time some critics seem to think 
that this very imposing symphony has earned a firm 
place in the standard repertoire. Now that it can 
be heard by more than one interpreter, it should be 
possible to explore its merits even more carefully. 
We are inclined to prefer Mercury's version by Sir 
John Barbirolh (*ME-MG-50125, TNR Feb. '57). 
It was he who conducted the first performance, and 
it still has the more convincing stamp of authority 
plus a slightly sharper sound. The second movement 
excerpt of this work in the Stokowski miscellany re' 
viewed in TNR Sept. '57 makes us want to hear 
Stokowski's full rendition. 

For a detailed discussion of the form of this sym- 
phony, we would refer you to the Mercury record 
cited above. The composer's exhaustive notes on the 
jacket of that disc also help to make it the better 
buy. Owners of the Boult set will, of course, want 
to make their collections complete. For the listener 
to whom Vaughan Williams is a new experience, 
the matter is nearly a toss-up, with a slight edge to' 
ward the Barbirolli reading for the reasons previously 
mentioned. N. 

Haydn: Symphony No. 45 in F-sharp minor ( "Fare' 
well"). One side, and Haydn: Symphony No. 55 
in E-flat ("Schoolmaster"). Aldeburgh Festival Or' 
chestra conducted by Benjamin Britten. l'12"disc 
(*L-LL'1640) $3.98. 

Haydn: Symphony No. 101 in D ("Clock"). One 
side, and Wagner: Lohengrin Preludes to Acts 1 
6? 3. And Wagner: Die Gotterdammfirung Dawn 

and Rhine Journey, Philharmonic-Symphony Or' 
chestra of New York conducted by Arturo Tosca' 
nini. 1-12" disc (*CAM'CAL-375) $1.98. 

Lest you, as we did, wonder why in the world 
Benjamin Britten has taken the podium to conduct 
this pair of Haydn Symphonies, read the jacket 
notes on this disc for the answer. It seems that 
Britten's home town is Aldeburgh, a fishing town in 
Suffolk, where there was an intimate music festival 
(the jacket notes do not say whether this is an 
annual event) in which Britten appeared as com' 
poser, conductor, soloist, accompanist, chamber mu" 
sician and genial impresario. Britten is a creditable 
conductor, but why London should choose to com' 

* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 




The N^te; Records 


memorate this festival with the Britisher doing two 
Haydn Symphonies is quite beyond us; surely there 
must have been some other things more worth pre- 
serving for posterity. 

Camden continues its policy of bringing us great 
performances from bygone days with its latest Tos- 
canini release, coupling Haydn with Wagner a 
little incongruous, but both well done with, as has 
been previously noted in these columns, better re- 
production than the originals but far below today's 

Tribute to the Sadler's Wells Ballet. Royal Opera 
House Orchestra, Covent Garden, conducted by 
Robert Irving. 1-12" disc (*ANG-35521TP) 
$3.48. M2" factory-sealed disc (*ANG-35521) 

CONTENTS: Comus -Overture & Minuet (Pur- 
cell arr. Lambert); Prospect before us Fugue in D 
(Boyce arr. Lambert); Harlequin in the Street 
Allegro (No. 10) (Couperin orch. Jacob; Lord of 
Burleigh Agitato (No. 5) & Allegro vivace (No. 
6); (Mendelssohn orch. Jacob); Les Rendezvous 
Allegro non troppo (No. 5) &* Allegro (No. 6) 
(Auber arr. Lambert); Ra\e's Progress Sarabande 
& Orgy (Gordon); Apparitions Consolation (No. 
1) 9 Galop (No. 7) (Lisztorch. Jacob); Horo- 
scope Valsc for the Gemini (No. 3) (Lambert); 
Wedding 1 Bouquet Tango 6? Waltz (Bemers); 
Adam Zero Dance of Summer (No. 10) (Bliss); 
Cinderella- Walts; & Midnight (No. 38) (Proko- 

A very appropriate tribute commemorating the 
Silver Jubilee (1956) of the Sadler's Wells Ballet, 
offering excerpts from eleven of its most popular 
ballets. Needless to say, the music stands well by 
itself, and thus the disc will appeal to ballet fans 
and lovers of just plain good music as well. 

Shostakovich: Symphony No. 7, Op. 60 ("Lenin- 
grad"). Leningrad Philharmonic Orchestra con- 
ducted by Eugene Mravinsky. Three sides, and 
Shostakovich: Symphony No. 1, Op. 10. State 
Orchestra of the USSR conducted by Kiril Kon- 
drashin. 2-12" discs in box (*VAN-VRS-6030/1) 

We must salute Vanguard's integrity. It states, in 
the liner notes: "This recording was processed from 
the original master tapes. . . . Although it does not 
meet the highest standards of present-day Vanguard 
recorded sound, it is issued because of the historic 
importance. . . ." For those to whom this is great 
music of importance, the reproduction is not bad, it 
just lacks the range and timbre we have came to 
expect in the past couple of years. To us, no per- 
formance of the Shostakovich ?s[o. 7 is worth too 
mt!ch trouble, for it remains, to our taste, a bom- 
bastic piece of tripe. That opinion was formed at 
its glorious and notorious first American perform- 
ance and through subsequent hearings on discs. If 

the Tvfo. 7 is really a great work, we stand in igno" 
ranee of it, and it must be classified along with 
some other music that we just do not "dig." This 
stuff is not hard to understand; it is entirely too 
obvious and not worth all the shouting. It was 
written in a frenzy of chauvinistic passion. How' 
ever admirable the motive, the end result is trashv. 

Shostakovich is hardly different from any other 
great composer, for all the masters penned much 
drivel unworthy of their names after all, no one 
can hit a home run every time at bat. By the time 
Shostakovich is as old as Bach, or even Brahms, we 
wager the Tvjo. 7 will have an inch of dust on it in 
most libraries. As far as the present performance is 
concerned, let it be said that Mravinsky and the 
Leningrad Orchestra play it valiantly and have the 
best of the three available LP's in matters of per- 
formance and reproduction. It is played with obvious 
sincerity, and we even felt the work gained stature 
under Mravinsky's hand, for his reading is well con- 
trolled and not charged with sensationalism. 

The No. 1 was previously available on Vanguard. 
Were it a better reproduction it would challenge 
other LP versions; as it is, others must take prece- 
dence. E. E. S., Jr. 

Prokofiev: Cinderella. Covent Garden Orchestra con- 
ducted by Hugo Rignold. 1-12" disc (*V-LM- 
2135) $3.98. 

Villa Lobos: The Surprise Box ("Caixinha de Boas 
Festas"). One side, and Falla: Homage ("Home- 
naies"). Rome Symphony Orchestra conducted by 
J. J. Castro. 1-12" disc (*V-LM-2143) $3.98. 
Music of France. San Francisco Symphony Orchestra 
conducted by Pierre Monteux. 1-12" disc (*CAM- 
CAL-385) $1.98. 

CONTENTS: Symphonic Suite HO. 2 (Protee); 
Sarabande (Debussy orch. Ravel); Damnation of 
Faust- Rakoczky March (Berlio*); Fervaal Intro- 
duction to Act I, Istar: Symphonic Variations, Op. 
42 (d'Indy). 

Stravinsky: L'Oiseau de Feu (Suite). One side, and 
Bizet: Jeux d'Enfants. And Ravel: Ma Mere POye. 
Philharmonia Orchestra conducted by Carlo Maria 
Giulini. 1-12" disc (*ANG-35462TP) $3.48. 
M2" factory-sealed disc (*ANG-35462) $4.98. 
Those who sat spellbound watching Margot Fon- 
teyn dance the role of Prokofiev's Cinderella on TV 
last spring may have been so awed by the visual 
perfection there displayed that they forgot to listen 
to the music. Now they can hear most of the score 
at their leisure played by the Covent Garden Or- 
chestra. Suffice to say that this work is established 
firmly in the tradition of Swan La\e and Sleeping 
Beauty. It is at once tuneful, tricky, dramatically 
sound, and of course superbly orchestrated. The 
performance here leaves little to be desired; a very 
enjoyable disc. 

The odd assortment by the Rome Symphony Or- 
chestra is the first issue of an essay into the record- 



* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 


The IS^ew "Records 


ing industry by the famous Italian music publishing 
firm of Ricordi. The discs will appear in this country 
on RCA Victor. It would seem that beginner's luck is 
the case here, for Villa'Lobos" 1 Surprise Box is a most 
pleasant little ballet suite, possessing one of the 
most endearing melodies we have heard in a long 
time. The Falla Homenajes, though technically a 
masterpiece, seems quite a forbidding work. Both 
selections are well played and recorded and, as we 
have mentioned, the Villa-Lobos is a little gem. 

Though Monteux has a very special way with the 
French music on this Camden disc, none of it is 
so well performed as to compensate for the poor 
sound on this record. 

Giulinfs reading of the oft-recorded Firebird 
lacks the excitement of several others. With the 
French works, however, the magical touch is there. 
Both the Bizet and Ravel suites shine with an almost 
iridescent glow. Angel's recording is crystalline. 


Berlioz: (5) Overtures. UOrchestre du Theatre na- 
tional de rOpera conducted by Andre Cluytens. 
M2" disc (*ANG-35435TP) $3.48. M2" factory- 
sealed disc (*ANG-35435) $4.98. 
CONTENTS: Benvenuto Cellini, Op. 23; Le Car* 
naval Rornain, Op. 9; Le Rot Lear, Op. 4; Le Cor- 
saire, Op. 21; Beatrice et Benedict, 

A little over a year ago Columbia issued a similar 
disc by Sir Thomas Beecham and the Royal Phil- 
harmonic (TNR July "56). Cluytens gives us the 
Benuenuto Cellini and Beatrice et Benedict instead 
of Les Francs'Juges and Waverley on the Beecham 
disc. We prefer the present selections by Cluytens 
but the conducting of Sir Thomas. 

Gliere: Symphony No. 3 in. B minor, Op. 42 ("Ilya 

Mourornets"). Philadelphia Orchestra conducted 
by Eugene Ormandy. M2" disc (*C'ML-5189) 

GKere: The Red Poppy (Ballet Suite). One side, 
and IppoEtov-Ivanov: Caucasian Sketches. London 
Philharmonic Orchestra conducted by Anatole 
Fistoulari. 1-12" disc (*V-LM-2133) $3.98. 
Columbia's jacket notes quote copiously from the 
text that Gliere provided for the ponderous "Ilya 
Mouromefcz;.' 11 Among the things not mentioned, how- 
ever, is the fact that the performance as heard here 
is somewhat abridged. Even so, there is plenty to 
hear, and most of it is thrilling listening. There 
are occasional passages that seem overly tedious at 
first hearing, but there are many other sections as 
bright and exhilarating as any Russian music of the 
period. (The work was composed in 1909-11). What 
is most surprising is the almost Wagnerian atmos- 
phere that can be evidenced in the more lyrical sec- 
tions of the work. 

Ormandy has given the score a superlative read- 
ing, and the ne Philadelphians are at the top of 
their form. Columbia's engineering in this disc is 

exceptionally fine. Here is an item slightly off the 
Beethoven-Brahms'Tchaikovsky path that is well 
worth hearing. Fortunately it receives a superior per- 
formance by expert musical forces. 

The pairing of the Ippolitov-Ivanov Caucasian 
Sketches with the excerpts from Gliere^s Red PPi?y 
Ballet provides a satisfactory disc. The ballet side 
seems to be a dancing version, with few of the 
liberties taken with this music that sometimes find 
their way into the concert hall. Fistoularf s reading 
of the Sketches is a bit ponderous at times. Even 
the sparkling "Procession of the Sirdar' 1 '' fails to 
generate the excitement generally associated with 
this music. N. 

Berlioz: (4) Overtures. Philharmonic Promenade 

Orchestra conducted by Sir Adrian Boult. 1*12" 

disc (*WEST-XWN-18523) $3.98. 

CONTENTS: Roman Carnival; Les Francs-Juges; 
Benvenuto Cellini; Waverley. 
Dukas: L'Apprenti Sorcier. New York Philharmonic 

Orchestra conducted by Dimitri Mitropoulos. 

1-12" disc (*C'ML-5198) $3.98. 

CONTENTS: L'Arenti Sorcier (Dukas); 
Schwanda Polka and Fugue (Weinberger); Les 
Preludes (Liszt); Salome Dance of the Seven Veils 
(R. Strauss). 

Records of a selection of Berliosj overtures seem 
to be arriving at our studio often these days, and 
dealers report brisk sales of practically all of them 
especially the Beecham LP (*C-ML-5064, TNR 
July '56); the present very fine Westminster disc 
should join the parade . . . Mitropoulos tries his 
hand at four popular classical selections and comes 
up with good readings of all, the Salome excerpt 
being outstanding. 

Grieg: Peer Gynt Suites Nos. 1, Op. 46, and 2, Op. 

55. Boston Pops Orchestra conducted by Arthur 
Fiedler, with Eileen Farrell (soprano). One and 
one-half sides, and Grieg: Lyric Suite, Op. 54. 
Boston Pops Orchestra conducted by Arthur 
Fiedler. 1-12" disc (*V-LM-2125) $3.98. 
Debussy: La Mer. One side, and Ravel: Daphnis et 
Chloe Suite No. 2. Los Angeles Philharmonic 
Orchestra conducted by Erich Leinsdorf. 1-12" 
disc (*CL-P-8395) $3.98. 

Most persons who wish the Peer G^nt Suites pre- 
fer the popular orchestral version without any sing- 
ing; those who wish the music as close to the original 
as one can get will certainly want Sir Thomas 
BeechanTs wonderful LP of the Music from Peer 
Gynt (TNR Oct. '57). So by having Eileen Far- 
rell sing Solvejg's Song on the present recording of 
the two Suites, we rather wonder whether Mr. 
Fiedler hasn't defeated his own purpose . . . Leina- 
dorf performs both La Mer and the Daphnis - et 
Chloe State 7v{o. 2 as well as one might wish, though 
we must make the time-worn observation that both 
numbers were adequately represented in the LP 

* indicates LP 88 1/8 rpm. 
indicates 45 rpm. 







catalogs already. The present disc offers the only 
coupling of the two works in question, so it must be 
on this basis that the disc is recommended. 



A. Marcello rev. Giegling: Concert! "La Cetra" ----- 
Nos. 2, 3, 4, 6. And A. Marcello: Concerto in D 
minor for Oboe, Strings and Thorough-bass. I 

Musici. 1-12" disc (*EPIC LO3380) $3.98. 

La Cetra is the first work we ever recall hearing 
by Alessandro Marcello (c. 1684-c. 1750) and this 
LP is the only A. Marcello disc listed in the cur' 
rent Schwann catalog. Alessandro was the older 
brother of the more famous Benedetto, and these 
La Cetra Concert! are, of course, of the baroque 
Italian school. They indicate that Alessandro was a 
skilled craftsman and an excellent tune spinner. 
There may be some doubt in the mind of the lis' 
tener as to whether he was composing for fun or 
to express serious thoughts; we will kave this con' 
jecture to the scholars and report only that here is 
pleasant music, easy to take, brilliantly recorded 
and superbly played. 

Historical research has done little to clarify the 
matter of the Concerto in D minor for Obo, Strings 
and Continue (with embellishments by J. S. Bach). 
Its original authorship is unknown; perhaps there 
were two original versions; if so, did Marcello work 
from Bach's or did Bach work from Marcello's? No 
satisfactory answer has been given, but the work is 
irrefutably fine in its conciseness, melodic inspira* 
tion and clarity of design. Sabatino Cantore is oboe 

Beethoven: Concerto No. 2 in B-flat, Op* 19. One 
side, and Bach: Concerto No. 1 in D minor, 
BWV. 1052. Glenn Gould (piano) with the Colum- 
bia Symphony Orchestra conducted by Leonard 
Bernstein. 1-12" disc (*C'ML-5211) $3.98. 

Current Market Price: #2.98. 

Bach: Concerto No. 1 in D minor, BWV. 1052. One 
side, and Bach: Concerto No. 5 in F minor, BWV. 
1056. Jean Casadesus (piano) with the Paris Con- 
servatory Orchestra conducted by Andre Vander- 
noot. And Bach: Toccata and Fugue in C minor, 
BWV. 911. Jean Casadesus (piano). M2" disc 
(*ANG-45003) $3.98. 

The Glenn Gould record arrived at the studio 
?arely in time to be covered for this issue of THE 
NEW RECORDS, and since it is Columbia's classical 
*Buy of the Month*" for November, the critique of it 
nust be of a rather hurried nature. We compared 
;he- Beethoven 2nd Concerto with that of Rubinstein 
(see TNR Oct. '57) and were rather surprised to 
lote that Gould stood up rather well beside the 
/eteran; pricewise, the Gould is easily the better 

value even with the questionable bonus of the Bach 
1st Concerto thrown in. (Each concerto from the 
complete set of Beethoven Concertos by Rubinstein 
is now available singly, with each one complete on 
one 12-inch LP discsee NEW LP RELEASES, 
this issue). 

Avoiding the obvious comment that the Bach and 
Beethoven concertos make a somewhat incongruous 
coupling and considering each work only on its 
own merits, we are forced to give a decided nod to 
M. Jean Casadesus 1 performance of the Bach 1st 
Concerto in D minor over that of his contemporary. 
Having noted Mr. Gould's superb recording of the 
Goldberg Variations (*C-ML-5060 S TNR Feb. '56), 
we were rather surprised at this and must place the 
blame for the so-so showing on the shoulders of 
conductor Bernstein; the disc isn't bad it isn't 
anything special, It would be a good concert per' 
formance, but one expects something out of the or* 
dinary to be committed to discs. If it is the Bach 
you are looking into, the Casadesus disc, featuring 
two concertos and the Toccata and Fugue in C 
minor is the better buy, even at $1 more in price. 


Mozart: Concerto No. 3 in G, K. 216. Leonid Kogan 
(violin) with the Philharmonia Orchestra con' 
ducted by Otto Ackermann. One side, and Proko- 
fiev: Concerto No. 2 in G minor, Op. 63. Leonid 
Kogan (violin) with the London Symphony Or- 
chestra conducted by Basil Cameron. 1-12" disc 
(*ANG-35344TP)$3.48. M2" factorysealed disc 
(*ANG-35344) $4.98. 

The coupling on this disc is a curious one. It poses 
a stupendous challenge for the soloist, the result of 
the wide gap between the styles of Mozart and 
Prokofiev and thir respective writing for the solo 
instrument. Violinist Kogan emerges more success' 
fully from his essay of the Prokofiev concerto. 

Mozart's work was one of five composed in 
the year 1775, probably for use by his father. It 
lacks the classic proportions of the Fourth Concerto, 
but it is a refined and elegant work. Mr. Kogan uses 
cadenzas written by David Oistrakh. The perform' 
ance is competent throughout, but the soloist's tonal 
quality seems slightly bold and harsh for the 
subtleties of Mozart. 

It is with Prokofiev's daring and difficult Second 
Concerto that Kogan's talents really assert them' 
selves. This work is very like this composer's other 
works of that era (1935), showing a continual 
strife between lyricism and the harsher aspects com- 
monly described as "modern tendencies." The work 
is in the customary three movements: the first is a 
long dialogue between orchestra and soloist, typify 
ing the conflicts mentioned above; the middle move' 
ment is a delicate Andante; the finale is an intense, 
strident section, making intense demands upon the 
solo performer. N. 

>AGE 7 


* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 


New Record 



Ravel: Sonata for Violin and Piano. And Hinde- 

ttiitk- Sonata No. 3 in E (1935). One side, and 

Prokiev: Sonata for Violin Solo, Op. 115. And 

Prokofiev: (5) Melodies for Violin and Piano, 

Op. 35a. Joseph Szigeti (violin) and Carlo Bus- 

sotti (piano). 1-12" disc (*C-ML-5178) $3.98. 

A potpourri of music evidently to show off the 

well-known talents of Joseph Szigeti. There are 

plenty of recordings of the Ravel Sonata, including 

the excellent Francescatti-Balsam one (*C-ML-5058, 

TNR Oct. "56); the other works are all recorded 

here for the first time on LP. 

Boccherini: Quintet in C minor, Op. 18, No. 1. One 
side, and Boccherini: Quintet in F, Op. 13, No. 3. 

Quintetto Boccherini. 1-12" disc (*ANG-45009) 

Haydn: (6) Trios for Flute and Strings, Op. 38. 

Poul Birkelund (flute), Arne Karecki (violin) and 

Alf Petersen (violoncello) 1-12" disc (*VAN- 

VRS-1008) $4.98. 

CONTENTS: Trios HOS. 1 in D t 2 in G, 3 in C, 
4 in G, 5 in A, 6 in D. 
Mozart: (4) Quartets for Flute and Strings. Poul 

Birkelund (flute), Arne Karecki (violin), Herman 

Holm Anderson (viola) and Alf Petersen (violon- 

cello). 1-12" disc (*VAN-VRS-1006) $4.98. 

CONTENTS: Quartets >{os. I in D. K. 285, 2 
in G, K. 28Sa; 3 in C, K. 285b; 4 in A, K. 298. 
Mozart: (4) Quartets for Flute and Strings. Hubert 

Barwahser (flute) with members of the Nether- 

lands String Quartet. 1-12" disc (*EPIC- LC-3368) 


CONTENTS: Quartets NOS. l i n D, K. 285; 2 m 
G, K. 28Sa; 3 in C, K. 285b; 4 tn A, K. 298. 

dementi: (6) Trios. Trio di Bolzano. 1-12" disc 

(*EPIC LC-3351) $3.98. 

CONTENTS: Trio 7s[os. 1 in D; 2 in G; 3 in C; 
6 in C ("La Chasse"); in F, Op. 32, Tsfr. 1; in D, 
Op. 32, No. 2. 

Another in the very fine series of recordings 
of Boccherinf s Quintets by the Quintetto Bocche- 
rini (see TNR June '57); those making a col- 
lection of these will surely wish to add this new 
one to their libraries . . . Vanguard offers two new 
chamber music IP's this month, one of Haydn's 
Flute Trios and the other of Mozart's Flute Quar- 
tets; and Epic enters the competition with a dupli- 
cate issue of the Mozart pieces. Both Vanguard discs 
and the Epic one are excellently done. Between the 
two Mozart issues, there is very little choice; the 
calibre of the artists and of the reproduction of each 
is almost identical. All we will say is that all of 
the flute works are delightful, but if your budget will 
permit the purchase of only one disc, the Mozart 
works are slightly preferable, and the Epic is the 

better buy . . . The trios of Muzio Clementi (175 2' 
1832) are lighter than the Mozart, Haydn or Boc' 
cherini works considered in this review. They are 
scored for piano, violin and ^cello. They fall pleas- 
ingly on the ear; though not of any great moment, 
these works are full of irresistible melodies that 
almost anyone would like. All are impeccably played. 

Franck: Sonata in A. One side, and Faure: Sonata No. 

1 in A, Op. 13. Mischa Elman (violin) and Joseph 
Seiger (piano). 1-12" disc (*L'LL<1628) $3.98. 
Elman Encores. Mischa Elrnan (violin) accompanied 
by Joseph Seiger (piano). M2"disc (*L-LL-1629) 

CONTENTS: Slavonic Fantasia (Dvorakam 
Kreisler); Song without Words, Op. 62, No. 1 
("May Breezes") (Mendelssohn arr. Kreisler); 
Cubanaise (Miller); Liebeslied (Kreisler); Tango 
(Elman); Atrs Tziganes (Espejo); Canto Amoroso 
Sammartmi arr. Elman); Chanson Polonaise (Wie- 
niawski); From San Domingo (Benjamin ); From 
My Homeland !Ko. 2 (Smetana). 

Fritz Kreisler Favorites. Rafael Druian( violin) accom' 
panied by John Simms (piano). 1-12" disc (*ME' 
MG-50119) $3.98. 

Current Market Price: #3.19. 

CONTENTS: Praeludium and Allegro; Chanson 
Louis XIII and Pavane; Menuet; La Precieuse; An* 
dantino; Sicilienne and Rigaudon; Caprice Viennois; 
That Old Refrain; Schon Rosmarin; Liebeslied; Mid- 
night Bells; Liebesfreud; Tambowrin Chinois. 

The piece de resistance among these three discs is, 
of course, the Elman recording of the Franck and 
Faure Sonatas. When one considers that Mischa 
Elman mad'e his debut in 1904, one must marvel at 
the old gentleman's ability; nevertheless, a critic's 
job is to suggest whether the present recording is 
superior to others already available, and regrettably 
one cannot do so in the present instance. One can 
point to the Fuchs'Balsam recording of the same 
pairing (*D-DL-9716, TNR Oct. '55) as just one 
example of superiority; and, if the Faure interests 
you, one can suggest that Francescattf s magnificent 
reading of the Faure Sonatas Tvjos. 1 and 2 (*C'ML' 
5049, TNR July '56) is a more logical coupling. 

The recording of the Elman encores will bring 
a breath of nostalgia to the old'tirne collectors of 
this great artist's records. 

Readers of THE NEW RECORDS may recall a 
previous release, in quite a different vein, by the 
Messrs. Druian and Simms: the recordings of the 
four Ives Sonatas for Violin and Piano (*ME'MG' 
50096 and 50097, TNR June '56). Again we find 
great performances; we especially enjoyed the Kreis- 
ler "hoaxes^ on side one of Fritz Kreisler Favorites 
compositions by Kreisler which he slyly ascribed 
to such composers as Boccherini, Vivaldi and others 
and which remained undiscovered for some 35 years 
until OHn Downes got wind of the true state of 

* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 




The New Records 


Sibelius: Quartet in D minor, Op. 56 ("Voces In' 
timae"). One side, and Grieg: Quartet in G minor, 

Op. 27. Budapest String Quartet. M2" disc 

(*OML-5202) $3.98. 

The renowned Budapest String Quartet turns its 
attention to two seldonvheard works this month. We 
do not ever recall having heard the Sibelius Quartet 
before; this is its sole LP recording, an earlier disc 
by the Gnller Quartet (*L-LL-304, TNR May '51) 
having been discontinued. Neither modern nor ro' 
mantic, this work seems to be typical of other, more 
familiar works of Sibelius . . . "Whereas the Fin' 
nish landscapes of Sibelius are unpeopled and pris' 
tine, the Norwegian canvases of Grieg are nearly 
always village scenes wherein the center of interest 
is the human activity," writes Charles Burr in the 
jacket notes to this disc; which words impress us as 
the chief difference between the two works at hand. 
Abounding in gay folk melodies, the Grieg work is 
charming and gracious. The Budapest Quartet plays 
both quartets with its customary finish. 

Beethoven: Sonata No. 7 in C minor, Op. 30, No. 2. 
One side, and Beethoven: Sonata No. 10 in G, Op. 

96. Arthur Grumiaux (violin) and Clara Haskil 
(piano). M2" disc (*EPIC LC-3381) $3.98. 

Brahms: Sonata No. 2 in A, Op. 100. One side, and 
Brahms: Sonata No. 3 in D minor, Op. 108. Rug' 
giero Ricci (violin) and Julius Katchen (piano). 
M2" disc (*L-LL-1569) $3.98. 

Schubert: Sonatina No. 1 in D. One side, and Schu- 
bert: Sonatina No. 2 in A minor. Johanna Martsy 
(violin) and Jean Antonietti (piano). 1'12" disc 
(*ANG-35364TP) $3.48. 1-12" factory-sealed disc 
(*ANG-35364) $4.98. 

Outstanding in this trio of LP's is the Beethoven 
disc by the very fine Arthur Grumiaux and Clara 
Haskil, whose record of the Mozart Sonata in 
B'flat, K. 454 and Sonata in A, K. 526 (TNR July 
11 57) won the Grand Prix du Disque for 1957 . , . 
The Brahms performances are lightweight, but then, 
so are the works . . . The two Schubert Sonatinas 
are perfectly delightful, expertly performed. 


Chausson: Poemc, Op. 25. And Ravel: Tzigane. One 
side, and Berlioz: Reverie and Caprice, Op. 8. 
And Saint-Saens: Havanaise, Op. 83. And Saint- 
Saens: Introduction and Rondo Capriccioso, Op. 

28. Aaron Rosand (violin) with the Southwest 

German Radio Orchestra conducted by Rolf Rein' 

hardt. 1-12" disc (*VX-PL- 10470) $4.98. 

Some mighty fine music for violin and orchestra 

for those who do not wish for pieces as heavy as 

concertos. 28'year-old Aaron Rosand is recognized 

as an outstanding American'born and American'' 

trained concert artist; this is the first disc we have 

run across by him, and we would wish for more. 


Berlioz: L'Enfance du Christ, Op. 25. (Sung in 
French). Florence Kopleff (contralto), Cesare Val' 
letti (tenor), Gerard Souzay (baritone), Giorgio 
Toui (bass); New England Conservatory Chorus 
directed by Lorna Cooke de Varon; and Boston 
Symphony Orchestra conducted by Charles 
Munch. 242" discs in box (*V'LM-6053) $7.98. 

To write in a cool, detached and coherent manner 
about the new RCA Victor recording of Berlioz" 1 
L'Enfance du Christ is going to be a tough job for 
your correspondent. Berlioz is just not a composer 
one can be prosaic about he excites, he enrages, 
and (one suspects) the worst offence one could com' 
mit, insofar as your true Berliosian is concerned, 
would be to yawn while his music was being played. 

Well, only the most fanatic anti-Berliosian could 
yawn during this recording. RCA Victor has lavished 
its finest New Orthophonic sound on the perform- 
ance, and the Boston Symphony Orchestra directed 
by Charles Munch play the score con amore and with 
all the skill and knowledge at their command 
which, by the way, is just about as great as may 
be found in this vale of tears. 

Cesare Valetti proves himself a genuine musician 
by his sensitive and idiomatic singing of the part 
of the Narrator and, surprisingly, his French diction 
and pronunciation is above reproach. Gerard Souzay 
turns in the classic performance one expects he is 
superb! A newcomer to this writer is Florence Kop' 
leff; she proves to be a fine mezso who can sing with 
real feeling and a good sense of style. Giorgio 
Tossi, a triple threat man (Herod, Polydorus and the 
Ishmaelite father) does a fine job in all three roles. 

The music is sheer magic and the words are as 
wonderful as the music. Munch proves to be head' 
man (which is as it should be), and the performance 
is one that this writer is convinced Berlioz would 
have loved. He that hath ears to hear, let him hear. 


Songs of Faith and Devotion. Mormon Tabernacle 
Choir of Salt Lake City directed by J. Spencer 
Cornwall. M2" disc (*OML<5203) $3.98. 

CONTENTS: Come, Come, Ye Saints (Clayton 
arr. Cornwall); Challenge of Thor (Elgar); 
Clouds (Anon. arr. Deis); Jesu, Priceless Treasure 
Death, I Do Not Fear Thee (Bach); Out of the 
Silence (Ryan); Judas Maccabaeus Sound an 
Alarm! (Handel arr. Noble); Stabat Mater 
Blessed Jesu, Fount of Mercy (Dvorak); St. Mat' 
thew Passion The Sorrows Thou Art Bearing & 
Here Will I Stay Beside Thee (Bach); Glorious Ev- 
erlasting; Waters Ripple and Flow (Czech folk song 
arr. Taylor); Song of the Silent Land. 

This is the third release of the magnificent Mor" 
mon Tabernacle Choir directed by J. Spencer Corn' 
wall. The first two were previously reviewed in THE 



* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 





NEW RECORDS in Jan. "56 and Apr. '54. The works 
on the present disc are somewhat more pretentious 
(and less familiar) and, for our money, this record 
is the finest of the three. 

Grieg: Music from Peer Gynt. Royal Philharmonic 
Orchestra and Beecham Choral Society conducted 
by Sir Thomas Beecham, with Use Hollweg (so* 
prano), 1-12" disc (*ANG-35445TP) $3.48. M2" 
factory-sealed disc (*ANG-35445) $4.98. 

We recall only one previous recording of this 
music (*ME-MG'10148, TNR March '54), now 
deleted, which is surpassed by the present record, 
in any event. Sir Thomas Beecham, in his auto- 
biography, The Mingled Chime, says that Grieg's 
music to Ibsen's Peer Gynt is among the finest ex" 
amples of incidental music ever written; one can 
surely believe, after hearing this wonderful record' 
ing, that Sir Thomas is, indeed, sympathetic to the 
music. Though all of the music will be familiar, due 
to the great popularity of the Peer Gynt Suites, if 
you have never heard the "original," we urge you 
to investigate the present disc. Use Hollweg, in the 
role of the faithful Solveig, sings with great purity 
of tone; the short choral passages are fine; and Sir 
Thomas, as usual, stresses and caresses each nuance 
as only he can* 

The English Singers. The English Singers. 142" disc 
(*ANG-35461TP) $3.48. 1-12" factory-sealed disc 
(*ANG-35461) $4.98. 

CONTENTS: Sing We and Chant It, How Is the 
Month of Maying (Morley); This Street and Merry 
Month (Byrd); The Silver Su>an (Gibbons); Stay 
Corydon (Wilbye); Come Away Sweet Love 
(Greaves); To Shorten Winter's Sadness (Weelkes); 
Matthew;, Mar\, Lu\e and John, Greensleevcs, I 
Will Give My Love an Apple, O Can Ye Seta 
Cushions?, Turtle Dove, Wassail Song (Anon.). 

A rather amazing phenomenon occurs when one 
recording has the ability to bring the spirit of Christ' 
mas to every day in the year. That is, however, 
exactly what happens when one listens to this recital 
on Angel by the English Singers. This group of six 
musicians has spent years of research and practice 
to bring to an eager public authentic renditions of 
the songs of the Elizabethan Age. All the warmth, 
gaiety, and fellowship of the Yuletide Season result 
when this group sings a madrigal, ballet, or folk 
song such as the immortal and indestructible 

Singing a cappella, or at times with lute accom* 
paniment, the English Singers offer thirteen songs 
from Elizabethan or earlier English composers, 
though four of them have a contemporary flavor 
about them, having been arranged by Gustav Hoist, 
Granville Bantock and Ralph Vaughan Williams. 
The result is entirely pleasing and reveals the rea* 

son why these musicians have gained popularity 
throughout the world by their carefully constructed 
performances of English Folk music. 

Whether you are sitting before a real roaring fire 
or an imaginary one, there is no doubt that com' 
plete enjoyment will come from a hearing of this 
outstanding disc. P. 


American Ballads. Pete Seeger (vocals & banjo). 
M2" disc (*FOLK'FA-2319) $5.95. 

CONTENTS: Lady of Castyle; Gypsy Davy; St. 
James Hospital; Golden Vanity; Jesse James; Pretty 
Polly; Devil's Curst Wife; John Henry; Jay Gould's 
Daughter; Titanic Disaster; Lady Margaret; John 
Hardy; Barbara Allen; Three Butchers. 

Songs for All Ages. Burl Ives (vocals) with orches' 
tral accompaniments. M2" disc (*C-CL'980) 
CONTENTS: Little White Duc\; Lollipop Tree; 

Little Engine That Could; Mr. Froggie Went 

d'Courtin'; Donut Song; Two Little Ou>ls; Fooba 

Wooba John; Old Witch, Old Witch; The Whale; 

Buckeye Jim; Sow Too\ the Measles; The Goat; 

Mr. Rabbit; Tailor and the Mouse; Mother Goose 


The Days of '49. Logan English (vocals) with guitar. 
142" disc (*FOLK-FH-5255) $5.95. 

CONTENTS: What Was Tour J^ame in the 
States?; Sacramento; Ripping Trip; Sweet Betsy from 
Pi\e; Crossing the Plains; Prospecting Dream; Life 
in California; I Often Thin\ of Writing Home; 
Days of '49; He's the Man for Me; Clementine; The 
Gambler; Joe Bowers; California Stage Company; 
California Bloomer; Sacramento Gals. 

Walk in the Sun. Earl Robinson (vocals & guitar). 
M2" disc (*FOLK-FA-2324) $5.95. 

CONTENTS: Ballad of the Lead Platoon; Texas 
Division; Waiting; One Little Job; Platoon Started 
Out; Six Mile Wa% Trouble Comfng; Texas Divi* 
sion Blues; They Met Hitler's Best; Moving In; Wal\ 
in the Sun; House I Live In; Texas Girl; From Here 
on Up; Train Song; Joe Hill; Free and Equal Blues; 
Spring Song; Good Morning; Blac\ and White. 

Pete Seeger and Burl Ives are well known and 
require no comment from this quarter . . Logan 
English has the rough voice necessary for these 
bawdy songs of the gold rush . . . Earl Robinson 
sings the ballads he wrote for the motion picture, 
Wal\ in the Sun. This is contrived folk music, 
chauvinistic in character, out in left field politically, 
but well sung. All of the Folkways discs listed above 
come with a booklet containing words to all the 

* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 


PAGE 10 




songs; Columbia supplies not only no words, but 
no jacket notes, either. 

In passing, we might mention that, for those in' 
terested, the publishers of THE NEW RECORDS have 
secured a limited number of Folkways catalogs, one 
of the largest catalogs of folk, ethnic and similar 
music in the world, and will be happy to send a 
copy gratis to any reader requesting one, so long as 
the supply lasts. 

Wolf: Lieder. Dietrich Fischer'Dieskau (baritone) 
accompanied by Gerald Moore (piano). 1-12" disc 
(*ANG-35474TP) $3.48. M2" factory-sealed disc 
(*ANG-35474) $4.98. 
CONTENTS: (3) Harfenspieler Lieder; Erschaf- 

fen und Beleben; Genialisch treiben; Phdnotnen; 

Ana\reons Grab; Ob der Koran von eurig\eit sei?; 

(2) Cophtisches Lieder; Alle gtngen, Herz, zur Ruh'; 

Wer sein holdes Lieb verloren; Verschwiegene Liebe; 

Lebe wohl; In der Fruhe; Fussreise. 

Wolf: Lieder. One side, and R. Strauss: Lieder. Kir' 

sten Flagstad (soprano) accompanied by Edwin Me' 

Arthur (piano). 1-12" disc (*L-LL-1680) $3.98. 

CONTENTS: Gesang Weylas; Gebet; Uber 

Wacht; Der Freund; Heb' auf dein blondes Haupt; 

Ana\reons Grab; Morgenstiramung, Zur Ruh* 

(Wolf). Befreit; Mit deinen blauen Augen; Lob des 

Leidens; Ich trage meine "Minne; Seitdem dein dug'; 

Geduld (R. Strauss). 

Dietrich Fischer'Dieskau and Kirsten Flagstad are 
almost a generation apart, although they are repre- 
sented this month in releases of songs by the same 
composer, Hugo Wolf. Madame Flagstad completes 
her recital with a selection of songs by Richard 

Strangely enough, the younger of the two wins 
this particular contest completely. Fischer'Dieskau 
has managed the seemingly impossible task of be' 
coming a marvelously expressive singer at an early 
age. This recital of Hugo Wolf lieder is a gem. The 
baritone conveys the subleties and overt emotions 
without the sacrifice of one whit of musicianship. An 
instinctive sense of drama coupled with a well 
pitched voice would be enough to ask; but Fischer' 
Dieskau adds to these qualities a spark of greatness 
which infuses every note with meaning. 

There is no doubt that the Flagstad recital is good; 
one would not expect her delivery to be poor. The 
point is that she has been equalled by several 
"lesser-lights" in recent recordings of a similar na' 
ture. Although there is no duplication in the Wolf 
songs of Fischer-Dieskau and Flagstad, this reviewer 
had the opportunity of criticising a Lisa della Casa 
Strauss recital recently, which was far more expres' 
sive than that offered by Mme. Flagstad here. Per' 
haps it is because of the association with the Brun- 
hildes and Isoldes which the lady has done so beau' 
tifully that the application of this magnificent instni' 
ment to such a song as Strauss' Befreit or any of 

the Wolf songs does not seem to come of well. 

Fischer-Dieskau is clearly the master, as only a 
hearing of these discs will prove. The Flagstad disc 
will not disappoint her admirers, although it cannot 
be relied upon to create new fans. P. 

Brahms Lieder. Hans Hotter (baritone) accom' 
panied by Gerald Moore (piano). 1'12" disc 
(*ANG-35497TP) $3.48. 1-12" factory-sealed 
disc (*ANG-35497) $4.98. 
CONTENTS: Wie Melodien zicht es; Sonntag; 

Mtnnelied; Komm bald; Wir wandelten; Wie bist 

due, meine Konigen; Sapphische Ode; Botschaft; 

Sommerabend; Mondenschein; Stdndchen; O wusst* 

ich doch den Weg zuruc\; Auf dem Kirchhofe; 

Heim\elir; Im Walde$einsam\eit; Wenn du nur 

zuweilen Idchelst; Verrat. 

(5) Centuries of Spanish Song (13004800). Vic- 
toria de los Angeles (soprano) with instrumental 
ensemble. 1-12" disc (*V-LM-2144) $3.98. 
CONTENTS: Mdridm matrem, Ay triste vida 
corporal, Pastorico non te aduermas, Ay luna que 
reluces, En esta larga ausencia, Cancion de cuna 
(Anon.); Que es mi vidct preguntais (Cornago); 
Porque es dama tanto quereros* NO tnc Homes segd- 
laherbd (Pisador); De donde venis amore (Valder- 
rabano); MoHni'IIo que mueles amores (del Vado); 
Confiddo jilguerillo (Literes); Seguidillas religiosas 
(Pla); Jilguerillo con pico de oro (de Laserna); El 
canape (Polomino). 

A recital of Brahms lieder performed by an in- 
ferior artist most likely results in a state of un- 
equalled boredom, for this composer demands that 
the singer bring to his songs a wealth of expressive 
and sensitive lyricism. Hans Hotter has the neces- 
sary qualifications for successful Brahms and does 
not fail to wring every facet of emotion from the 
songs presented on this Angel disc. He manages the 
various moods of melancholy, elation, near'sentimen- 
tality, and love with an ease expected, but not too 
often received, of one thoroughly grounded in the 
field of lieder. Gerald Moore is again the expert ac- 
companist as he joins Herr Hotter in fine interpreta- 
tions of the seventeen songs on this disc. Angel 
has provided texts and commentary which have be- 
come almost a trademark of excellence. 

That Victoria de los Angeles has approached the 
plane of infallibility would be challenged by few 
critics in the world today. Her performances in 
opera grow in stature each year, and her song re- 
citals are a feast. A highlight of her program is 
invariably songs of Spain, and RCA Victor has seen 
fit to give us more of these works which have be- 
come peculiarly her own. The Gothic, Renaissance, 
and Baroque Periods are represented here by fifteen 
songs of little known or anonymous Spanish com- 
posers. Mme. Angeles delivers each of these as 
though she might have been the composer. Authori- 
tative interpretation is a rare gift by which this so- 



* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 




prano convinces lier audience of the true drama of 
the music. Her tools are a well focused voice, beau' 
tifully produced, and strong feeling according to the 
mood involved. RCA Victor has contributed rather 
sketchy notes and has not included texts. The in' 
strumental ensemble achieves a fitting background 
for the songs of various periods. P. 

Bernstein: West Side Story. Carol Lawrence, Larry 
Kert, Chita Rivera and Art Smith with members 
of the Original New York Cast directed by 
Jerome Robbins. 142" disc (*C-OL-5230) $4.98. 
The record of the Broadway musical, West Side 
Story, which is playing to SRO crowds in New 
York, has finally been released. Leonard Bernstein's 
fresh and different score, a recipe consisting of ex- 
uberantly happy tunes mixed proportionately with 
hauntingly lovely ballads and sprinkled with a 
binder of pure classical jazz, is joined in a -happy 
marriage with Stephen Sondheim's amazingly clever 
and beautifully worded lyrics. Though the story of 
gang "rumbles" (street fights) on the West Side 
may be said to be seamy and depressing, those who 
have seen the show report that it is a deeply emo' 
tional experience, and it is largely to these persons 
that the present album is directed, though one or two 
of the ballads may easily make the hit parade on 
their own. D. 

Songs of Naples. Giuseppe di Stefano (tenor) with 
orchestra conducted by Dino Olivieri. 1'12" disc 
(*ANG-35469TP) $3.48. M2" factory-sealed disc 
(*ANG-35469) $4.98. 

CONTENTS: O sole mio, I te vwrria vasal (di 
Capua); Marechiare (Tosti); Dicitencello vuje 
(Falvo); Tu ca nun chiagne 1 , Torna a Surriento 
(de Curtis); Core 'ngrato (Cardillo); Silenzio can- 
tore (Lama); Chiove (Nardella); O paese d' o sole 
(d'Annibale); Santa Lucia luntana (Mario). 
Opera Bu&a. Salvatore Baccaloni (basso) with other 
members of the Metropolitan Opera Association 
and Concord Philharmonia conducted by Hans- 
Jurgen Walther. M2" disc (*CONCORD 3008) 

CONTENTS: Don Pasquale -Cheti, cheti (with 
Valentino); II Matrimonio Segreto Udite; L'ltali- 
ana in Algeri Ai capricci delle sorte (with Gerace) ; 
IJ^ Barbiere di Siviglia Pace, gioja (with Landi); 
L'Elisir d'Amore Obbligato, obbligato (with Landi) 
& Udite, o ristici; II BarUere de Siviglia AlFidea 
(Valentino and Landi). 

One comes away from this di Stefano disc of Neo- 
politan songs with a feeling of astonishment. The 
amount of feeling and expression that is poured into 
these excellent but essentially inconsequential songs 
is truly amazing and it is also characteristic of the 
singer who loves to sing and likes nothing better 
than to let fly with high notes and expression. 

The great majority of the songs on the record 
(all but three, in fact) have been available on a 

ten inch HMV disc (TNR Nov. '54) and the re- 
marks made on the occasion of that review still 
hold the three additional songs are in the same 
general category and receive the same very plush 
treatment. For some exciting singing of old favor- 
ites (hear 'Marechiare and Core 'ngrato in this con- 
nection) as well as for making the acquaintance of a 
few new ones, this record cannot be improved upon. 
As for Concordes venture into opera buffa, the 
less said the better. None of the voices amount to 
much in this year of 1957, although ten or fifteen 
years ago they would have ranked right up with 
the best. The spirit is there, but the flesh is all too 
weak; and Concord's recording, with its rattles and 
buzzes and inadequate orchestra, make it one to be 
listened to carefully before buying. It is a shame, 
too, for the music is good and the choice of material, 
if it had been given half a chance, could have made 
a fascinating cross-section of the record's subject. 

The Four Lads Sing Frank Loesser. The Four Lads 
with Ray Ellis and his Orchestra. 1-12" disc (*C- 
CL-1045) $3.98. 

Current Market Price: #2.98. 

CONTENTS: Guys and Dolls (excerpts); Hans 
Christian Andersen (excerpts); Where's Charley? 
(excerpts); I Don't Want to Wal\ without Ton; 
Spring Will Be a Little Late This Tear; On a Slow 
Boat to China; Two Sleepy People; I Wish I Didn't 
Love You So; What Are Tow Doing T^etu Tear's 

We can stand a lot of this! The Four Lads have a 
distinct styling, easily recognizable, yet not so flashy 
that one hears them and not the music. Nicely 
blended voices in numbers familiar to all devotees 
of musicals are featured in Columbia's popular "Buy 
of the Month" for November. 



Puccini: La Boheme (complete). (Sung in Italian). 
Soloists, Chorus and Orchestra of La Scala (Milan) 
conducted by Antonino Votto. 2*12" discs (*ANG- 
35471 /2TP) $6.96. 2-12" discs in factory-sealed 
album (*ANG-3560B/L) $10.98. 

Rodolfo Giuseppe di Stefano (t) 

Marcello Rolando Panerai (bt) 

Colline Nicola Zaccaria (bs) 

Mimi Maria Meneghini Callas (s) 

Musetta Anna Moffo (s) 

Schaunard Manuel Spatafora (bt) 

This is a difficult review for your humble servant 
to write, for he always felt that Giuseppe di Stefano 
could do no wrong. But alas, here di Stefano turns 
in a completely unbridled performance that, if it 
doesn't actually spill over into bad taste in the last 
act, is at least "hammy." Certainly one never ex" 
pected anything like this. An earlier performance 

* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 


PAGE 12 





(abridged) (*V'LM-1709) with Albanese, Warren 
and Munsel, is tasteful and musical while still re^ 
taining all the dramatic moments. Still, there were 
intimations of something being amiss with di Stefa- 
no's sense of proportion m the Ballo in Maschera set 
of a few months back when he, while singing well, 
did not seem to demonstrate his musical abilities 
he was merely vocal. One notes, also, that the same 
conductor, Antonino Votto was at the helm (in the 
Ballo) then as now perhaps there is a connection. 
One sincerely hopes this is the case and also hopes 
that, having gotten a second rate performance out of 
his system, di Stefano will simmer down and give us 
more performances like Egardo, Manrico, Nemorina, 
Arturo Talbot and Alfredo to mention a few of the 
outstanding characterisations he has recorded. Maria 
Callas is an engaging Mimi, Panerai a fine Marcello. 
The balance of the cast is also of a high order, vo" 
cally speaking. 

Of course, the set suffers badly in comparison with 
Sir Thomas Beecham's recording of the same music 
for RCA Victor (TNR Oct. '56) that boasts, in 
addition to the inimitable Baronet, Victoria de los 
Angeles, Jussi Bjoerling and spectacular recording. 
The sound in this Angel set is too loud and breaks 
up on the inside of the disc when the volume is high. 

This is a disappointing recording, and it is hard 
to see a market for it except for Callas admirers 
even the ardent partisans of Giuseppe di Stefano are 
advised to hear it first. W. A. O. 

Opera Buffa. Salvatore Baccaloni (basso) with other 
members of the Metropolitan Opera Association 
and Concord Philharmonia conducted by Hans' 
Jurgen Walther. M2" disc (*CONCORD 3008) 
NOTE: For review of this disc see under VOCAL. 

Mozart: Le Nozze di Figaro, K. 492 (complete). 
(Sung in Italian). Soloists, Vienna State Opera 
Choir and Vienna Symphony Orchestra conducted 
by Karl Bohm. 3-12" discs in box (*EPIC SO 
6022) $14.94. 

Susanna Rita Streich (s) 

Countess Rosina Sena Jurinac (s) 

Cheru'bino Christa Ludwig (s) 

Marcellina Ira Malanuik (ms) 

Barberina Rosl Schwaiger (s) 

Figaro Walter Berry (bt) 

Almaviva Paul Schoffler (bt) 

Bartolo Oskar Cserwenka (bs) 

Basilio. Erich Majkut (t) 

Antonio Karl Donch (bs) 

Cursio Murray Dickie (t) 

It was with real interest, remembering Epic's fine 
Don Giovanni (in this reviewer's mind still the best 
LP recording of the score), that one started playing 
this new Epic issue of the incomparable Le l^lozze di 
Figaro. For once expectations were fulfilled it is a 
good performance, and, vocally, it comes close to being 
the best 'extant. 

The ladies could not be improved upon. Rita 
Streich is a pert and vocally expressive Susanna, and 
it would be difficult to imagine a more opulent' 
voiced Contessa than Sena Jurinac. Ghrista Ludwig 
is new to this writer; besides being real cute looking 
she sounds just as cute and is convincing in the 
bargain. Lesser roles are suitably cast and capably 

Among the gentlemen there is also little room for 
improvement. Walter Berry is a eupeptic Figaro 
a surprisingly excellent one with a real baritone 
voice one of the best Figaros on records. Paul 
Schoffler shows a surprising amount of voice and, as 
the beleagured Almaviva, gives an excellent account 
of both character and music. Here, too, the smaller 
roles, Basilio, Antonio and Bartolo, are performed 
by above'average singers who have both style and 

The only drawback, and this is difficult to lay a 
finger on 4 is a certain lack of sparkle (so plentifully 
present in the London recording made under the 
direction of the late Erich Kleiber, TNR Feb. '56) 
that could be due to Bohm's serious approach or, 
perhaps, to Epic's somewhat less brilliant (but 
equally faithful) recording technique. 

Nevertheless, here is a T^ozze di Figaro that can 
hold its own in any league, and those who still do 
not have a recording of Mosjart's classic score may 
choose between the very complete London four 
record set or the three record set here that makes 
the usual cuts. Nothing is replaced or overshadowed; 
it is merely that the choice has been widened. 


R. Strauss: Die Frau ohne Scfaatten ("The Woman 
without a Shadow") (complete). (Sung in Gei' 
man). Soloists, Vienna Philharmonic Orchestra 
conducted by Karl Bohm. 5-12" discs in box 
(*L-XLLA-46) $24.90. 

Emperor Hans Hopf (t) 

Empress Leonie Rysanek (s) 

Nurse Elisabeth Hongen (ms) 

Spirit Messenger Kurt Boehme (bt) 

Guardian of Threshold Emmy Loose (s) 

Aparition of a Young Man Karl Terkal (t) 

Voice of a Falcon Judith Hellwig (s) 

Voice from Above Hilde Rossel-Majdan (c) 

Barak, the Dyer Paul Schoeffler (bs'bt) 

Dyer's Wife .Christel Goltz (s) 

( Harald Proglhof (bs) 
Brothers of Barak. . ) Oskar Czerwenka (bs) 

/ Murray Dickie (t) 
Alfred Poell (bs) 

Voices of the Watchmen . / Eberhard Wachter (bs) 
I Ljubomir Pantscheff (bs) 

Although Hugo von Hofmannsthal and Richard 

Strauss collaborated in the writing of six operas, they 

rarely met; most of their work was done via corre' 

spondence. It seems somewhat significant that during 

the summer of 1913 they journeyed together through 

PAGE 13 


* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 


like INew Records 


Italy for the purpose of discussing the composition of 
Die Frau ohne Schatten. For all its complexity of 
ideas and musical patterns, this opera requires, for 
reasonable understanding, no less than a good volume 
on history of philosophy, a thorough knowledge of 
Wagner's "Ring" and "Parsifal," and the Encyclo' 
padia Britanmca to boot. That is to say, the untutored 
will enter the land of the Shadowless Woman without 
even so much as a reflection in the mirror. 

London shows great wisdom in providing, along 
with the recording, notes including the music of the 
main themes and an attempt to outline their frequency 
of occurrence throughout the opera* With these notes 
as guides, the listener is prepared for one of the most 
fascinating experiences in the field of opera on rec- 
ords, for the workmanship of these two masters is all 
but flawless and lends itself beautifully to a work of 
tremendous interest. 

Typical of Strauss is the music which he has written 
for the Empress the voice attempts to do what the 
voice should not be able to do. Leonie Rysanek, as the 
Empress, carries the vocal line with an amazing facil- 
ity and approaches the plane of Maria Callas in the 
art of dramatic singing. Her notes are usually well 
formed and on pitch, and in the field of expression her 
timing is excellent. Elisabeth Hongen, as the conniving 
nurse who attempts to get a shadow for the Empress, 
brings dark reflections to a part which is somewhat in 
the nature of villainess; and Paul Schoeffler sings 
beautifully and tenderly as the earthly, benevolent 

Hans Hopf s performance as the Emperor is purely 
conventional. Whether or not a great deal of emo- 
tional shading could be injected into this role is a 
matter for conjecture. And yet this reviewer feels that, 
although the tenor sings the notes well, he lacks ex- 
pression and becomes monotonous. As Barak's com- 
plaining wife, Christel Goltz is somewhat in the same 
category. Her voice seems forced and rather dry. These 
two contribute the notes to round out what must be 
called an excellent performance. 

Karl Bohm and the Vienna Philharmonic Orches- 
tra add a Straussian orchestra which is lush, well- 
paced, and awesome. London is to be congratulated 
for giving us an expert production. Strauss himself 
has said that the opera should not be approached in 
the opera house without advance preparation on the 
part of the audience. When such time occurs that 
'"'Die Frau ohne Schatten" is produced in this coun- 
try, the London recording will have done a marvelous 
service. P. 

Bergsma: The Wife of Martin Guerre (excerpts). 
(Sung in English). Mary Judd (soprano), Regina 
Sarfaty (mez^o-soprano), Stephen Harbachick 
(baritone) and members of the original cast with 
chamber orchestra conducted by Frederic Wald- 
man. 1-12" disc (*COMPOSERS CRI-105x) 
The first performance of The Wife of Martin 

Guerre was given February 15, 1956, by the Juilliard 

Opera Theater. The scenes presented on this record- 
ing are, presumably, some of the best in the opera. 
If we may conclude that this assumption is true, 
there is little doubt as to the reason why there has 
been no news of subsequent performances. The work 
is not only immature but also uninteresting. The 
effects are purely theatrical, and the orchestration 
falls into the trap of many of our modern composers 
there are mathematically perfect and scientifically 
desirable constructions with no feeling or sense of 
drama to let the music sing. Since there have been, 
admittedly, many successful composers of opera 
since the days of Donizetti, this reviewer does not 
wish to be typed as an "old fogy." The fact re- 
mains that even Bach*s mathematical genius sue* 
ceeds because the composer brings to us more than a 
succession of well-designed notes. 

And yet, there is value to this recording, for it is 
well presented by a group of young singers who need 
the experience involved in making a record of this 
type. They sing as though they attempt to bring 
to the music which Bergsma has written for them 
drama which does not exist. Mr, Bergsma^s work, 
with all its failings, does show promise. New works 
must be heard to be evaluated, and in this way the 
recording of The Wife of Martin Guerre is a valu- 
able addition, for it enables us to build on the knowl- 
edge of others. P. 


Deutschmeister Band. Deutschmeister Band con- 
ducted by Capt. Julius Herrmann. 1-12" disc 
(*ANG-35498TP) $3.48. 1-12" factory-sealed 
disc (*ANG-35498) $4.98. 

CONTENTS: Seyffertitz March; Erzherzog Al' 
brtscht March; Khevenhuller March; Voter des Regi- 
ments; Tiroler Adler March; Hoch und Deutsch- 
meister March; Rainer March; Hessen March; 99th 
Regiment March; Tiroler Holzhac\erbuab'n March; 
Grenadiers March; Kaiserjdger March; Radetzfy 
Murch (Strauss). 

Dium and Bugle Corps. Skokie Indians (American 

Legion Sr. Nat 1 !. Championship Drum ^ Bugle 

Corps). 1-12" disc (*EPIC LN-3341) $3.98. 

CONTENTS: Victory for All; Columbia, the Gem 

of the Ocean; My Old Kentucky Home; St. Louis 

Blues; All the Things You Are; Stranger in Para* 

dise; September Song; September in the Rain; ?v[o- 

body$ Su/eethedrt; Repasz Band; Tenderly; I Hear 

a Rhapsody; Far above Cayuga's Waters; Stars and 

Stripes Forever; Because; Onward, Christian Sol' 

diers; America; Star-spangled Banner; Semper Pi* 

delis; You're in the Army Tvfou/; Military Escort; I 

Love You Truly; Lights Out. 

The Deutschmeister Band will be more or less 
well known to readers of THE NEW RECORDS from 
its many Westminster records released over the past 

* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 


PAGE 14 





few years. Here they are again on the Angel label, 
playing unfamiliar marches with all their wonted 
spirit . . . Think youVe heard everything? What 
about that classic wedding favorite, Because, ren- 
dered by 60 bugle-blowing, drum-beating Skokie 
Indians? Sponsored by the Skokie American Legion 
Post, Skokie, III., this group has won five consecu- 
tive state titles, two consecutive national titles, and 
has gone undefeated in three and one-half years of 
midwest drum and bugle corps competition. If you 
or your youngsters are interested in this sort of 
thing, here's a recording that'll show you how it 
ought to sound. 

Holiday in England. Band of the Grenadier Guards 
conducted by Maj. F. J. Harris. 1-12" disc (*L- 
LL-1621) $3.98. 

CONTENTS: Sussex-bythe-Sea; Come to the 
Fair; On I\la Moor baht 'at; The Lincolnshire Poacher; 
Blaydon Races; Calling all Workers; Merrie Eng- 
land Selection (German); Plymouth Hoe Over- 
ture; On the Quarter Dec\ (Alford); The Floral 
Dance; Eton Boating Song; The Rose. 
Hi-Fi in the Highlands. Regimental Band and the 
Massed Pipers of the Scots Guards conducted by 
Lt. Col. S. Rhodes. 1-12" disc (*ANG-35464TP) 
$3.48. 1-12" factory-sealed disc (*ANG-35464) 

CONTENTS: Washington Grays; Dover Castle; 
Farewell to the Cree\s; Hills of Kowloon; La Czar- 
ine; Come Ye by Atholl; Balmoral Highlanders; 
March of the King's Men; Du\e of Roxburghe's 
Farewell to Blac\mount Forest; Atholl Cummers; 
The Flagon; Torosay Castle; Colours; Loch Ran* 
noch; Loch Duich; Dundee City Police; Songs of 
the Hebrides. 

This new disc by the Band of the Grenadier 
Guards is just a little different than most band rec- 
ords. The band is there, all right, but the pieces 
played are, for the most part, of the sentimental type 
the "concert in the park" variety. Well done, 
naturally. . . . The second release by the Regi- 
mental Band and the Massed Pipers of the Scots 
Guards is another winner (see TNR Nov. '55); this 
sterling organization has all the sparkle and spirit 
you'd wish. 

French Marches. Musique Militaire de Paris con- 
ducted by Ct. Roger de Foy. 1-12" disc (*VX- 
VX-25380) $3.98. 

CONTENTS: Sambre et Meuse; Sidi-Brahim; 
Hymne de la Legion d'Honneur; Marche des AI- 
lobroges; Marche de la Legion Etrangere; Hymne de 
VInfanterie de Marine; La Marseillaise; Salut au 
85 erne; Guynemer; Le Chant du Depart; Marche de 
la 2eme D. B.; Quand Madelon. 

Save for the ubiquitous Marseillaise, the selections 
on this disc are typical of what you might hear 
sitting in the sidewalk cafe on the Champs Elysees, 

sipping a fine and watching the troops pass by. 
Taken in this light, the disc is passable; those seek- 
ing stirring music played by a crack band like the 
Garde Republicaine had best look elsewhere. 


Ravel: Gaspard de la Nuit. One side, and Prokofiev: 

Visions Fugitives. Andre Tchaikowsky (piano). 

1-12" disc (*V-LM-2145) $3.98. 

This disc marks the recording debut of Andre 
Tchaikowsky, a young (born 1935) Pole, graduate 
of the State School of Music at Lodz, winner of the 
first medal at the Paris Conservatory in 1950 and 
a prize winner in the 1956 Queen Elizabeth Com- 
petition in Brussels. 

Since both pieces he essays on the present record 
are similar in mood, it is hard to say much about 
the abilities of this young man. We should like to 
hear him in a Beethoven Concerto or a few sprightly 
Chopin pieces before passing final judgment; never- 
theless, one observes that his playing of the Ravel 
and Prokofiev numbers are fine and there are 
touches of razzle-dazzle technique in the Visions 

One must also observe that, if we had a name 
similar to that of one of the great composers, we'd 
change it, professionally, ere we went on the con- 
cert stage. 



Shakespeare: Hamlet. John Gielgud with the Old 
Vic Company. 4-12" discs in box (*V-LM-6404) 

Shakespeare: Hamlet. Baylor Theatre production di- 
rected by Paul Baker. 3-12" discs in box (*WORD 
W6002-3) $14.94. 

We cannot imagine two productions of Hamlet 
farther apart than these by the Old Vic Company 
and the ^Baylor Theatre. ... Let us consider the 
Old Vic's first. In our opinion John Gielgud is the 
outstanding Hamlet of the last fifty years. . . . This 
is certainly true so far as the reading of the rok is 
concerned. We make this statement after carefully 
searching our memory, which takes us back to our 
first Hamlet, that of E. H. Southern's, just about 
fifty years ago, and includes, among other inter- 
preters of the part: Forbes-Robertson, Ben Greet, 
Robert Mantel, John Barrymore, Walter Hampden, 
Raymond Massey, Maurice Evans and Leslie How- 
ard. The present recorded performance by Old Vic is 
a practically complete one there are a few cuts, 
but they are all insignificant ones. . . . Mr. Gielgud 
is in top form and has adequate support. . . . We 
would appraise this recorded performance as a most 
excellent one in the best Shakespearian tradition, 
recommended particularly for those students who are 
just discovering Shakespeare's great tragedy. It is a 

PAGE 15 


* indicates LP S3 1/3 rpm. 
Indicates 45 rpm. 





highly intelligent and solid reading a fine one on 
which to build an appreciation of this renowned 

And now let's turn our attention to the Baylor 
Theatre production. This recording should certainly 
be kept under lock and key. It is not for the un- 
initiated. It is for the graduate student only. One 
should have a very thorough grounding in Shakes- 
peare's play before he listens to Paul Baker and his 
colleagues' s modern version of it. Just in passing we 
might remark that the Baylor Theatre is a part of 
Baylor University in Waco, Texas, and has attracted 
nation-wide attention for its revolutionary Hamlet 
and other experimental presentations. Mr. Baker is 
its director. 

Mr. Baker feels that the traditional production of 
Hamlet, with its many soliloquies and page-long 
speeches, is out of date and tends to be boring to 
modern theatre-goers. Thus he and his staff have 
largely re-written, shortened and re-arranged Shakes- 
peare's text, always with the thought in mind of 
putting more punch into it and making it "under- 
standable and arresting to the contemporary mind.' 1 
Another daring departure is that of having the prin- 
cipal characters played by three actors, each of^whom 
portrays a different facet of the character's per- 
sonality. For example, the character, Hamlet, is 
divided into three facets: "the warlike, matricidal 
side," "the honest, human side," and "the courtier 
and philosopher side." Each facet is played by an 
actor, all three appearing simultaneously and work- 
ing as a single unit often speaking in unison. At 
first this procedure is quite startling, but one soon 
becomes used to it, and it is really very effective. 
Pages might be written pro and con in considering 
Mr Baker's production, but lack of space prohibits 
any lengthy discussion. We will confine ourselves to 
answering the statement that appears on the first 
page of the very attractive illustrated booklet that 
accompanies this album. It says: "This alburn should 
interest drama lovers, excite high-fidelity enthu- 
siasts, and infuriate Elizabethan purists'" We quite 
agree with the first two remarks, but we heartily dis- 
agree with the last statement which we have itali' 
cised. Our knowledge and love of Shakespeare was 
brought about largely by the seeing, as often as 
possible, the productions of the Ben Greet Players 
which were always given without scenery in the 
Elizabethan fashion. We rather pride ourself in, if 
not being an "Elizabethan purist," at least having 
a warm sympathy for their aims. Mr. Baker's Hamlet 
did not infuriate us one little bit. We really got 
quite a kick out of listening to it. What will in- 
furiate us no end is if we find that our grand- 
children are being introduced to Hamlet in their 
high schools via Mr. Baker's version instead of Mr. 
Shakespeare's. R. 


The World's Encyclopedia of Recorded Music 
(3rd Supplement). By Francis F. Clough 
and G. ]. Cuming. xxvi + 564 pp. Sidg- 
wick and Jackson, Ltd. (London). Price 

Introduction to Opera: a guidebook sponsored 
by The Metropolitan Opera Guild. Edited 
by Mary Ellis Pelts, xiii + 332 pp. Paper 
bound. Barnes & Noble, Inc. (New York) . 
Price $1.65. 

Record Ratings: The Music Library Associa- 
tion's Index of Record Reviews. Compiled 
by Kurtz Myers; edited by Richard S. 
Hill, viii + 440 pp. Crown Publishers 
(New York). Price $5.95. 

The Guide to Long-Playing Records (Orches- 
tral Music). By Irving Kolodin. xii + 
268 + vii pp. Alfred A. Knopf (New 
York). $3.50. 

The Guide to Long-Playing Records (Chamber 
6? Solo Instrument Music) . By Harold C. 
Schonberg. xi + 280 + vi pp. Alfred A. 
Knopf (New York). $3.50. 

The Guide to Long-Playing Records (Vocal 
Music). By Philip L. Miller, xvi + 381 
-f- xxii pp. Alfred A. Knopf (New York) . 

The World's Encyclopaedia of Recorded Music 
(Including 1st Supplement). By Francis 
F. Clough and G. J. Cuming. 890 pp. 
Sidgwick and Jackson, Ltd. (London). 
Price $17.50. 

The World's Encyclopaedia of Recorded Music 
(2nd Supplement) . By Francis F. Clough 
and G. J. Cuming. xxii + 262 pp. Sidg- 
wick and Jackson, Ltd. (London). Price 
NOTE: All the above books have been reviewed 

in previous issues of The "J^ew Records. If your local 

dealer does not stock them, orders addressed to H. 

Royer Smith Co., Philadelphia 7, Pa., will be 

promptly filled. The prices quoted include postage 

to any point within U.S. A. 

The first letters In the record number indicate the manufacturer: ANG Angel. BG Bach Guild. C Columbia, CAM Camden, CECatra, 
CHConcert Hall Society. CL Capitol. CLAS Classic Editions. C3M Colosseum, D Decoa, DT Ducretet-Thomson, EA Expe>iene 
A"onyrnesV ESO-Ewterli; FOLK-Ethnle Folkways Library. G I OA-Greflorlan Institute of America, HMV-Hls Water's Voice (England). 
HS Haydn Society, L London Gramophone, LYR Lyrlehord, ME Mercury, OC Oceanic. OL L'Oiseau Lyre, PE Period, PHM Phil- 
harmonla, PLM Polymusie, REN Renaissance, SOT Sounds of Our Times, 8TR Stradivari, T Telefunken, UNI Unicorn, UR Urania, 
V Victor, VAN Vanuard, VX Vox, and WEST Westminster. 

* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 


PA6E 16 

Tke New Records 


Issued Monthly by 





VOL. 25, NO. 10 


By maii to any address 
$1 per year 

The Living Language Better Speech Course. 
Edited by M. L. Gurren, Ph.D. Consists 
of 4 10-inch LP records and 2 Manuals 
(Principles of Correct Speech, 80 pp. and 
Principles of Correct Usage, 31 pp.)- 
Boxed. Price $9.95. 

Every so often someone does a perfectly 
splendid job. In the present instance, we are 
pleased to salute Dr. Louise Gurren, of the 
New York City Board of Education, for the 
excellence of her recorded course in better 
speech training. Its two fine text 'books and its 
four LP discs present a most comprehensive 
course, not only for those who are interested in 
public speaking, acting, and radio announcing, 
but also for teachers, salesmen and business ex- 
ecutives, and, in fact, for everyone who would 
like to improve the character, pronunciation 
and construction of his everyday conversation. 
It is pretty hard to single out anyone speaking 
or writing English who would not benefit from 
even a brief perusal of this course. 

Many years ago we studied public speaking. 
Oh! What we would have given for such a 
course at that time! We remember for example, 
that our instructor would give us the sounds of 
the various letters in class and then we were 
expected to practice the phonetic alphabet at 
home; and you certainly had to have a very 
good ear and a sound memory to bring home 
with you the difference in sound of the "a" in 
"stand" and the "a" in "last." But as we think 
of it, even if such a course had been available, 
it would not have been of the value that it is 
today. Only since the advent of "high fidelity" 
could such fine shadings of sound be recorded 
and reproduced. Here is another striking ex- 
ample of the importance of the phonograph 
in the field of education. 
As this set of discs is being extensively ad- 

vertised nationally, we presume that it is 
pretty generally available. However, if your 
local dealer cannot supply it, orders sent to 
the publisher of THE NEW RECORDS will be 
filled promptly. The price is $9.95 and there 
will be no charge for delivery within the U.S. A. 

# # # 

'RECORD CLUBS. It is rumored that both 
RCA Victor and Capitol will shortly an- 
nounce their record clubs. Although RCA 
Victor's club will be tied in with the famous 
Book-of-the-Month Club, both will be similar 
to the present Columbia Record Club in that 
the subscriber may mention the dealer to whom 
he wishes credit to be given for his subscrip- 
tion. Hundreds of our readers mentioned our 
publisher when they subscribed to the Colum- 
bia Club. It cost them nothing, and the num- 
ber of our readers who subscribed was great 
enough to be quite impressive. Naturally, we 
are always anxious to impress the record com- 
panies with the importance and pulling power 
of THE NEW RECORDS, and this is one very 
definite way of doing so. When these two 
clubs come into existence, you might like to 
mention our publisher (H. Royer Smith Co.), 
if you should decide to subscribe to either or 
both of them. 

By the time this issue of THE NEW RECORDS 
reaches you, the 1958 Edition of the Schwann 
Artist Listing Catalog will be available (it was 
promised for 1 December) . All LP discs issued 
up to January 1958 will be included. Records 
will be listed by artists, and the artists will be 
classified Pianists, Violinists, Organists, etc. 
The price is 35^. 

As there will be but one printing of this spe- 
cial edition, those interested (and we imagine 


The TSfew "Records 


that practically every record collector will be 
interested) should place their orders with their 
local record dealer; or, if you will send 35^ 
in coin to the publisher of THE NEW RECORDS, 
a copy of the Schwann Artist Listing Catalog 
will be sent you by return mail, postpaid. 


The Current Market Price of records is the 
retail price that is charged by most leading 
dealers, including the publisher of this bul- 
letin. When the major companies reduced their 
list prices for LP records, some of the smaller 
publishers reduced only their wholesale prices 
and did not change their list prices (see TNR 
Mar. '55); thus the Current Market Price 
came into being. 

Also, from time to time, in order to stimii' 
late business, some companies have drastically 
reduced prices for limited periods. In order 
that our readers may know the Current Mar- 
ket Price, we are indicating in this and future 
issues the prices that are presently in effect, 
and, although we cannot guarantee these 
prices, they should prevail during the current 

NOTE: The Current Market Price of all 
Mercury 12-inch LFs (10000', 20000-, 30000-, 
40000-, 50000', 80000', and 90000'series) is 
$3.19; album sets are 2Q% less than published 
list prices. 


We are continually receiving requests for 
back copies of THE NEW RECORDS. Most of 
the issues published during the last twenty 
five years are available. The price is lOc each. 
A file of all available issues (at least 160 copies) 
is $5. These prices are postpaid within U.S.A. 

NOTE: Those persons interested in recent 
recordings only may secure all of the issues of 
the last three years beginning December 1954 
(36 copies) at the special price of $2 (postpaid 
within U.S. A). 


Bach: Brandenburg Concertos Nos. 1, 2 K 3, Berlin 
Radio Chamber Orchestra. M 2" disc (*PE-SHO 
310) $1.98. 

Bach: Brandenlburg Concertos Nos. 4, 5 8C 6. Berlin 
Radio Chamber Orchestra. 1-12" disc (*PE-SHO- 
311) $1.98. 

Vivaldi: Concerto for (2) Trumpets, Roger Del' 
motte and Maurice Andre (trumpets) with the 
Collegium Musicum of Paris conducted by Roland 
Douatte. One side, and Vivaldi: I Quattro Stagi- 
one. Georges Ales (violin) with the Collegium 
Musicum of Paris conducted by Roland Douatte, 
with Jacques Wiederker (violoncello). 1-12" disc 
(*PE-SHO'309) $1.98. 

A Christmas Sampler. Selections from various West' 
minster Christmas Records. M2" disc (*WEST- 
WP-S-2) $1.98. 

CONTENTS: White Christmas (Liebert, organ); 
Birthday of a King (Cathedral Bellringers) ; Adeste 
Fideles (Collegium Musicum); Sleigh Ride (Per' 
rante & Teicher); God Rest Te Merry, Gentlemen 
(Deutschmeister Band); O Holy Tsfrght (carillon 6? 
Organ); What Child Is This? (Liebert, organ); The 
First 7^[owell (Randolph Singers); Joy to the World 
(children's chorus); We Three Kings (Randolph 
Singers); O Come, O Come Emmanuel (baritone); 
Isaiah 40: 1 *5 (Rathbone, narrator); Lord, Through 
Thy Goodness (Weinrich, organ); Silent Wight 
(Vienna Akademie Kammerchor). 

The Best of Golden Crest. Excerpts from various 
Golden Crest IP's. M2" disc (*GOLDEN 
CREST CRS-12) $1.98. 

CONTENTS: Excerpts from the following LP's: 
Bill Bell and His Tuba; Mar\ Laub on the Lowrey 
Organ; And the Banjos Sing; The Percussive Phil 
Kraus; Dixieland Goes Progressive; The >(. Y. Wood' 
wind Quintet Plays Alec Wilder; The >[. Y. Philhar- 
monic Brass Ensemble; Don Redmans Par\ Ave, 
Patter; Dixieland of Old T^ew Orleans; Allen Hanlon 
plunks Leroy Anderson; Guarnieri Plays Guarnieri; 
Serenade in Blue Serenade. 

Critics' Choice. Excerpts from Dawn Jzzz LP's. 1'12" 

disc (*DAWN DLP-1123) $2.98. 

CONTENTS: September in the Rain (Zoot Sims); 
Body and Soul (Oscar Pettiford); Potatoes (Dick 
Garcia) ; When the Blues Come On (Les Jazz; Modes) ; 
I Only Have Eyes for You (Mat Mathews); Hap fry 
Feeling (Paul Quinchette); How High the Moon 
(Randy Weston); Pol^a Dots and Moonbeams (Joe 
Puma); Idaho (Al Cohn); Loverman (Gene Quill). 


Handel: Messiah (excerpts). Soloists, Huddersfield 
Choral Society and Royal Liverpool Philharmonic 
Orch. Sargent. 142" disc (*ANG-35551TP) 
$5.98. M2" factory-sealed disc (*ANG-35551) 
$4.98. (TNR Dec. '54). 

OberrOttrcJurn Children's Choir. Obernkirchen Chil> 
dren's Choir directed by Edith Moller. 1-12" disc 
(*ANG-65038) $3.98. (TNROct. '54tf Jan.*55). 

* indicates I*P 88 1/8 rpncu 
indicates 45 rpm. 




TSfew Records 


Mozart: Symphony No. 40 in G minor, K. 550. One 
side, and Mozart: Symphony No. 41 in C, K. 551 
("Jupiter"). Philharmonic Symphony Orchestra 
of London conducted by Erich Leinsdorf. 1*12" 
disc (*WEST-XWN'18527) $3.98. 
Mozart: Symphony No. 35 in D, K. 385 ("Haff' 
net"). One side, and Berlioz; Waverley Overture, 
Op. 1. And Berlioz: Damnation of Faust Dance 
of the sylphs, Minuet of the Will-o^the'wisps, 
Hungarian March. Orchestra drawn from Alumni 
of the National Orchestral Association conducted 
by Leon Barsin. 1*12" disc (*OML-5176) $3.98. 
Mozart: Symphony No. 25 in G minor, K. 183. One 
side, and Beethoven: Leonore Overture No. 2. 
And Berlioz: Waverley Overture, Op. 1. Lenin* 
grad State Philharmonic Orchestra conducted by 
Nikolai Rabinovitch. 1*12" disc (*LIBERTY 
SWIxl5002) $3.98. 

"Call no conductor sensitive in the highest degree 
to musical impression," wrote George Bernard Shaw 
many years ago, "until you have heard him in Mozart 
and Berlioz." Upon the evidence of these three rec* 
ords, Messrs. Barzin and Rabinovitch are weighed in 
Mr. Shaw's musical scales and found wanting, while 
Leinsdorf passes the first test with flying colors. 

Erich Leinsdorf and Westminster are collaborating 
on a complete set of all the Mozart Symphonies, and 
the results thus far have all been on the alkaline side, 
even in the face of the stiffest kind of competition 
(i.e., Sir Thomas Beecham). The Leinsdorf approach 
is less galant than his distinguished confrere's it is 
a little more brusque, as though he had made up his 
mind not to sentimentalize the music (a good resolu* 
tion, incidentally), and in doing so maybe leans a 
little in the opposite direction. They are fine perform* 
ances, in all events, and make an excellent foil for the 
Beecham recordings. 

Columbia has gone all out in packaging its album, 
including a large illustrated brochure picturing the 
alumm of the National Orchestra Association, who 
made the recordings. The performances are good, but 
relatively undistinguished. There are better "Haff' 
ners," and the Berlioz is played mechanically hear, 
in this connection, the stunning performance of the 
utterly delightful Waverley overture on Westminster 
by Boult, and note the difference for yourself. 

The fabulous Leningrad State Philharmonic Or- 
chestra under Rabinovitch reminded this writer, by 
their playing of the Mozart Symphony T^o. 25, of the 
African savage who, when confronted with those two 
objects of civilization, the top hat and the pot'de- 
chambre, confused their functions. The Leningrad 
Orchestra has a marvelous technique, but to rip 
through Mozart's G minor Symphony in this manner 
is plain uncivilized. The Leonore >{o. 2 can stand this 
sort of treatment somewhat better, but the orchestra's 
insensitive playing puts a damper on Berlioz* Waver' 
ley Overture (its fourth recording, no less!). The re' 

corded sound here rates with the best from the USSR, 
but still below our very high standards. 


Hindemith: Symphony in B-flat. One side, and 

Schonberg: Theme and Variations, Op. 43a. And 

Stravinsky: Symphonies for Wind Instruments. 

Eastman Symphonic Wind Ensemble conducted by 

Frederick Fcnnell. 1-12" disc (*ME-MG-50143) 

$3.98, Current Market Price: #3.19. 

Classification of this disc was difficult for the 

editor, for none of the selections are really "band" 

pieces, yet all could be played by a concert band 

and only Stravinsky's could be played by the wind 

section of a symphony orchestra without augmenta* 


Indeed, the present performances of the Hinde' 
mith Symphony and Schonberg's Theme and Varias 
tions are the first recordings of either. Hindemith 
wrote his unprecedented Symphony in B'flat in 
1950/1 at the request of Maj. Hugh Curry when 
he invited Hindemith to be guest conductor of the 
U. S. Army Band. What emerged was a major 
work, the substance of which might serve as a model 
for future works in this genre. 

Schonberg wrote his Variations with no particular 
organization in mind. Written at the request of his 
publisher for a work easy enough to be played by 
school bands, Schonberg offered no compromise with 
his musicianship in so doing. The Variations were 
judged "beyond the grasp*" of the commercial mar" 
ket for schools, so Schonberg promptly transcribed 
them for orchestra (Op. 43b); however, it is the 
Op. 43a that is more often heard today, so we are 
told, indicating that Schonberg's original work was, 
in fact, better than his publisher had estimated. 

The present recording of Stravinsky's Symphonies 

for Wind Instruments competes with an older conv 

poser-conducted disc (*OML'4964) and, in our 

opinion, is superior to it from every angle. We can' 

not recall a really poor disc by Fennell and the 

Eastman'Rochester Wind Ensemble, and this is an' 

other good one to add to the catalogs. J. 

Cowell: Persian Set. One side, and Harrison: Suite 

for Violin, Piano and Small Orchestra. Orchestra 

conducted by Leopold Stokowski, with Maro 

Ajemian (piano) and Anahid Ajemian (violin). 

142" disc (*COMPOSERS CRM14) $5.95. 

At the outset we must state that the present LP 

is certainly not for everyone, even though Leopold 

Stokowskf s name is emblazoned across the top of 

the cover. The cognoscenti will, of course, be famil' 

iar with Henry Cowell and Lou Harrison, who are 

among the most important American composers of 

our day; these persons will welcome the fine record' 

ings of two works previously unavailable on LP. 

Now, for everybody else, we will say that CowelTs 
Persian Set is, as its title suggests, music with an 
Oriental flavor, yet the Occidental polyphony is ever 
present. The work will be tough going for the un' 
initiated, yet a hearing or two will reveal interesting 



* indicates LP 33 1/8 rpm. 
indicates 45 rpm. 


New Records 


rhythms and clever themes (if you can call them 
themes they are snatches of things, seeming to 
begin with nothing and go nowhere, hut somehow 
to fit together). The reader can gather that we didn't 
go all out for this work, but we did find that a little 
perserverance paid off. 

Lou Harrison's Suite struck us the same way, 
except that the Oriental dressing was not there. 
Peggy Glanville'Hicks says that it "is one of the 
most delicate and lovely American works of recent 
years . . . (and) cannot fail to charm all who hear 
it." But if you have ever heard anything composed 
by Miss Glanville'Hicks . . . well, some persons are 
not always charmed. 

Leopold Stokowskf s knowing hand is very much 
in evidence in these two unfamiliar works; the re* 
production is of the very highest calibre, and the 
jacket notes will be most helpful to anyone inves' 
tigating these discs. J- 

Rossini arr. Respighi: La Boutique Fantasque. One 

and one-half sides, and Dukas: L'Apprenti Sorcier. 

Israel Philharmonic Orchestra conducted by 

Georg Solti. 1-12" disc (*L-LL-1715) $3.98. 

We should observe that, though La Boutique 
Fantasque is a thoroughly ingratiating ballet score, 
there may be some who will think that the complete 
work drags a little; these persons would prefer the 
fine reading of the suite by Fiedler (*V-LM-2084, 
TNR May "57 erroneously listed therein as *ANG' 
2084). We did not feel this way, however; Soltfs 
effort is most worth while, and the playing of the 
Israel Philharmonic is fine. 
Beethoven: Symphony No. 5 in C minor, Op. 67. 

One and one-half sides, and Mozart: Serenade in 

G, K. 525 ("Eine kleine Nachtmusik"). Berlin 

Philharmonic Orchestra conducted by Karl Bohm. 

M2" disc (*D-DL-9942) $3.98. 
Beethoven: Septet in E-flat, Op. 20. Chamber Music 

Ensemble of the Berlin Philharmonic Orchestra 

M2" disc (*D-DL-9934) $3.98. 
Beethoven: Variations on a Theme of Diabelli, Op. 

120. Leonard Shure (piano). 1*12" disc (*EPIC 

LC-3382) $3.98. 

Here is a veritable feast of Beethoven, early, middle 
and late and all, happily enough, in very good per- 

Even the twentieth recorded performance of the 
indestructible Fifth has much to recommend it in the 
powerful and sane reading by Karl Bohm, and the 
lovely tone of the magnificent Berlin Philharmonic 
Orchestra is mightily persuasive. And, as though this 
were not enough, there is a dividend in a gorgeous 
performance and recording of Mozart's effervescent 
Eine \leine Wachtmusik. 

More of a novelty (after all, this is only its fourth 
LP recording) is the early Septet in E'flat for strings 
(one each), bassoon, clarinet and horn. The music 
is youthful, with echos of Haydn and Mozart (we 
should have such echos today!), but still unmistak- 

ably Beethoven. The opening allegro is a joyous 
affair, and the adagio cantabile that follows is a 
precursor of the many magnificent slow movements 
of the later works. The E'flat minuet is a prime ex- 
ample of Beethoven's high spirits, similar to but still 
very different from Mozart's and Haydn's. And so 
on; each section is a little masterpiece, and the play 
ing of the members of the Berlin Philharmonic Or- 
chestra is flawless both technically and artistically. 

And what can one say of the incredible Diabelli 
Variations 7 "The whole range of thought and feel- 
ing," wrote Aldous Huxley, "yet all in organic re- 
lation to a ridiculous little waits; tune." Beethoven 
is supposed to have burst into laughter when he saw 
Diabellfs tune, called it a Schuster/lee^ (cobbler's 
patch) and straightway fell to composing the varia- 
tions. There is a sermon here, make no mistake 
about it. Leonard Shure plays them with authority, 
sincere artistry and considerable imagination. Here 
is a record to have and to hold cherish even, for 
you will never understand all of it. 

Both Decca's and Epic's recorded sound is very 
good, and the jacket notes are above average. 


Stokowski. Leopold Stokowski and his Symphony 

Orchestra. 142" disc (*CL-P-8399) $3,98. 

CONTENTS: Toccata and Fugue in D minor 
(Bach); Cliar de lune, Prelude a Vajpres'midi d'un 
faun (Debussy); Blue Danube Wdltz (Strauss); 
Swan of Tuonela, Finlandia (Sibelius). 
Strings of the Philadelphia Orchestra. Philadelphia 

Orchestra conducted by Eugene Ormandy. 1-12" 

disc (*C-ML-5187) $3.98. 

CONTENTS: Serenade in C, Op. 48 (Tchai- 
kovsky); Nocturne for Strings (Borodin); Adagio 
for Strings, Op. 11 (Barber); Fantasia on Green- 
sleeves (Vaughan Williams). 
Four Favorites. (1) Berlin Philharmonic Orchestra 

or (2) RIAS Symphony Orchestra conducted by 

(a) Hans Rosbaud, (b) Leopold Ludwig, (c) 

Fritz Lehmann or (d) Ferenc Fricsay. 1-12" disc 

(*D-DL-9936) $3.98. 

CONTENTS: Finlandia (Sibelius) (1-a); Les 
Preludes (Liszt) (1'b); Prelude a Vapres-midi d'un 
faun (Debussy) (1-c); Bolero (Ravel) (2-d). 

Some of the most popular classical music played 
in rather exciting fashion. Particularly noteworthy 
are the Toccata and Fugue by Stoky, the Barber 
Adagio by Ormandy, and the Bolero by Fricsay. 

Bach: Das musikalische Opfer ("The Musical Of- 
fering"). L'Orchestre de la Radiodiffusion Fran- 
caise conducted by Igor Markevitch. 1-12" disc 
(*ANG-45005) $3.98. 

Here is music that is magnificent phonographic 
material the sort of thing that not only can stand 
repeated hearings, but absolutely demands them. It 
is monumental music, not the sort to become popular 
(even in the best sense); and it is among the most 
rewarding, for to study the ten canons that make 

* indicates I>P 

indicates 46 rpm. 







up the second section is more fun than reading a 
good mystery novel (well, almost). Bach writes a 
"perpetual" canon, then a retrograde or "crab" 
canon, canons with contrary motion; all of them 
fascinating. "It is easy to write a canon/ 1 writes one 
annotater, "the difficulty lies in making them inter' 
esting to the listener;" but Bach has no trouble in 
this connection. The majestic Ricercare a 6 is another 
example of Bach's consummate art. 

Igor Markevitch has arranged the music for or' 
chestra (42 instruments in number), consisting of 
strings, four woodwinds and a harpsichord. The re- 
sult is a neat, well-balanced performance that 
"sounds'" well and makes good musical sense. Marke- 
vitch conducts the work with loving care and com' 
municates much of his love to the listener. 

The only performance to offer competition is Karl 
Miinchinger's on London (*L'LL-1181); and formi- 
dable competition it is, too. Both sets, however, are 
superior examples of Bach interpretation and re- 
cording techniques and are exactly the same price; 
so it boils down to a question of personal taste. This 
writer is inclined to prefer Miinchinger's perform- 
ance, but this could readily be because he is more 
familiar with it. In all events, one or the other be- 
longs in every collection of serious music. 


Russkayal Hollywood Bowl Symphony Orchestra 

conducted by Carmen Dragon. 1-12" disc (*CL- 

P-8384) $3.98. 

CONTENTS: Russian and LudmiZk Overture 
(Glinka); Song 1 of the Volga Boatman; The Snow 
Maiden Dance of the Buffoons (Rimsky-Korsa- 
kov); Kamennoi'Ostrow (Rubinstein); Melodie, Op, 
42, ?%o. 3 (Tchaikovsky); Meadowland. 
Chopin by Starlight. Hollywood Bowl Symphony 

Orchestra conducted by Carmen Dragon. 1-12" 

disc (*CL-P-8371) $3.98. 

CONTENTS: Polonaise in A' flat ("Heroic"); 
Nocturne in E'flat; Fanta$ie<Impromptu; Prelude in 
A; Waltz in C-sharp minor; Polonaise in A ("Mili- 
tate"); Prelude in E minor; Waltz in D'flat ("Min- 
ute"); Etude in E; Waltz in E'flat ("Grande Valse 
Starlight Chorale. Roger Wagner Chorale and the 

Hollywood Bowl Symphony Orchestra conducted 

by Roger Wagner. 1-12" disc (*CL-P-8390) 


' CONTENTS : Carmen March and Chorus; Tdnn- 
hduser Pilgrim's Chorus; Aida Triumphal Chorus; 
II Trovatore Anvil Chorus; Lohengrin Wedding 
Chorus; Faust Walts and Chorus; Madame Butterfly 
Humming Chorus; Faust Soldiers' Chorus. 

More wonderful records by the Hollywood Bowl 
Symphony Orchestra in the popular classical vein 
(see TNR Oct. '57); we particularly recommend the 
R.uss\aya! disc the finale of Meadowland not only 
is thrilling but will put any high fidelity phonograph 
to the test. On the Starlight Chorale LP the or- 

chestra is joined by the justly famous Roger Wagner 
Chorale in some of the most popular operatic chor- 
uses. While the purist may argue that this is not 
good opera, most persons will counter that it is en- 
joyable music and a lot of it on one record. 

Brahms: Symphony No. 2 in D, Op. 73. Philhar- 
monia Orchestra conducted by Herbert von Kara- 
Jan. M2" disc (*ANG-35218TP) $3.98. 1-12" 
factory-sealed disc (*ANG-35218) $4.98. 
Brahms: Symphony No. 2 in D, Op. 73. Berlin 
Philharmonic Orchestra conducted by Karl Bohm. 
1-12" disc (*D-DL-9933) $3.98. 
It is always a source of real pleasure to receive 
two recordings of a thrice familiar work by a brace 
of well-known conductors whom one has never 
heard in the particular war-horse recorded. Here we 
have Herbert von Karajan, an erratic conductor at 
best, and Karl Bohm, whom one occasionally looks 
on as a plodder. 

Well, the erratic Herr von Karajan lives up to 
his reputation. Here is a Brahms Second Symphony 
that moves along very slowly in the opening move- 
ment, has a poetic slow movement (although it does 
seem to drag) and a lugubrious grazioso. Suddenly, 
in the finale, as if to make up for all the slow 
tempi, he whips the music along in a manner against 
which good sense should have guarded him. This is 
too highly spiced and too doctrinaire a performance 
for this corner. It does, in fact, tell us a great deal 
more about von Karajan than it does about Brahms. 
Karl Bohm, on the other hand, does not plod 
far from it. His idea of the score is that it is a 
pleasant work, full of wonderful melody. The tempi 
are happily chosen, and the really great Berlin Phil- 
harmonic Orchestra responds with gusto. 

For years the touchstone for Brahms Seconds, for 
this writer, was the 78 rpm Beecham performance. 
Then came Carl Schuricht on London (*L-LL-867) 
which he still rates best, but this new Decca record- 
ing, under Bohm, is a very close second there may 
be many who will consider it first. Pine sound and 
good jacket notes for both discs. 


Mozart: Symphony No. 35 in D, K. 385 ("Haff- 
ner"). One side, and Haydn: Symphony No. 
96 in D ("Miracle"). Detroit Symphony Orches- 
tra conducted by Paul Paray. 1-12" disc (*ME- 
MG-50129) $3.98. Current Market Price: #3.19. 
In connection with the 200th anniversary of 
Mozart's birth (celebrated last year), the Austrian 
government honored Paul Paray with a citation from 
the Mayor of Salzburg ". . . in recognition for his 
continuing achievement in perpetuating the beloved 
music of Mozart . . ." Paray was the only conductor 
in America to receive this honor. The great French- 
man's unusual affinity for Mozart's music is aptly 
illustrated by his performance of the "Haffner" 
Symphony; it is probably the fourth in popularity 
among Mozart's symphonies, following after the last 



* indicates LP 38 1/3 rp-m. 
indicates 45 npm. 





three. Many great conductors 'have committed the 
work to discs: Beecham, Steinberg, Toscanini, and 
Walter to name four good ones. Paray is certainly 
right up with the best. 

Haydn's Symphony INfo. 96 in D acquired the sub' 
title "Miracle" following an event which occurred 
at its premiere performance. Part of the audience 
pressed forward to look at the popular Haydn at 
close range, leaving a vacant space in the concert 
room; Just at that moment a chandelier crashed down 
right in the empty spot, and there were cries of "A 
miracle, a miracle!" because no one was killed, or 
even hurt, by the accident. Bruno Walter has a 
lovely reading of this work (*C'ML-5059, TNR 
Feb. '56) if you wish to compare before purchasing. 


Bruckner: Symphony No. 9 in D minor. Amsterdam 

Concertgebouw Orchestra conducted by Eduard 

van Beinum. 1-12" disc (*EPIC LC-3401) $3.98. 

Current Market Price $2.98 

Mahler; Symphony No. 4 in G. Saxon State Orches' 
tra (Dresden) conducted by Leopold Ludwig, with 
Anny Schlemm (soprano). M2" disc (*D-DI^ 
9944) $3.98. 

Disappointing is the word for the van Beinum 
performance of Bruckner's grandiloquent Symphony 
Tsjo. 9 in D minor. Admittedly Bruckner is long' 
winded and prone to belabor a point this is all 
understood and even relished by your devoted Bruck' 
nerite. One thing Bruckner is not, however, and 
that is incoherent; on the contrary, there is an al' 
most remorseless logic in his scores that he pur' 
sues with Teutonic thoroughness. Van Beinum and 
the Concertgebouw Orchestra not only manage to 
make the score sound incoherent, but they also make 
it unnecessarily and unforgivably noisy. It is pos' 
sible that they are using the revised version of the 
score (the jacket notes, inexcusably, make no refer' 
ence as to which version was used) which tends to 
be "junkier" (a la Wagner) than the original. All 
of which adds up to a recorded performance that 
leaves much to be desired. 

Mahler's name is invariably coupled with that of 
Bruckner (for no better reason than that for which 
Bach and Handel are usually associated); and this, 
the fourth LP recording of the sprawling Symphony 
7s[o. 4 in G major, is a good, if in no way excep' 
tional, performance. Mahler, unlike Bruckner, is very 
often incoherent and sometimes noisy, and it struck 
this writer as ironic that Leopold Ludwig and the 
Saxon State Orchestra tend to minimise these short" 
comings while van Beinum and his cohorts per' 
formed the opposite for Bruckner! Fraulein Schlemm, 
the soprano soloist, reveals a clear, light soprano 
eminently suited to the demands of the music. This 
writer could not work up any great degree of en' 
thusiasm for the record, but he will also readily 
admit to no great admiration for the music, either. 
The sound is excellent, and the jacket notes are 
more than adequate. W.A.O. 

Tchaikovsky: The Nutcracker Ballet (complete). 

Philharmonic Symphony Orchestra of London con' 

ducted by Artur Rodzinski. 2' 12" discs in box 

(*WEST-OPW-1205) $7.96. 
Tchaikovsky: The Swan Lake, Op. 20 (ballet suite). 

Philadelphia Orchestra conducted by Eugene Or' 

mandy. 142" disc (*C'ML-5201) $3.98. 

Westminster's complete J^utcrac\er Ballet has for' 
midable opposition in Dorati's reading for Mercury 
(TNR July '54). We began listening to the present 
set with high hopes; for the packaging, colorful 
photographic synopsis, Rodsinski at the helm, etc., 
would have seemed adequate reason for optimism; 
but somehow the whole thing never comes off. 

One really gets only a hint of the fairytale sparkle 
of Tchaikovsky's last ballet in the short suite that 
is so well'known; some of the most engaging sections 
are contained in the other excerpts making up the 
complete score. We are inclined to prefer Dorati's 
complete version; or for those who want more than 
the suite and less than the whole work Fiedler's 
extended excerpts (*V'LM'2052) are recommended. 

The Philadelphians give a fine account of the ma' 
jor themes from The Swan La\e. Each side of the 
12" LP is devoted to synopses of two acts of the 
complete ballet, but the individual selections per' 
formed are listed on neither jacket nor label. All the 
familiar portions are here, though, and it is hard 
to imagine their being played more brilliantly or 
competently. N. 

Satchnio. A Musical Biography of Louis Armstrong. 

4-12" discs in de luxe album (*D-DXM-155) 


CONTENTS: Dipper Mouth Blues; High Society; 
Mandy Ma\e Vp Tour Mind; Rec\less Blues; 
Trouble in Mind; Gut Buc\et Blues; Cornet Chop 
Suey; Heebie Jeebies; Muskjat Ramble; Wild Man 
Blues; Potato Head Blues; Weary Blues; Struttin 
with Some Barbecue; Basin Street Blues; Mahogany 
Hall Stomp; When It's Sleepy Time Down South, 
Lazy River; Georgia on My Mind; Sunny Side of 
the Street; 29 others. 

A real luxury item for jaw fans, wherein Satchmo 
tells, plays and sings his life story. The album is 
graced with two beautiful color photographs of 
Louis, and inside are twelve pages of pictures and 
biographical notes, four twelve'inch LP's encased 
in attractive white'and'gold plastic jackets, and two 
more large black'and'white prints of our musical 
hero, suitable for framing. 

The recording sessions included date back as far as 
1947, but the recorded sound is very good. Com' 
plete personnel and recording dates are included, 
along with the dates of the original recordings. 
"Papa Dip" introduces each number with Billy Kyle 
playing a very attractive piano in the background. 

Decca arranged an enormous recording date es' 
pecially for this album early in 1957, and these are 
the best selections in the set. Included are new ver' 
sions of the tunes made famous by Satch and the 

* indicates LP 33 1/3 rpm, 
indicates 45 rpm. 




The New Accords 


Hot Fives and Sevens, and the Savoy Ballroom Five 
(1925'28). The reproduction is fine and the per" 
formances are all very good; however, they cannot 
compare with the originals on Columbia (*C-CL- 
851 through 01^854). Louis* trumpet has lost some 
of its crackling tone, but he can still blow a mighty 
swingin' chorus. Trummy Young's trombone is won' 
derfully rock'bottom, and Edmond Hall proves he 
can still tootle a mean clarinet. Drummer Barrett 
Deems is not as heavy as he was two years ago. A 
bassist unfamiliar to this reviewer makes his appear- 
ance here. His name: Squire Gersh. 

A breakdown of the contents would look some' 
thing like this: Side one is a potpourri of tunes that 
made Satch famous. The second side represents the 
blues period, with vocals by Velma Middleton. Part 
three begins the Hot Five sessions, which carry over 
into the middle of part five. Side six through side 
eight contain a number of Louis'* hits, mostly re* 
corded in December 1956. These are the weakest 
sides of the album. 

Highlights of the set would include J^ew Orleans 
Function (a Southern funeral), King of the Zulus, 
Tou Rascal Ton, and Knoc\in A Jug. All in all, the 
album is a good production, and well worth the high 
price tag if you like Satchmo. L. 

'S Marvelous. Ray Conniflf and his Orchestra. 1-12" 
disc (*OCL"1074) $3.98. 

Current Market Price: #2.98. 

CONTENTS: The Way Tou Loo\ Tonight; I 
Hear a Rhapsody; They Cant Ta\e That away from 
Me; Moonlight Serenade; I Love Tou; Pve Told Ev*ry 
Little Star; Tou Do Something to Me; As Time Goes 
By; In the Still of the Night; Soweone to Watch 
over Me; Be My Love; Where or When. 

Columbia's popular "Buy of the Month" for De' 
cember is just the disc for that New Year's Eve 
dancing party smooth, danceable rhythms by Ray 
Conniff. No jitterbugging, no tangos, no mambos 
just good numbers everybody knows. 

Brahms: Symphony No. 3 in F, Op. 90. One side, 
and Mendelssohn: Symphony No. 4 in A, Op. 90 

("Italian"). Concertgebouw Orchestra of Amstet' 

dam conducted by Eduard van Beinum. 1-12" 

disc (*EPICLO3411) $3.98. 

Current Market Price: $2.98. 

Van Beinuirfs reading of the gracious and pas- 
toral Brahms' Third is a beautiful thing. As seems 
to be his usual custom, Herr van Beinum is inter- 
ested in big effects, and the magnificent tutti in the 
Third emerge as the grand sections they are; where 
in the Brahms Second (TNR May '55) these effects 
smacked of fussiness, they seem quite correct in the 
Third nay, to our ears, necessary making this 
version as fine a performance of Brahms Symphony 
NO. 3 as there is in the LP catalog. 

Van Beinum's treatment of the Mendelssohn "Ital- 
ian*' Symphony is of the rushed "Toscanini" style 
a difficult conductorial feat, for few could match 

the great Italian Maestro in playing this work at 
such a rapid pace. The reproduction is out of this 
world; however, the selling point of this disc for us 
is the Brahms. J. 

NOTE: To celebrate Eduard van Beinum's 25th 
anniversary as conductor of the Amsterdam Concert' 
gebouw Orchestra, Epic is making all of the follow' 
ing van Beinum discs available at the special price 
of $2.98 for this month only: Scheherazade, Op. 35 
(Rimsky-Korsakov) (*EPIC LC-3300, TNR Mar. 
'57); Firebird Suite (Stravinsky) 6? Hdry Jdnos Suite 
(Kodaly) (*EPIC LO3290, TNR Apr. *57); Sym- 
phony No. 2 in D (Brahms) (*EPIC LO3098, 
TNR May *55); Images, Set III (Debussy) (*EPIC 
LC-3147, TNR Aug. '56); Das Lied von der Erde 
& Lieder ernes Fahrenden gesellen (Mahler) (*EPIC 
SC-6023, 2-12" LFs, price $7.96, TNR Dec. '57); 
Music for Strings, Percussion and Celesta (Bartok) 6? 
Song of the Nightingale (Stravinsky) (*EPIC LO 
3274, TNR May '57); Serenade HO. 9 in D 6? Sym- 
phony No. 29 in A (Mozart) (*EPIG LC-3354, 
TNR Aug. *57); (4) Suites for Orchestra (Bach) 
(*EPIC LO3194 & 3332, TNR Aug. '57); Sytn- 
^hony No. 9 in D minor (Bruckner) (*EPIC LC- 
3401, TNR Dec. '57); Symphony No. 8 in C minor 
(Bruckner) & Symphony NO. 3 in D (Schubert) 
(*EPIC SC-601 1, 2-12" LFs, price $5.96, TNR Aug. 
'56); Concerto for Piano and Orchestra & (6) Epi- 
grams (Pijper) 6? Concerto for Violin and Orchestra 
(Henkemans) (*EPIC LC-3093, TNR May '55). 

World's Favorite Love Songs. Mantovani and his Or- 
chestra. 1-12" disc (*L-LL-1748) $3.98. 
CONTENTS : And Thts Is My Beloved; At Dawn- 
ing; Drin\ to Me Only with Thine Eyes; I Give My 
Heart; Night and Day; Ich liebe dich; Parlez+moi 
d'Amour; Hear My Song, Violetta; My Love Is 
Li\e a Red, Red Rose; My Old Dutch; Cant Help 
Lovin Dat Man; The Story of Tina; For Tau Alone; 
Tours Is My Heart Alone. 

This newest Mantovani LP will undoubtedly find 
its way under a great many Christmas trees this 
year, judging from the reports on its sale from deal- 
ers across the country. 

Tchaikovsky: Nutcracker Suite, Op. 7la. One side, 
and Mendelssohn: A Midsummer Night's Dream 

Incidental Music (4 excerpts). Hollywood Bowl 
Symphony Orchestra conducted by Felix Slatkin. 
1-12" disc (*CL-P-8404) $3.98. 
Music of Christmas. Hollywood Bowl Symphony Or- 
chestra conducted by Carmen Dragon. 1-12" disc 
(*CL-P-8393) $3.98. 

CONTENTS: O Tannenbaum; Away in a Manger; 
Har\! The Herald Angels Sing; Carol of the Bells; 
O Little Town of Bethlehem; It Came upon a Mid- 
night Clear; Joy to the World; God Rest T Merry, 
Gentlemen; Adeste Fideles; The First ^owell; Can- 
tique de Noel; Dec\ the Hall; Silent Night. 

The popular Hollywood Bowl Symphony Or' 



indicates LP 38 1/3 rpm. 
indicates 45 rpzn. 





chestra givee us the thrice'familiar J$utcrac\er Suite 
and Incidental Music from A Midsummer Wight's 
Dream in its inimitable manner, making this a cef 
tain bestseller, . . . Not so, we fear, its effort at 
Christmas carols, which are over-arranged, over' 
blown, and quite tedious. 


Prokofiev: Concerto in E minor. Op. 58. One side, 
and Milnaud: Concerto No. 1 (1935). Janos 
Starker (violoncello) with the Philharmonia Or' 
chestra conducted by Walter Susskind. 1'12" disc 
(*ANG-35418TP) $3.98. 1-12" factory-sealed 
disc (*ANG-35418) $4.98. 

Bartok: Concerto for Violin and Orchestra, Yehudi 
Menuhin (violin) with the Minneapolis Sym- 
phony Orchestra conducted by Antal Dorati. 
142" disc (*ME-MG-50140) $3.98. 

Current Market Price: #3.19. 

Gershwin: Concerto in F. One and one-half sides, 
and Getsfowin; Rhapsody in Blue. Eugene List 
(piano) with the Eastman-Rochester Symphony 
Orchestra conducted by Howard Hanson 1-12" 
disc (*ME-MG-50138) $3 98. 

Current Market Price: #3.19. 

A group of modern concertos, such as ye editor 
has assembled here, offers considerable food for 
thought. This writer has always regarded non- 
melodious music as something just a little beyond the 
pale. The corollary is not true, however, for there is 
so'called "melodious" modern music that is virtually 
characterless and therefore equally obnoxious. 

With these observations off his mind your humble 
servant may now deliver himself of an opinion or 
two. Prokofiev's 'Cello Concerto is well worth heap 
ing as is Janos Starker's expert 'celloing. On the 
other hand (or other side) one could think of a 
dosen other pieces that would be preferable to Mil' 
baud's dreary note stringing. 

Bartok is, to many of our readers, one of the 
great modern composers. Personally, this writer could 
never see him in just this light, so he can only report 
that Menuhin and the superb Minneapolis Orchestra 
under Doratf s enthusiastic direction play the con' 
certo to a fare'thee'well. Mercury 's sound is mag' 
nificent, and the disc should please all Bartok ad' 
mirers, for it is difficult to imagine a more plush 

Treading on more dangerous ground (Gershwin 
is an even more popular composer), your cor' 
respondent has decided to hide behind a quotation 
by the late Constant Lambert, who wrote ( concern' 
ing the Rhapsody in Blue) that Gershwin, in trying 
to "write a Lisstian concerto in jazz style has used 
only the non'barbaric elements in dance music, the 
result being neither good jazs nor good Liszt and in 
no sense of the word a good concerto." He later 
adds the astute observation that it is like "a knowing 
and unpleasant child ashamed of its parents am 

proud of its French lessons.*' If this is true of the 
Rhapsody in Blue, the Concerto in F is the "know' 
ing and unpleasant child" grown up. Sparkling per' 
formances and recording. WILLIAM A. OLSEN 

Glanvillc-Hicks: Concerto Romantico for Viola and 

Orchestra. One side, and Rkhter: Aria and Toc- 

cata for Viola and Strings* And Weber: Rapsodie 

Concertante. Walter Trampler (viola) with the 

MGM Orchestra conducted by Carlos Surinach. 

1-12" disc (*MGM-E'3559) $3.98. 

Solo works for the viola are generally a trial. The 

range and the timbre of the instrument precludes 

its choice as a virtuoso voice against an orchestra. 

Miss Glanville*Hicks, however, has made a bold try 

at the problem, and her effort is interesting to hear. 

Although this composer has been identified with 

modern trends in composition, the title Concerto 

Rotnantico gives an indication of the mood of the 

present work. It is filled with fascinating melodies, 

and the harmony is, for the most part, conventional. 

The jacket notes contain the composer's own notes 

for the work, among them this significant phrase: 

"Classicism results when the formal factors exactly 

balance the expressive ones . . . Romanticism pre' 

vails whenever the personal -expressive urge is al' 

lowed to dominate the picture." 

The overside works make a bold case for the 
solo instrument, but seem to get sidetracked some' 
where. Miss Richter's Aria and Toccata is appar' 
ently difficult beyond belief, but all the hard work 
is rather unrewarding. Weber's Rapsodie Concer* 
tante is a twelve'tone work of considerable complex' 
ity. All of the works on this disc are well played 
by Walter Trampler. His viola tone has a pleasant 
resonance without the stridency and coarseness some-' 
times associated with the instrument. N. 


Hindemith: Theme and Four Variations ("The Four 
Temperaments" ) . Leon Fleischer (piano) with the 
Netherlands Chamber Orchestra conducted by 
Szymon Goldberg. One side, and Hindemith: (5) 
Pieces, Op. 44, No. 4 (from "Educational Music") . 
Netherlands Chamber Orchestra conducted by 
Szymon Goldberg. And Hindemith: Funeral Music 
for Viola and Strings. Paul Godwin (viola) with 
the Netherlands Chamber Orchestra conducted by 
Szymon Goldberg. 142" disc (*EPIG LO3356) 

The last time we covered a release of Hindemith's 
"The Four Temperaments" was in September 1956, 
when we considered the composer'conducted Decca 
release, coupled with HindemitrTs Symphonic Metd' 
morphosis of Themes by Weber (*D-DL'9829); this 
release did not find particular favor in this corner. 
Now the outstanding young Leon Fleischer (see 
TNR Apr. *57, Rachmaninoff: Rhapsody on a Theme 
of Paganini) puts his hand to this work and turns 

* indicates LP 33 1/S rpm. 
indicates 45 rpm. 







it to pure gold. The humor of the Aller^Slatkin 
Capitol LP (TNR Jan. '54) is present; though the 
Epic is not superior to Capitol's, we must report 
that two fine versions of this work are now avail' 
able . . . The Hindemith (5) Pieces has only one 
other recording, an old London LP which escaped 
our notice; the work is not appealing . . . The 
Funeral Music was completely new to us; not being 
in the mood for such somber stuff, we could not 
warm up to it, but the performance is excellent. 

Beethoven: (6) Quartets. Hollywood String Quartet. 

5-12" discs in box (*CL-PER'8394) $19.90. 

CONTENTS: Quartets KOS. 12 in E-flat, Op. 
127; 13 in B'flat, Op. 130; 14 in C'sharp minor, Op. 
131; 15 in A minor, Op. 132; 16 in F, Op. 135. 
Grosse Fugue in B'flat, Op. 133. 

"In 1957 the Hollywood String Quartet (Felix 
Slatkin and Paul Shure, violins; Alvin Dinkin, viola; 
and Eleanor Aller, violoncello) performed the works 
presented in this album at Scotland's Edinburgh 
Music Festival. This appearance was evidence that 
the Quartet is recognised both here and abroad as 
one of the world's finest." 

With these words Capitol presents this 5 -record 
set of the late Quartets of Ludwig van Beethoven. 
And a magnificent production it is! Playing of the 
very highest order, with FDS reproduction second 
to none. Any lover of chamber music would be de- 
lighted with this album. 

The set is duplicated by the Columbia, Haydn 
Society and Angel issues, each of which is incor' 
porated in complete editions of all of Beethoven's 
'Quartets; since all of the foregoing were excellent 
performances by first class string quartets, it is 
hardly likely that owners of any of them would wish 
the present set. However, if one wishes just the late 
'Quartets, one could not ask for better readings than 
the Hollywood String Quartet gives them; and none 
of the previous issues can match Capitol's for re- 

.Beethoven: Septet in E-flat, Op. 20. Chamber Music 
Ensemble of the Berlin Philharmonic Orchestra. 
M2" disc (*D-DL-9934) $3.98. 
NOTE: For review of this disc see under OR" 



At the Drop of a Hat. Michael Flanders and Donald 
Swann (piano and vocals). 142" disc (*ANG- 
65042) $3.98. 

This disc was recorded at an actual performance 
of one of the most successful theatrical entertain- 
merits of the current London season. The very Brit- 
ish satirical songs of wheelchair ridden (from an 
attack of polio) Michael Flanders and bespectacled, 
difSdent pianist Donald Swann, have been described, 
in performances, as "Falstaff singing duets with 

Hamlet," and this witty pair has kept English thea- 
tre-goers rolling in the aisles. Their spoofs of Eng- 
lish society will surely delight anyone familiar with 
it; others may find this stuff silly and light weight. 

Arlen: Jamaica. Lena Home, Ricardo Montalban and 
original Broadway Cast with orchestra conducted 
by Lehman Engel 1-12" disc (*V-LOO1036) 

The new show that's really packing them in on 
Broadway, featuring the one and only Lena Home, 
has been released as an original cast album by RCA 
Victor. This is one disc that devotees of musicals can 
appreciate whether or not they have seen the show. 

More Songs You Love. Elisabeth Schwarzkopf (so- 
prano) with orchestra, chorus and organ conducted 
by Charles Mackerras. 1-1 2" disc (*ANG- 
35530TP) $3.98. 1-12" factory-sealed disc 
(*ANG-35530) $4.98. 

CONTENTS: Sulk Hacht; Come All Te 
Faithful; du frohliche; Sandmannchen; In einem 
\uhlen Grunde; Pams Angelicus; The First Howell; 
In dulci jubilo; Weihnachten; Vom Himmel hoch; I 
Saw Three Ships; Maria auf dem Berge; Ein froh* 
hcher Gesang. 

About a year ago (TNR Jan. '57) Angel released 
a perfectly charming LP by Mme. Schwarzkopf en- 
titled Songs You Love (*ANG<35383). The songs 
were familiar, but it was the exquisite singing that 
made the disc an excellent seller. The present disc 
is more of a problem, since about half the numbers 
are associated with Christmas, so that (at least to 
us) at other times of the year, the carols will seem 
out of place. Too, whereas Mme. Schwarzkopf was 
accompanied by Gerald Moore at the piano on her 
first disc, the present one features chorus, orchestra 
and organ (and even la belle Schwarzkopf singing a 
duet with herself of Stx'IIe Wacht!) 

Still, the effect of the whole is most pleasing. The 
crystalline voice of Elisabeth Schwarzkopf will not 
be denied. If you don't mind playing the Easter 
Alleluja ("Ein frohlicher Gesang") at Christmas, or 
The First Wo well at Easter, this is a fine disc. 

Pinocchio. Mickey Rooney, Fran Allison, Jerry 
Colonna, Stubby Kaye, Martyn Green, Gordon 
Clarke and members of the Original TV Cast. 
1-12" disc (*OCL-1055) $3.98. 
Martin: Simply Heavenly. Claudio McNeil and Mel- 
vin Stewart with members of the Original New 
York Cast directed by Joshua Shelley. 1-12" disc 
(*OOL-5240) $4.98. 

Mickey Rooney does a remarkable job in nar- 
rating this version of the story of Pinocchio, using 
a different voice for each speaking character. With 
the original TV cast singing the songs which are 
fitted into the story perfectly, the result is an en- 
chanting album that would be a perfect Christinas 
gift for any child. . . . After opening and closing 
several times, Simply Heavenly found its way to 



* indicates LP 33 1/3 n>m. 
indicates 45 rpm. 


The Nw Records 


Broadway. During- its short stay there Columbia de' 
cided to release this LP of the score. The disc is for 
those who enjoy jass, rock V roll, and bop, or for 
those who just don't care what they listen to so long 
as their phonograph is on. 

My Songs. Roland Hayes (vocals) and Reginald 
Boardman (piano). M2" disc (*VAN-VRS- 
494) $4.98. 
CONTENTS: Deep River; Lil David Play On 

Tour Harp; Dry Bones; Give'A'Way, Jordan; 11 


Negro Prison. Songs. Recorded on location at the 

Mississippi State Penitentiary. 1-12" disc (*TRA' 

DITION TLP-1020) $498. 

CONTENTS: Old Alabama; Blac\ Woman; 
]umpin' Judy; Whoa Buc\; Prettiest Train; Rosie; 
Levee Camp Holler; Early in the Mornin; Stac\' 
erlee; 8 others. 
Old-Time Tunes of the South. The Stoneman Fam* 

ily (vocals) and instrumental accompaniments. 

M2" disc (*FOLK'FA'2315) $5.95. 

CONTENTS: Blac\ Dog Blues; When The 
Springtime Comes Again; Hang John Brown; Bile 
Them Cabbage Down; 17 others. 
Calypso. Lord Foodoos and his Calypso Band. 1-12" 

disc (*ELEKTRA 127) $4.98. 

CONTENTS: Matilda; Bac\ to Bac\, Belly to 
Belly; Peas and Rice; Stone Cold Dead in the Mar' 
\et; DayO; 9 others. 

Here are four albums of folk music from assorted 
parts of the western world. Roland Hayes presents 
fifteen religious songs with great feeling. The music 
is all well known, and Mr. Hayes' voice is very color- 
ful. He does a magnificent job throughout. . . 
7s[egro Prison Songs is an interesting excursion into 
the midst of a penitentiary work gang, but the 
sounds produced are not entirely musical. . . . The 
Stoneman family sounds like a group of real ould- 
tyme Virginia hillbillies, which is exactly true. A 
delightful album if you like real country music. . . . 
Calypso is an authentic collection of Jamaican 
rhythms, played and chanted by Lord Foodoos and 
his aggregation of bongo beaters. This is a fine 
showcase for both artist and musical form; the re- 
cording is fi of the highest. 

Mahler: Das Lied von der Erde. Nan Merriman 
mewo'soprano), Ernst Hafliger (tenor) and 
Concertgebouw Orchestra of Amsterdam con' 
ducted by Eduard van Beinum. Three sides, and 
Mahler: Lieder eines Fahrenden gesellen. Nan 
Merriman (mewo'soprano) with the Concertge- 
bouw Orchestra of Amsterdam conducted by Ed- 
uard van Beinum. 2-12" discs in box (*EPIC 
SC-6023) $9.96. 

Current Market Price #7.96 
At the time of the writing of Das Lied von der 

Erde, all Europe was fascinated by almost anything 

Oriental. The Vienna which Mahler knew was in- 
trigued by the apparent ability of Chinese and Ja- 
panese art and thought to transcend the designs of 
Western civilisation. Mahler remained far from un- 
touched by this Oriental influence and used a set of 
Chinese poems as the text for Das Lied von der 
Erde. Rather than Peiping, however, we must settle 
for intellectual Vienna which Mahler knew so well. 
The work is thoroughly that of Central Europe be- 
fore World War I. 

Eduard van Beinum and the Concertgebouw are 
aided in this recording by the mewo-soprano Nan 
Merriman and the tenor Ernst Hafliger. Both are 
musicianly in their interpretations of this symphony 
of songs, but Miss Merriman is especially outstand- 
ing. The dark, low tones are produced with power 
and ease, and the upper register, though not strong, 
is dramatically appealing and fits beautifully the 
construction of the music. The quality of the voice 
brings to the text a thoughtful degree of pathos 
and shaded wonder. The orchestra under van 
Beinum knows the idiom well and balances beau- 
tifully with the soloists. 

The fourth side, devoted to the Lieder eines 
Fahrenden Gesellen, is an expression of the young 
Mahler's disappointment in love. The songs are 
greatly akin to the folk-like melodies which weave 
their way throughout the compositions of this com- 
poser. Miss Merriman again acquits herself beauti- 
fully in the delivery of these songs, and Herr van 
Beinum conducts with authority. Epic has provided 
good sound and includes texts and translations of the 
songs. P. 


Schumann: March No. 2, Op. 76. And Schumann? 

Waldscenen, Op. 82. One side, and Schumann: 

Fantasiestikke, Op. 12. Sviatoslav Richter (piano) . 

M2" disc (*D-DL'9921) $3.98. 

Schumann: Waldscenen, Op. 82. One side, and 

Schumann: Kinderscenen, Op. 15. Clara Haskil 

(piano). 1-12" disc (*EPIC LC-3358) $3.98. 

Interest in these discs will surely center on the 

Decca one, for it is the recording debut of a 

fine Russian pianist, Sviatoslav Richter, whose future 

releases we await with expectant pleasure. His read' 

ing of Fantasiestuc\e calls to mind Mme. Novaes"" 

marvelous recording of it (TNR Apr. '57); those 

who prefer a "masculine" touch are advised to hear 

the present performance. Comrade Richter wins out 

over Clara Haskil in the Waldscenen race, too 

even edges Gulda's splendid LP (TNR Dec. '56). 

Beethoven: Variations on a Theme of Diabelli, Op.. 

120. Leonard Shure (piano). M2" disc (*EPIC 

LO3382) $3.98. 

NOTE: For review of this disc see under OR- 

* indicates LP 83 1/8 ipmu 
indicates 45 rpm. 


PASE 10 






Bellini: La Sonnambula (complete). (Sung in Ital- 
ian). Soloists, Chorus and Orchestra of La Scala 
(Milan) conducted by Antonino Votto. 3-12" 
discs (*ANG-35535/7TP) $9.94. 3-12" discs in 
factory-sealed album (*ANG-3568-5S/L) $14.98. 

Rodolfo Nicola Zaccaria (bs) 

Teresa Fiorenza Cossotto (ms) 

Amina Maria Meneghini Callas (s) 

Elvino Nicola Monti (t) 

Lisa Eugenia Ratti (s) 

Alessio Giuseppe Morresi (bs) 

Notary Franco Ricciardi (t) 

Listening to this second LP recording of Bellinf s 
La Sonnambula proved to be something of a chore. 
Obviously a singer's opera, one is confronted here 
with only one singer, the rest being but indifferent 
performers. Add to this a conductor who seems to 
feel it his duty to accompany "the star" and to 
prevent orchestra and singers from going their 
several ways in too obvious a manner, and it be- 
comes apparent that this La Sonnambula provides 
only ordinary operatic fare. 

Maria Callas does sing superbly, there is no gain- 
saying the fact; she also sings with intelligence and 
a very good sense of style. Her Amina is credible 
and moving a personal triumph. Nicola Monti, on 
the other hand, is a very ordinary Italian tenor, in 
no way equipped for the high tessitura of the role 
of Elvino. His high notes made this listener dis- 
tinctly uneasy. Nicola Zaccaria, as Count Rodolfo 
delivers himself of the beautiful Vi ravviso in a 
capable, if undistinguished, manner and moves 
through his role as if he were the sleep-walker, not 
the unfortunate Amina. Eugenia Ratti, as the wicked 
Lisa, brings nothing to the occasion but a pleasant 

Angel's recorded sound is good and the libretto 
is very beautiful, being full of pictures, photographs 
and the like. W.A.O. 

Honneger: Le Roi David (complete). (Sung in 
French). Suzanne Danco (soprano); Marie-Lise de 
Montmollin, Pauline Martin (mezzo-sopranos); 
Michel Hamel (tenor); Stephane Audel (narra- 
tor); Choeur des Jeunes de TEglise nationale 
Vaudoise and TOrchestre de la Suisse Romande 
conducted by Ernest Ansermet. Three sides, and 
Stravinsky: LtEstoire du Soldat. L'Orchestre de 
la Suisse Romande conducted by Ernest Ansermet. 
2-12" discs in box (*L-XLL-165l/2) $9.96. 
When in 1921 the Swiss playwright Rene Morax 
sought someone to compose music for his play on 
-the subject of King David, both Igor Stravinsky and 
Ernest Ansermet suggested the relatively unknown 
Arthur Honneger. The choice was a happy one, for 
Honneger had long aspired to be a composer of 
""music with religious themes. Although the result 
does not impress this reviewer quite so much as 

does Honegger's Jeanne d'Arc, Le Roi David is 
indeed a work of great design and sustained interest. 

Honneger admitted that the appeal here is to the 
unsophisticated taste, but Ernest Ansermet has given 
us on this London recording a performance which 
stems from apparent genuine admiration for Hon- 
neger" s work in toto. Gathered together are a nar- 
rator, Stephane Audel, who speaks the French lines 
with an endearing expressiveness, soloists, and a fine 
chorus. The most outstanding among solo voices is 
Suzanne Danco, who delivers the soprano parts with 
suavity and soaring beauty of voice. The chorus 
performs well, too, undoubtedly because of the sure 
direction of the conductor. 

The fourth side of the album is devoted to the 
suite which Igor Stravinsky arranged from his 
"L'Histoire d'un Soldat." The music is here pre- 
sented by a chamber orchestra composed of mem- 
bers of FOrchestre de la Suisse Romande again 
conducted by M. Ansermet. The old story of the 
Soldier and his experiences with the Devil is deliv- 
ered to us in this suite, which contains almost all of 
the Stravinsky music, minus repeats. It is rather 
interesting to note that whik Stravinsky was not 
unknown at the time of the writing of this com' 
bination of music, drama, and dance, it is true that 
the project was brought about by his need of funds 
the same reason which brought into being Hon- 
neger'' s opus. 

Because of Ansermet's close associations with 
Honneger and Stravinsky, this record should be 
worth investigation. P 

Debussy: Pelleas et Melisande (complete). (Sung in 
French). Soloists, Choeurs Raymond St. Paul, and 
TOrchestre de la RadiodifFusion Franchise con- 
ducted by Andre duytens. 3-12" discs (*ANG' 
35478/80TP) $10.44. 3-12" discs in factory 
sealed album (*ANG-356lC/L) $15.98. 

Arkel Pierre Froumenty (bs) 

Genevieve Jeannine Collard (ms) 

Golaud Gerard Sousay (bt) 

Pelleas Jacques Jansen (t) 

Melisande Victoria de los Angeles (s) 

Yniold Fran9oise Ogeas (ms) 

Physician Jean Vieuille (bs) 

What is probably the most de luxe Pelleas et 
Melisande insofar as voices and packaging are con- 
cerned is issued this month by Angel Records. A 
glance at the cast listed above will bear out the 
truth of the first claim, and a look at the factory 
sealed package, with its many photographs, essay 
and libretto, will amply support the second. 

It is not likely that a finer Melisande than Vic- 
toria de los Angeles will come along for many 
moons, and Jacques Jensen (whose Pelleas has been 
on view before in the old Victor set, now with' 
drawn) offers a superior characterization. Gerard 
Souzay, in his first complete operatic role on records, 
is a superb Golaud. The others in the cast are first- 
rate singers, and the chorus and orchestra leave 

PAGE 1 1 


* indicates LP 83 1/3 rpm. 
indicates 45 rpm. 






nothing to be desired. 

Now for M. Cluytens, the conductor and, in this 
department's eyes, an in'and'outer. Fortunately, 
here he is in the very vagueness of his direction 
(fatal in a work like Faust or Carmen) is an asset 
here, and his conducting of the nebulous music is, 
to coin an adjective, Maeterlinckian in its vagueness. 

To compare this set with its two extant prede' 
cessors, one would say that vocally it tops both of 
the others by a considerable margin. On the other 
hand, it is not the interpretive equal of Ansermet's 
(TNR Nov. "52) by a long shot the Epic recording 
(TNR Apr. '55 ) is a straightforward job that ap' 
pealed to your correspondent because of its lack of 
mysticism. The choice could well be a difficult one; 
it is largely a matter, it would seem, of voices versus 
overfall performance. Angel has the voices, London 
the direction and Epic a little of each. You pays 
your money, and you takes your choice. 


Gluck: Alceste (complete). (Sung in Italian). Solo- 
ists, Geraint Jones Orchestra and Singers con' 
ducted by Geraint Jones. 442" discs in box (*L' 
XLLA-49) $19.92. 

Alcestis Kirsten Flagstad (s) 

Admetus Raoul Jobin (t) 

Evander Alexander Young (t) 

Ismene Marion Lowe (s) 

High Priest I 

Apollo > Thomas Hemsley (bt) 

Infernal Deity \ 

When one listens to Cluck's operas, he sometimes 
wonders why this man should be considered a "re* 
former" of eighteenth century opera. In the first scene 
of Alceste the chorus repeats the same words and 
melody five times with overly short interludes be' 
tween stanzas. Notwithstanding the fact that this re- 
viewer has genuine admiration for the elegies of Bion 
and Moschus, such repetition on the part of Gluck 
becomes at times unbearable. 

The one reason for this Alceste is, however, not the 
chorus, not Admetus, not various minor characters, 
but Alceste, herself, whom Kirsten Flagstad brings to 
life on this recording from London. The nobility of 
the Greek character is strongly akin to the nobility of 
the Flagstad voice, and the two blend beautifully. Re' 
leased from the high C's of Siegfried and the soaring 
notes of the Immolation Scene, Mme. Flagstad quiets 
to a warmly glowing calm which impresses with its 
dignity, poise, and genuine feeling. During her "fare' 
well" season at the Metropolitan Opera House, the 
great Norwegian soprano was heard in memorable 
performances of Alceste in English. The version which 
London gives us is the original Italian, the only change 
being that the part of Admetus is sung by a tenor 
rather than a male soprano. 

Dramatically speaking, it makes little difference who 
sings Admetus. Calzabigi, the librettist, was hardly 
an Arrigo Boito when it came to adapting a play to 
the opera. Raoul Jobin sings well, but he has an inv 

possible job outlined for him that of attempting to 
characterise an almost absurd figure. The actions of 
Admetus are anything but convincing, since 'he spends 
a major portion of the opera contemplating suicide in 
his grief for Alceste. It is hardly necessary to point 
out that were he genuinely moved by his wife's heroic 
sacrifice of her life for his regained health, he would 
indulge not so much in singing, but in action of some 
sort. Calzabigi has weakened the Greek plot in this 
way to an extreme. 

The reason, then, for wanting a copy of this re' 
cording rests in the superb artistry of Mme. Flagstad. 
Seldom has she disappointed her public, and in this 
case never. P. 

Starlight Chorale. Roger Wagner Chorale and the 

Hollywood Bowl Symphony Orchestra conducted 

by Roger Wagner. 1-12" disc (*CL-P'8390) 


NOTE: For review of this disc see under OR' 


Handel: The Messiah (complete) . (Sung in English) . 
Adele Addison (soprano), Russell Oberlin 
(counter tenor), David Lloyd (tenor), William 
Warfield (baritone); Westminster Choir directed 
by John Finley Williamson; and New York Phil' 
harmonic Orchestra conducted by Leonard Bern' 
stem. 2'12" discs in folder (*C'M2L'242) $7.98. 
Oratorio Arias. Lois Marshall (soprano) with the 
London Symphony Orchestra conducted by 
Arthony Bernard. 1*12" disc (*ANG-35531TP) 
$3.98. 1-12" factory-sealed disc (*ANG-35531) 

CONTENTS : Jephtha Farewell, ye limpid 
springs and floods; Solomon Bless"* d the day 6? 
With thee tlT unsheltered moor Fd tread; Judas Mac* 
cabaeus So shall the lute and harp; Samson Let 
the bright Seraphim (Handel). The Seasons O how 
pleasing to the senses; The Creation With verdure 
clad (Haydn). Elijah Here ye Israel (Mendels' 

Leonard Bernstein's unorthodox version of Me$' 
siah is well worth hearing. Because of various sound 
theories concerning HandeFs most famous work, he 
has divided the oratorio into two parts rather than 
the usual three, with the major divisions of "Christ' 
mas" and "Easter." This involves placing certain 
sections, including the "Hallelujah Chorus, 1 '' in the 
first part of the work. In addition, the size of or' 
chestra and chorus are varied according to the need 
of each chorus or ana. The dramatic result is strik- 
ing, as was noted by New York critics who hailed 
the performances given last season. The soloists 
Adele Addison, David Lloyd, Florence Kopleff and 
William Warfield are consistently good, with spe^ 
cial praise going to Miss Addison for her beautiful 
solo work. Bernstein conducts briskly to bring to 
these discs an uncommon amount of vigor and spirit. 
Lois MarshalFs efforts on records have been 

* indicates LP 33 1/3 rpm. 
indicates 46 rpm. 


PAGE 12 


The New 


hailed by many reviewers, and her new disc of 
oratorio arias does not disappoint. She has a beau- 
tiful voice, a ne sense of musicianship, and well 
knows how to turn a minor phrase into a major 
production. Handel, Haydn and Mendelssohn arias 
offer a challenge to any soprano, for everything from 
bel canto to dramatic recitative is involved therein. 
It is to Miss Marshall's credit that she takes all this 
in stride and brings to each measure a fine sense of 
values. In only one field does she disappoint dic- 
tion. Rare is the singer who is able to form notes 
and the English language simultaneously. Because of 
Miss Marshall's exquisite singing, however, let us 
pretend the lyrics are Swahili and enjoy the beau- 
tiful sound. P. 

Mozart: Vesperae Solennes de Confessore, K. 339. 
Erna Berger (soprano), Marga Hoffgen (con' 
tralto), Horst Wilhelm (tenor), Ferdinand Frants 
(bass); Choir of St. Hedwig's Cathedral and Berlin 
Philharmonic Orchestra conducted by Karl Forster. 
One side, and Mozart: Exsultatc, jubilate, K. 165. 
And Mozart: Benedictus sit Deus, K. 117. Erna 
Berger (soprano) with the Choir of St. Hedwig's 
Cathedral and Berlin Philharmonic Orchestra con' 
ducted by Karl Forster. 1-12" disc (*ANG- 
35409TP) $3.98. 1-12" factory-sealed disc 
(*ANG-35409) $4.98. 

Selections from the Sacred Pontifical Liturgy of the 
Russian Orthodox Church. Choir of the Russian 
Orthodox Cathedral of Paris conducted by Piotr V. 
Spassky. 1-12" disc (*EPIC LC-3384) $3.98. 
Music of Salamone Rossi, Hebreo, of Mantua, New 
York Pro Musica Antiqua conducted by Noah 
Greenberg. 1-12" disc (*OML-5204) $3.98. 
The three Mozart works from Angel easily im- 
press the listener by the spirit in which they are 
done. The chorus, orchestra and soloists blend a 
point of view which lends freshness and vigor to the 
beautiful scores. The Vesperae Solennes de Confes- 
sore is especially delightful because of the choral 
shading of tones. Erna Berger and Ferdinand Frants, 
familiar because of their Metropolitan Opera per- 
formances, bring to the solo parts a thorough under- 
standing of how to sing Mozart, as do the less fa- 
miliar Marga Hoffgen and Horst Wilhelm. This is 
music to stir the soul, done in wonderful fashion. 
The reverse side of the disc offers the Exsultate, 
jubilate and Benedictus sit Deus with Mme. Berger 
in the soprano parts. The result here is a sterling 
presentation by an artist who phrases beautifully and 
sings with almost no apparent effort. The excellence 
of the performances is not surprising; the sketchi- 
ness of notes and texts (Angel has long excelled in 
this field) is a definite shock. Yet it is the music, not 
the paper, that matters. 

The liturgy of the Russian Orthodox Church pro' 
vides d cappella music of wonderful proportions. The 
choir of the Russian Orthodox Cathedral of Paris is 
heard on this recording in selections from the serv- 
ices of Lent, Holy Week and Easter, as well as from 

the pontifical liturgy. This Epic recording received 
the "Grand Prix du Disque," and there is little 
doubt that the honor was deserved. Although the 
music was unfamiliar to this listener, the spiritual 
pathos combined with devotion to proper interpreta- 
tion, brings a tenderness and affection to the deeply 
moving sounds. 

Salamone Rossi, Hebreo, flourished in Mantua at 
the early part of the seventeenth century. The New 
York Pro Musica has delved into the writings of this 
composer, whose works were anything but conven- 
tional in their day. Chanting was the favored vocal 
line when Rossi wrote the polyphonic love songs and 
religious music presented on this disc. This is an 
excellent sampler of the music of a little known 
writer. His songs have a certain vivacity and sparkle 
which make them affable. This is not a recommended 
disc for lovers of Carmen and Aida, but for those 
whose interests are esoteric. P. 

Christmas Carols. Mormon Tabernacle Choir directed 
by J. Spencer Cornwall. 1-12" disc (*OML-5222) 
$3.98. Current Market Price: #2.98. 

CONTENTS: Joy to the World; When Jesus Was 
a Little Child; Away in a "Manager; A Boy Is Born, 
There Shall a Star from Jacob; O Come, O Come 
Emmanuel; Far, Far Away on Judea's Plains; O 
Holy T^ght; What Child Is ThtV Beautiful Saviour; 
Carol of the Nativity; Tell Us, Shepherd Maids; The 
Holy City; I Heard the Bells; Silent Tvfight. 
Christmas Hymns and Hymns and Carols. Robert 

Shaw Chorale directed by Robert Shaw. 1-12" disc 

(*V-LM-2139) $3.98. 

CONTENTS: O Come, All Te Faithful; The First 
^owell; O Little Town of Bethlehem; Q Come, O 
Come Emmanuel; Away in a Manger; Silent J^ight; 
Joy to the World; It Came upon the Midnight Clear; 
Angels We Have Heard on High; Christmas Hymn; 
Lo, How a Rose E'er Blooming; Har\! The Herald 
Angels Sing; God Rest You Merry, Gentlemen; My 
Dancing Day; I Wonder As I Wander; Bring a 
Torch, Jeannette, Isabella; Patapan; We Three 
Kings; Coventry Carol; I Sing of a Maiden, Shep' 
herd's Carol; Go, Tell It on the Mountain; Carol 
of the Bells; Wassail Song; Dec\ the Hall 

Since it is Columbians classical "Buy of the 
Month," the Mormon Tabernacle Choir Christmas 
disc should be the disc to buy for the Christmas 
season. It is well done, has practically all the familiar 
carols, and its temporary modest price makes it a 
real bargain. 

Probably the biggest selling Christmas record of 
all time has been the Volume I of Christmas Hymns 
and Carols by the Robert Shaw Chorale, originally 
issued on 78 rpm discs (TNR Dec. ""46) and later 
re-issued on an LP (*V-LM-1112). Because of the 
many advances in recording techniques, RCA Victor 
thought it well to re-record this album, and the re- 
sult is the second disc listed above. The selections 
and arrangements sung are identical with those on 
*V-LM-1112, although the order has been changed; 

PAGE 13 


* indicates LP 88 1/3 rpm. 
indicates 46 rpm. 


The Nm Records 


the reproduction is noticeably superior, of course, 
in the newer recording. 

Palestrina: Missa Papae Marcelli. One side, and Pales- 
trina: Xmproperia. Aachen er Domsingknaben con* 
ducted by Theodor B. Rehmann. And Palestrina: 
Stabat Mater. Aachener Domchor conducted by 
Theodor B. Rehmann. 1-12" disc (*D-ARO3074) 


Praetorius: Geistliche Tricinien. One side, and Welt- 
liche Zwiegesange. Kinderchor Bender conducted 
by Erich Bender, with viol and recorder acconv 

paniinent. M2" disc (*D'ARO3072) $5.98. 

Giovanni Pierluigi, called da Palestrina from the 
place of his birth (the old Roman Praeneste), was 
born in 1525 and thus was 52 years old when Pope 
Gregory XIII wrote his "Brief on the Reform of the 
Chant," which was directed to "our beloved sons, 
Giovanni Pierluigi da Palestrina and Annibale Zoilo 
Romano, musicians of our private chapel." In this 
famous document, the Pope called for a removal of 
the "barbarisms, obscurities, contrarieties and super' 
fluities" that he found in liturgical music. Pales- 
trina's Missa Papae Marcelli is generally conceded 
to be the work that was written to "save" church 
music from the abuses Pope Gregory found so of' 
fensive. In all events, it is performed here in a man- 
ner that is above reproach. There are several other 
versions in the catalog, but this on-e is very superior, 
and the inclusion, on the other side, of the beau- 
tiful and moving Stabat Mater and an Improperia 
make the disc additionally interesting. 

The Praetorius chorales and the German secular 
songs, this writer regrets to say, he found boring. 
Perhaps the fault was in the lack of color in the 
children's voices used; but some of the boredom was 
undoubtedly occasioned by the music itself, which 
shows a certain lack of originality both as to com- 
position, selection and performance. This is one 
that is definitely for the specialists m Renaissance 
music. Certainly it is novel (all the pieces are new 
to records of any speed), but how far can one prize 
music (or anything, for that matter) for its novelty 
or exotic characteristics? Be very sure of yourself on 
this one, for it comes (as do all the Archive series) 
in a sealed plastic envelope which (presumably) 
when opened means you have bought the record. 

Lassus: Missa VTO toni ("Puisque fai perdu"). 

Aachener Domsingknaben conducted by Theodor 

B. Rehmann. One side, and Lassus: (8) Latin 

Motets. Aachener Domchor conducted by TheO' 

dor B. Rehmann. 1-12" disc (*D-ARC-3077) 

Lassus: Neue teutsche Lieder. One side, and Lassus: 

Chansons, Madrigale, Viflanelle. Singgemeinschaft 

Rudolf Lamy conducted by Rudolf Lamy. 1'12" 

disc (*D-ARO3Q76) $5.98. 

Orlandus Lassus, Orlando di Lasso or, more cor' 
rectly, Roland de Lassus, was a true child of the 
Italian Renaissance, although born in Mons. His vast 

output, over two thousand compositions, embraces 
every known form of music in his era ( 1530'! 594) 
there are French chansons, Italian madrigals, and 
German part songs in the secular field, and Masses, 
Psalms and Motets in the liturgical. 

But indifferently represented on discs until the 
advent of these two superb Deutsche Grammophon 
Archive records, Lassus may now be heard in per' 
formances that bring out the resplendent heights, the 
serene majesty and awe inspiring mysticism of the 
liturgical works. In addition, there is a selection 
from the secular pieces. Here one meets a different 
man; there is humor, vulgarity and brilliance in 
short, Lassus was a musician of "consummate and 
miraculous mastery of the techniques of musical 
composition." (Lang) 

The performances here by the two choral groups 
noted above are perfect. In the Mass and in the 
motets the music is projected with unbelievable 
clarity and, equally important, devotion. There is 
great dignity in this music, and it receives here what 
may be considered definitive performances. The sec' 
ular music by the Rudolf Lamy Choir is less aus' 
tere and equally well sung. Such villanelle as Matona 
mia car a and O Id, o che bon eccho deserves the 
adjective miraculous and substantiates Lang's state- 
ment (Music in Western Civilization) that Lassus' 
work "is a synthesis of what two hundred years of 
musical culture had produced, a synthesis of such 
convincing strength and plastic beauty as the history 
of music has since experienced but once again in the 
art of Mozart." 

Like Mozart, too, Lassus had to pay a price for 
his great genius. He whom Ronsard, prince of poets, 
had praised; he who had received a knighthood from 
Emperor Maximilian, the Order of the Golden Spur 
from Pope Gregory XIII, the Cross of Malta from 
the King of France; loaded with all the fame, wealth 
and honors that the heart of man could desire 
Roland de Lassus, prince of musicians and friend 
of princes, died insane from melancholia. 


Mendelssohn: Elijah (complete). (Sung in English). 
Elsie Morison (soprano), Marjorie Thomas (con' 
tralto), Richard Lewis (tenor), John Cameron 
(baritone); Huddersfield Choral Society and Liv- 
erpool Philharmonic Orchestra conducted by Sir 
Malcolm Sargent, with Caleb Jarvis (organ). 3' 
12" discs (*ANG-35455/7TP) $10.44. 3-12" 
discs in factory-sealed album (*ANG-3558C) 

Whea he began writing "Elijah,*' Mendelssohn 
was the dictator of the London musical scene. His 
visits to England were treated in much the same way 
as a visit of Elizabeth II to Washington. Queen 
Victoria and the Prince Consort all but made him 
a part of their family. The work was commissioned 
by the Birmingham Festival Committee which 
planned the initial performance for August, 1846. 
When Mendelssohn entered the hall to conduct his 

* indicates LP 33 1/3 rpm. 
Indicates 45 rpm. 


PAGE 14 





work for the first time, the audience was almost 
uncontrollable. Mendelssohn, however, realised that 
the score needed revision, and after much study he 
devised the version which we know at the present 

The test for a work of this sort lies more in the 
ability of the conductor to instill spirit into the score 
than in the field of soloists, chorus, and orchestra. 
Sir Malcolm Sargent has had wide experience in the 
field of oratorio but, on occasion, has wielded his 
baton in a rather lethargic fashion. Such is not the 
case in this recording. Presented with a group of fine 
soloists, augmented by the Liverpool Philharmonic 
Orchestra, and the Huddersfield Choral Society, 
probably the authorities of oratorio singing, he rises 
to a pitch of spirit and fervor which he has not 
previously duplicated with the same group. Sir Mai' 
colm knows the music well, but more than knowl' 
edge is required to inject life into an oratorio. The 
singers, familiar from recordings of works of a sim* 
ilar nature, contribute interpretations of feeling and 
expression. The sound of these Angel discs is bril' 
liant; the notes and texts are complete; and the 
performance itself is definitive. P. 


Operetta for Theatre Organ. Leonard MacClain, 

playing the organ in the Tower Theatre, Upper 

Darby (Pa.). M2" disc (*EPIC LN-3372) $3.98. 

CONTENTS: Every Day is Ladies Day with 

Me; Because TouVe You; In Old >few> *Yor\; Gypsy 

Love Song; Song of Love; Girls, Girls, Girls; Vilia; 

The Merry Widow Waltz; Indian Love Call; Thine 

Alone; Desert Song; One Alone; Rif Song; Kiss Me 

Again; Auf Wiedersehen; Your Land and My Land; 

Sympathy; Gianina Mia; Stouthearted Men; Want* 

ing You. 

All Stops Out. Ralph and Buddy Bonds playing two 

Hammond Organs. M2" disc (*EPIC LN-3369) 


CONTENTS: Exactly Li\e You; I've Got It Bad; 
Heartaches; Stompin* at the Savoy; Angeliis; Red 
Sails in the Sunset; Grand Central Boogie; Me and 
My Shadow; What Can I Say, Dear?; A Shanty in 
Old Shanty Town; Blue Shoes and Happy Feet; 
Georgia on My Mind. 

Leonard MacClain has been heard from twice 
previously on Epic records: Theatre Organ in Hi' 
Fi (*EPIC LN-3273, TNR Sept. '56) and Joy to 
the World (*EPIC LN-3283, TNR Dec. '56). Once 
again we are treated to elegant reproduction of one 
of the finest theatre organs along the Eastern sea' 
board (see TNR Sept. '56 for description) in tunes 
from operettas that nearly everyone likes . . . Ralph 
and Buddy Bonds, Philadelphia'born'and'bred broth' 
ers, conceived the idea of a twin organ team; though 
they were a little while getting started, it is little 
wonder that, once heard, they proved successful. 
Novelty arrangements of mostly familiar tunes 

(Grand Central Boogie is a Bonds brothers original) 
with string bass and drum accompaniments. 

Bach Organ Works. Anton Heiller, playing the or' 
gan at the Reformed Church, Thalwil, Switzer- 
land. 1-12" disc (*EPIC LO3367) $3.98. 
CONTENTS: Fantasia in C minor, BWV. 562; 
Toccata and Fugue in F, BWV. 540; Prelude in A 
minor, BWV. 569; Toccata and Fugue in D minor 
("Dorian"), BWV. 538. 

The young and talented Prof. Heiller continues 
his presentation of the organ literature of Bach, this 
time choosing slightly less familiar works than in his 
earlier releases. Previous reviews of this performer 
on the same instrument (TNR Aug. *55 and Nov. 
'56) led us to expect more than was evidenced on 
the present disc. We did not hear the earlier re- 
cordings, but there are many instances here that 
lack definition, particularly in the F major Fugue. 
Whether the lack be a result of a less successful re- 
cording or a shortcoming of the organist is a dis- 
putable point. 

Almost all of these works have received more 
satisfactory performances, as well as better record' 
ings. We're sorry, Mr. "S." We just couldn't find 
the same things to rave about that you discovered 
in Prof. Heiller's other discs for Epic. N. 



Shakespeare: The Merchant of Venice. Michael Red- 

grave, with supporting cast. 2-12" discs in album 

(*CAEDMON TO2013) $11.90. 

After listening to this recording of The Merchant 
of Venice, we wondered why it was ever made. The 
only reason we could think of was that Michael Red- 
grave has somewhat of a reputation as an interpreter 
of Shylock and that many of his host of admirers 
will probably wish to have a recording of him in this 
role. We were not impressed with Mr. Redgrave in 
the part; in all fairness, however, we must say that 
we have never seen him in The Merchant and can 
only judge his Shylock from listening to these rec- 
ords. In view of the fact that this recorded perform- 
ance, in general, is a pretty poor one, doubtless Mr. 
Redgrave is very much at a disadvantage. For the 
most part, the players rattle off their lines at a speed 
that makes them appear to be out of breath a good 
bit of the time; but perhaps this was done so that we 
could have a practically uncut version of this reas- 
onably long play on two LP discs. 

We rather think that the cast for this recorded 
version of The Merchant was gathered together in 
a hurry, without consideration as to the players 1 
grounding in Shakespeare; and, after a rehearsal or 
two, the recording was made. The director probably 
had only one thing in mind: to make it possible for 
Mr. Redgrave to get his reading of the stellar role 
on records. Otherwise, how could he miss his actors 
rhyming "Duke" with "spook," "suit" with "boot," 
and "Christian" in three syllables (CHRIS-ti-an) ia- 

PAGE 15 


' indicates LP 88 1/3 rpm. 

indicates 45 rpm. 


The New Records 


stead of two; one player pronounces "either" with, 
a long "E" sound, while his fellow actor pronounces 
"neither'" with a long "I" sound. The overly dra' 
matic manner Portia uses in directing the curtains 
to be drawn so that a suitor might make his selection 
of one of the three jewel cases would lead the audi' 
ence to expect to find the pyramids, at the very 
least, hidden behind the curtains, rather than three 
little caskets. 

As The Merchant of Venice is one of the bard's 
best known and most popular plays, a ready market, 
we feel sure, still awaits an adequate recording of it. 

The Nativity. John Facenda (narrator) with instru' 

mental group directed by Thomas Patton. 1'12" 

disc (*MANUSCRIPTMS'571) $4.98. 

This is a story that looks once again to the joy of 
Christmas the story of the first Christmas told in a 
way that helps us enjoy it more and understand it 
better. Beautifully and reverently read by John Fa' 
cenda, well-known Philadelphia newscaster and one' 
time commercial announcer on the "I Love Lucy" 
TV show, the story takes us once again to Nazareth, 
recounts that fateful journey to the crowded inn, 
imparts to us the joy as the Holy Family wraps the 
Child in swaddling clothes. Mr. Facenda reads as 
though he were narrating a travelogue, and the lis' 
tener will feel as though he is really there; the 
whole effect is to bring the timely, yet timeless, story 
of Christmas to the present-day Christian, who may 
be lost in the glitter of the commercial Christmas 

Thomas Patton's original background music adds 
immensely to the narration. With its bound'in 11' 
page booklet containing appropriate art work by 
Dick Miller, the story may be followed by children 
while being appreciated by adults, making this most 
unusual LP disc a most acceptable Christmas gift. 

Moliere: Le Tartuffe. (In French). Fernand Ledoux 

with Les Comediens de la Pleiade. 142" disc (*PE- 

FRL-1513) $5.95. 
Racine: Berenice. (In French). Fanny Robiane with 

Les Comediens de la Pleiade. M2" disc (*PE- 

FRL-1514) $5.95. 

The largest catalog of French plays available in 
this country is to be found in the Period FRL series, 
and critics generally have found nearly all of the 
recordings to be first-rate productions. Advanced 
students of the French language, too, have found 
that their appreciation grows as they investigate 
these many discs. The two newest ones, listed above, 
will take their places with the other fine recordings 
in this series; they are well worth the thoughtful 
consideration of those interested. Complete French 
texts and synopses of the plots in English are in- 
eluded with each disc. 


The World's Encyclopedia of Recorded Music 
(3rd Supplement). By Francis F. dough 
and G. J. Cuming. xxvi + 564 pp. Sidg- 
wick and Jackson, Ltd. (London). Price 


Introduction to Opera: a guidebook sponsored 
by The Metropolitan Opera Guild. Edited 
by Mary Ellis Pelts, xiii + 332 pp. Paper 
bound. Barnes 6? Noble, Inc. (New York) . 
Price $1.65. 

Record Ratings : The Music Library Associa- 
tion's Index of Record Reviews. Compiled 
by Kum Myers; edited by Ridhard S. 
Hill, viii + 440 pp. Crown Publishers 
(New York). Price $5.95. 

The World Treasury of Grand Opera. Edited 
by George R. Marek xi -f- 674 pp. Har^ 
per 6? Brothers (New York). Price $6.95. 

The Guide to Long-Playing Records (Chamber 
& Solo Instrument Music). By Harold C. 
Schonberg. xi + 280 + vi pp. Alfred A. 
Knopf (New York). $3.50. 

The Guide to Long-Playing Records (Vocal 
Music). By Philip L. Miller, xvi + 381 
+ xxii pp. Alfred A. Knopf (New York) 

The World's Encyclopaedia of Recorded Music 
(Including 1st Supplement). By Francis 
F. dough and G. J. Cuming. 890 pp. 
Sidgwick and Jackson, Ltd. (London). 
Price $17.50. 

The 'World's Encyclopaedia of Recorded Music 
(2nd Supplement) . By Francis F. Clough 
and G. J. Cuming. xxii -f- 262 pp. Sidg' 
wick and Jackson, Ltd. (London). Price 

NOTE: All the above books have been reviewed 
in previous issues of The T^eta Records. If your local 
dealer does not stock them, orders addressed to H. 
Royer Smith Co., Philadelphia 7, Pa., will be 
promptly filled. The prices quoted include postage 
to any point within U.S. A. 

The first letters in the record number Indicate the manufacturer: ANG Angel, BG Bach Guild, C Columbia, CAM Camden, OE Cetra, 
CH Concert Hall Society, CL Capitol, CLAS Classic Editions, CSM Colosseum, D Decca, DT Ducretet-Thomson. EA Experience* 
Anonymes, ESO Esoteric, FOLK Ethnic Folkways Library, G 10 A Gregorian Institute of America, HMV His Master's Voice (England), 
HS Haydn Society, L London Gramophone, LYR Lyrichord, ME Mercury, OC Oceanic, OL L'Oiseau Lyre, PE Period, PHM Phil- 
narmonia, PLMPolymusie, REN Renaissance, SOT Sounds of Our Times, SIR Stradivari, T Telefunken, UNI Unicorn, UR Urania, 
V Victor, VAN Vanguard, VX - Vox, and WEST Westminster. 

* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 


PAGE 16 

The New Records 


Issued Monthly by 





'OL 25, NO. 1 1 

JANUARY, 1958 

By mail to any address 
$1 pr yar 

rHE RUMOR of RCA Victor's new LP 
Record Club, reported last month in THE 
JEW RECORDS, has become a reality as we go 
D press. Named The RCA Victor Society of 
treat Music, it will be devoted exclusively to 
lassical LP's. 

You may join the Society through an RCA 
^ictor dealer. To induce new members to 
>in, the Society offers a marvelous bonus of 
atstanding value: it is the 7 -record LP album 
f the nine Beethoven Symphonies by the NBC 
ymphony conducted by Toscanini, a $34.98 
alue for only $3.98, To join, simply fill out 
id mail the application for membership in 
le Society enclosed with this issue of THE 

Since THE NEW RECORDS carries no adver' 
sing, it must be obvious to readers that we 
innot survive without the support both of our 
aders and of the various record manufac- 
rers; and we are exceedingly proud of the 
ct that this little bulletin has on its mailing 
it the names of a large majority of the im- 
>rtant record collectors in the United States, 
would not hurt us one bit if we could dem- 
istrate this to RCA Victor; we therefore ask 
is favor of you: if you feel disposed to join 
he RCA Victor Society of Great Music, will 
>u please do so by completing the application 
closed and mailing it promptly? It will cost 
>u no more this way, and the number of sub' 
riptions turned in -bearing the name of the 
iblisher of THE NEW 'RECORDS will be a 
>asure of the regard American record col- 
:tors have for our little bulletin. 

If you ordered a copy of the 1958 Edition 

the Schwann Artist Listing Catalog (TNR 

>c. '57) and have not received it yet, please 

be patient. Shipments of this catalog were 
somewhat delayed during the pre^Christmas 
rush. All orders now on hand have been filled, 
and any orders received now are being filled 
promptly. If you have not as yet ordered your 
copy, a supply is now on hand; the price is 
35^ postpaid in U. S. A. 

* * * 

NEW PRICES, Most of the major record 
manufacturers have announced that LP rec- 
ords now listing at $3.98 will 'be advanced in 
price to $4.98 on 1 February 1958. As it is 
very likely that the smaller independent com- 
panies will follow suit, those persons who have 
in mind purchasing a quantity of discs for their 
library might do well to do so before that date. 

* * * 

Music educators have been aware of the 
great value of the RCA Victor Educational 
Record Catalog it has been their bible in 
the field of all kinds of educational record- 
ings. It occurred to us that private teachers of 
music and dancing and those who conduct 
small private kindergartens might, together 
with parents who wisii to interest their chip 
dren in the appreciation of fine music, very 
much like to secure a copy of this famous pub- 
lication. Anyone wishing a copy of the new 
Sixth Edition may secure one postpaid by 
sending 25^ in coin. It may be of interest to 
know that the publisher of THE NEW RECORDS 
also carries a complete stock of all records 
listed and will 'be glad to supply any of them 
if they are not available from your local dealer. 


The Current Market Price of records is the 
retail price that is charged by most leading 
dealers, including the publisher of this bul* 





letin. When the major companies reduced their 
list prices for LP records, some of the smaller 
publishers reduced only their wholesale prices 
and did not change their list prices (see TNR 
Mar. '55); thus the Current Market Price 
came into being. 

Also, from time to time, in order to stimu' 
late business, some companies have drastically 
reduced prices for limited periods. In order 
that our readers may know the Current Mar- 
ket Price, we are indicating in this and future 
issues the prices that are presently in effect, 
and, although we cannot guarantee these 
prices, they should prevail during the current 

NOTE: The Current Market Price of all 

Mercury 12-inch LP's (10000, 20000-, 30QOO-, 
40000% 50000-, 80000', and 90000'series) is 
$3.19; album sets are 20% less than published 
list prices. 


We are continually receiving requests for 
back copies of THE NEW RECOEDS. Most of 
the issues published during the last twenty- 
five years are available. The price is lOc each. 
A file of all available issues (at least 160 copies) 
is $5. These prices are postpaid within U.S.A. 

NOTE: Those persons interested in recent 
recordings only may secure all of the issues of 
the last three years beginning January 1955 
(36 copies) at the special price of $2 (postpaid 
within U.S.A.). 


Autumn in New York. Dick flyman (piano) plays 
songs of Vemon Duke. M2" disc ^PROSCE- 
NIUM PR-2) $1.98. 
CONTENTS: Cabin in the Sly; What h There 

to Say?; Ajbril in Paris; 11 others. 

Conversation Piece. Dick Hyman (piano) plays 
songs of Noel Coward. M2" disc ^PROSCE- 
NIUM PR-3) $1.98. 

CONTENTS :H1 Follow My Secret Heart; Mad 
dbout the Boy; Ztgeuner; 12 others. 

September Song. Dick Hyman (piano) plays songs 
of Kurt WeilL 1-U" disc (*PROSCENIUM 
PR-1) $1.98. 
CONTENTS: Green-tiJ) Tims; Sj?ea\ Low; Lost 

in the Stars; September Soiag; 10 others. 

Moonlight and Keyboard. Raymond Lewentha! (pi- 

ano). 142" disc (*WEST'XWN-18403) $3.98. 

Current Market Price: 1.98. 

CONTENTS: Clair de Lune (Debussy). Liebes- 
traiim Ho. 3 (Lisst). Hocturne in E<flat, Op. 9, 
3S[o. 2; Waltz in C'$har{> minor, 0|x 64, >{o. 2; 
T^octwrne in F'sharp, Op. 15, J^o, 2; Fantasie^ 
Impromptu. Op. 66 (Chopin). Waltz in A'flat, Op. 
39, NO. 15 (Brahms), Sonata 7s[o. 14 in C-sfmrp 
minor ("Moonlight") 1st movement (Beethoven). 
Greensleeves (Trad. arr. Lewenthal). Le Cygnc 
(Saint'Saens). On Wings of Song (Mendelssohn). 
How Pair This Spot (Rachmaninoff). Romance 
(Rubinstein), EUgic (Massenet). Standchen (Schu- 
bert). Traumerai (Schumann). 


Verdi: Rigoletto (highlights). Del Monaco, Gueden, 
Protti, Simionato, Siepi; St. Cecilia Orch. & 
Chorus Erede. 1-12" disc (*L-LL-5342) $4.98. 
(TNR Apr. ^55). 

Verdi: La Tmviata (highlights). Tebaldi, Poggi, 
Protti; St. Ocilia Orch. & Chorus Molinari' 
Pradelli. 142" disc (*I/LL-5344) $4.98. (TNR 
May '55). 


Sibelius: Symphony No. 2 in D, Op. 43. Philadel- 
phia Orchestra conducted by Eugene Ormandy. 
1<12" disc (*OML.52Q7) $3.98. 
Schonberg: Verklarte Nacht, Op. 4. One side, and 
Schonberg: Chamber Symphony in E-flat, Op. 9. 
Symphony Orchestra of the Southwest German 
Radio, Baden'Baden, conducted by Jascha Horen^ 
stein. 1-U" disc (*VX-PL- 10460) $4.98. 
R. Strauss: Sinfonia Dornestka, Op. 53. Chicago 
Symphony Orchestra conducted by Fritz Reiner. 
M2" disc (*V'LM'2103) $3.98. 
Barker: Symphony No. 1, Op. 9. One side, and 
Barber: School foe Scandal Overture. And Bar- 
ber: Adagio for Strings. And Barber: Essay No. 1 
for Orchestra, Op. 12. Eastman'Rochester Synv 
phony Orchestra conducted by Howard Hanson. 
1-12" disc (*ME'MG-50148) $3.98. 

Current Market Price: #3.19 
Ormandy's recording of the Sibelius Second Sym' 
phony wa* one of the earliest LP's and a sonic 
wonder for its day. This newer version preserves all 
the virtues of the former and brings the sound 
quality up to date. Ormandy's conception of the 
work has not changed very much in the interim; 
there are still sections of the work that seem very 
fast, but the orchestra is more than equal to the 
challenge. The symphonies of Sibelius require cul- 
tivation; they are not instantly comprehended and 
taken to the heart as those of Tchaikovsky. The 
rewards, however, are considerable, and we can 
imagine no better way to approach Sibelius than 

Indicates LP 88 1/3 rpm. 
indicates 45 rpm. 




Ihe New 


through this most popular of his symphonies. 

Our own personal preferences for Schonberg's 
Verkldrte J<[acht rests with those interpretations 
which stress its romantic tendencies. At the outer 
edge of this spectrum lies the Stokowski version 
(TNR Sept. '57). A more disciplined, but still 
touching version is the original sextet arrangement 
on Capitol (*CL-P-8304), in which the beauties of 
the score are more exposed. The present disc pro* 
vides a rather nervous reading, we thought, the 
tendency being heightened by a treble boost that 
gives the strings an edgy, unpleasant sound. The 
Chamber Concerto lies at the canyon's edge of 
Schonberg's descent into twelve-tone depths, and is 
recommended only to Schonberg devotees. 

Richard Strauss' Sinfonid Domestics came near 
the end of his writings for orchestra; his later 
years were devoted almost exclusively to opera. 
Some of the youthful exuberance of Don Juan, Till, 
and the other tone poems had mellowed into a more 
introspective style. The program of the work, a 
portrayal of the Strauss household, we may assume, 
is almost of no consequence. To be looked upon as 
merely beautiful themes and gorgeous orchestral 
textures should be sufficient. Reiner and the Chicago' 
ans have acquired a considerable reputation in mat' 
ters Straussian, and the present disc duplicates the 
excellence of the earlier recordings, despite the 
fact that the work is less well known. 

The Barber collection combines material that had 
originally been on two discs, backed by works by 
other composers: *ME-MG-50075 (formerly *ME- 
MG-40002), TNR June '53; and *ME-MG-50087 
(formerly *ME-MG-40014), TNR May "56. The 
coupling is a sensible one which offers the cream 
of Barber's orchestral work on a single disc. The 
sound is still as fantastic as on the original releases, 
and the tender Adagio for String's has, to our mind, 
an -excellent chance for musical immortality. N. 

Saint-Saens: Symphony No. 3 in C minor, Op. 78. 

Philadelphia Orchestra conducted by Eugene Or- 
mandy, with E. Power Biggs, playing the organ 
at Symphony Hall, Boston. 1-12" disc (*C'ML' 
5212) $3.98. 

After a lot of entries, the definitive performance 
of the wonderful Saint-Saens' Symphony 7s{o. 3 for 
Organ and Orchestra has finally been committed to 
discs. We should like to make a case for this work, 
which has everything: beautiful melodies, spirited 
and exciting ensembles, interesting and greatly var- 
ied instrumentation, powerful and shattering cli- 
maxes . . . and it does not tire us with repeated 

Many conductors, as we said, have performed this 
work on LP's; we list them in order of preference: 
Toscanini (*V-LM-1874, TNR May '55); Cluytens 
(*ANG-35336, TNR Jan. '57); Bour (*DT-DTL- 
93072, TNR Jan. '57); Swarowsky (*UR-UX- 
105, TNR July '57); and van Otterloo (*EPIC 
LC-3077, TNR May '55). The old Munch (*O 

ML'4120) is stfll a fine performance, but its re- 
production shows its age, to say the least. 

Some readers may think we are prejudiced in 
favor of the Philadelphia Orchestra; to them, we 
can only say, '"Hear this disc!" Ormandy outdoes 
himself, and the orchestra plays with its wonted 
finish and with tremendous drive. Power Biggs is 
too well known to require much comment from us; 
he "makes" the record, and the great organ at 
Boston's Symphony Hall is just right: large and 
powerful, rich and mellow. Columbia's engineers have 
captured the sound with exactly the proper balance 
and proportion; neither the organ nor the orchestra 
is too far forward. Though admirers of the late 
Toscanini may prefer his record, we feel that even 
they will admit that Ormandy and Biggs give stiff 
competition. To our ears, the present disc is the 
choice; we cannot imagine its being surpassed. J. 

Brahms: Symphony No. 2 in D. Vienna Philhar- 
monic Orchestra conducted by Rafael Kubelik. 
1-12" disc (*L-LL-1699) $3.98. 
Bartok: Concerto for Orchestra. Berlin Radio Synv 
phony Orchestra conducted by Ferenc Fricsay, 
1-12" disc (*D-DL-9951) $3.98. 
It seemed most unlikely that the eighteenth record' 
ing of the Brahms Symphony ?^p. 2 in D major would 
have anything particularly new to offer. This, how' 
ever, was just another one of those occasions that 
demonstrate the futility of taking things for granted, 
for Rafael Kubelik and the wonderful Vienna Phil- 
harmonic Orchestra do something to the score that 
makes it sound like a world premiere rather than the 
umpteenth thousandth time they have romped through 
the music. (In this connection there is a priceless story 
about the Vienna Philharmonic Orchestra and its 
numerous guest conductors. A friend asked the \cm- 
zertmeister what Herr so-and-so was conducting that 
particular evening. Replied the weary first violinist, 
"I don't know what he is conducting. We're playing 
the Beethoven Fifth/") There is no doubt here, how- 
ever, as to who is doing what the phrasing is elegant, 
the romantic elements are underscored and one realises 
now (or anew) where the early critics discerned an 
"autumnal glow" in the symphony. For all the gemut- 
lic\heit of the performance, the score has been tight- 
ened up a little; after all, this is the Twentieth Cen- 
tury and Rafael Kubelik is a relatively young man. 
Much of the work's impact, this writer feels sure, de- 
rives from London's superb engineering; this is not 
merely "hi-fi" it comes very close to being the real 
thing. All this, then, adds up to making this the best 
Brahms Second on records. 

The Bartok Concerto for Orchestra also proved a 
big and pleasant surprise. Never one of this corner's 
favorites (rather the opposite), the record was viewed 
with some distaste until it was played, and then -well 
Fricsay, being a Hungarian, seems to have not only an 
affinity for the music but also the ability to communi' 
cate the feeling to both orchestra and listener some- 



* indicates LP S3 1/3 rpm. 
indicates 45 rpm. 



Rtf cords 


thing no other conductor has been able to do before 
for this corner. This is a performance that is never 
noisy, never full of commotion for its own sake (as so 
many of the previous performances have seemed to 
be) ; it makes musical sense. How Fricsay accomplishes 
all this must remain his secret; one was just grateful 
and not at all inclined to pry into the matter. On this 
basis, then, he feels that Decca's new and technically 
splendid recording of the Concerto for Orchestra, like 
Abu Ben Adam, leads all the rest, 


Beethoven: Symphony No. 7 in A^ Op. 92. Pitts- 
burgh Symphony Orchestra conducted by Wil- 
liam Steinberg. M2" disc (*CL-P-8398) $4.98. 

Rachmaninoff: Symphony No. 2 in E minor, Op. 27. 

Detroit Symphony Orchestra conducted by Paul 

Paray. 1-12" disc (*ME-MG'50142) $3.98. 

Current Market Price: #3.19. 

Two symphonies, one a classic, the other a "mod- 
ern classic," are offered this month by Capitol and 
Mercury, respectively. For the Beethoven Symphony 
J<[o. 7 in A major, it is the sixteenth LP recording, 
while for the Rachmaninoff opus the figure is some- 
what more modest: it is only recording number six. 

As might be expected, the competition is a lot 
rougher in the Beethoven. Already there are superior 
versions of the music by Klemperer, Paray and 
Kleiber, and highly individual ones by Toscanini, 
Reiner and von Karajan. This most recent entry 
falls somewhere between Klemperer" s heights and 
Reiner's mannered performance and has much to 
recommend it. It lacks, to some extent, the fine 
high excitement with which Klemperer invests the 
score; but Steinberg's ideas are sound, and the Pitts- 
burgh Orchestra is a first-class aggregation headed 
by a thoroughgoing musician. Despite its merits, one 
ponders the advisability of a sixteenth recording of 
the music. Certainly, most everyone who wanted a 
Beethoven Seventh would have it by now maybe 
this one is for the Pittsburgh market? 

The Rachmaninoff Symphony HO. 2 in E minor 
receives "the treatment,* 1 as it were, from Paul Paray 
and the Detroitere, Chief competition comes from 
Ormandy, Steinberg and Sir Adrian Boult M. Paray 
more than holds his own with the best (curious how 
so many French conductors have a flair for Russian 
music) and gives what is probably the best perform- 
ance of the E minor Symphony on records. 

The recorded sound in both instances is very good, 
but Mercury *s closeup technique is more exciting. 


Mendelssohn: A Midsummer Night's Dream (Inci- 
dental Music) . London Symphony Orchestra with 
Jennifer Vyvyan and Marion Lowe (sopranos), 
Female Chorus of the Royal Opera House, Covent 
Garden, conducted by Peter Maag. 1-12" disc (*L- 
LL-1707) $3.98. 
We note that the last time we reviewed a disc 

containing all of the incidental music to A Mid- 

summer T^tght's Dream (TNR June '57) our es- 
teemed editor placed the review under VOCAL. We 
rather feel that ORCHESTRA is the proper classi- 
fication, however; the vocal parts, while perfectly 
lovely, are short, and the orchestral portion of the 
score is the more familiar, anyway. 

One notes that Herr Fricsay's performance, al- 
luded to above, which featured the beauteous-voiced 
Rita Streich, was given high praise, and deservedly 
so; more, however, is due the present version. Jen- 
nifer Vyvyan will be familiar to readers of THE 
NEW RECORDS and has been justly lauded; she does 
not disappoint here. Peter Maag keeps this score 
moving at just the right tempo, and his forces wring 
every drop of beauty from it. Gorgeous is the only 
word that comes to mind. 

An added advantage, to us, is that the vocal parts 
on this LP are in English. Somehow we never 
could get used to Shakespeare in German though 
we hasten to add that we're sure our German breth* 
ren are thankful that his works have been translated 
into their tongue. We prefer the English text, thank 
you, and it is that which is used here. All in all, a 
grand record. J. 

Schubert: Symphony No. 2 in B-flat. One side, and 
Schubert: Symphony No. 6 in C. Bamberg Sym- 
phony conducted by Marcel Couraud. 1-12" disc 
(*VX-PL-10240) $4.98. 

Schubert: Symphony No. 8 in B minor ("Unfin- 
ished"). One side, and Mendelssohn: Symphony 
No. 4 in A, Op. 90 ("Italian" 1 ). Philharmonia 
Orchestra conducted by Guido Cantelli. 1/12" disc 
(*ANG-35524TP) $3.98. 1-12" factory-sealed disc 
(*ANG-35524) $4.98. 

Schubert's second and sixth symphonies reveal 
much of the composer's youthful happiness and joy 
of living. In fact, so greatly are they keyed to the 
exuberance of semi-adolescence that many critics 
have denied their true worth. Vox has braved the 
forces of such conductors as Sir Thomas Beecham 
and Charles Munch in presenting these symphonies 
under the baton of Marcel Couraud with the Barn- 
berg Symphony. The result is a well paced, musi- 
cianly performance of both works. What is missing 
is the genius of Sir Thomas, who knows how to 
make a great work a masterpiece. The result is satis- 
factory, though not "definitive/* 

Although Guido Cantellfs genius was not full- 
blown when he was killed in an air crash near Paris 
in 1956, the recordings which he made serve as a 
reminder that he would most likely have developed 
into a conductor of exceptional talent. On this Angel 
recording of the Schubert Symphony T^o. 8 and the 
Mendelssohn Symphony >{o. 4 his musicianly style, 
firm hand, and sensitive nature bring from the 
Philharmonia Orchestra an uncommon beauty of 
tone and expression. The slow movement of the 
Mendelssohn Symphony and the first movement of 
the Schubert are both tenderly and dramatically 

* indicates fcP SS 1/8 ipm. 
indicates 46 rpm. 







handled without becoming maudlin. The pace is set 
with intelligence in each. Angel backs the excellent 
readings with fine sound. P. 

Beethoven: Symphony No. 5 In C minor, Op. 67. 
One and one-half sides, and Beethoven: Egmont 
Overture, Op. 84. Sinfonia of London conducted 
by Hans Swarowsky. 1-12" disc (*LIBERTY 
SWL-15003) $3.98. 

Beethoven: Die Geschopfe des Prometheus, Op. 43. 
Hague Philharmonic Orchestra conducted by 
Willem van Otterloo. M2" disc (*EPIC LC- 
3366) $3.98. 

The most superfluous thing in the world must be 
a new recording of the Beethoven fifth. With over 
twenty recordings already available, precious little 
could be added to what has already been said unless 
Beethoven himself were conducting. Hans Swarowsky 
and the Sinfonia of London add nothing, for this 
recording in no way measures up to the Tosca- 
nini or the Walter discs. Without force, focus, and 
well-set tempi, Beethoven is reduced to a second rate 
Franz Lehar. Unfortunately, this disc could use far 
more inspiration and much more spirit. The "Egmont"" 
overture completes side two. 

Die Geschopfe des Prometheus is so far removed 
from popular ballet music of the present day that it 
is almost impossible to imagine it as such. Beetho- 
ven's music for this ballet is youthful and slightly 
immature in places, although there is genuine inspira- 
tion in some of the numbers. The most notable of 
the themes is that which later developed into the 
finale of the "Eroica," as well as parts of several 
other works. The Hague Philharmonic Orchestra, 
conducted by Willem van Otterloo, brings to an 
Epic disc a fine performance of this work. Although 
the ballet itself is uneven, the interpretation given 
here is not. Herr van Otterloo and the orchestra 
seem to be in familiar territory. For an avid fan, 
this is an excellent excursion into the land of early 
Beethoven. P. 

Delibes: Coppelia Ballet (complete). L'Orchestre de 
la Suisse Romande conducted by Ernest Ansermet. 
2-12" discs in box (*L-LL-1717/8) $7.96. 

Bizet: L'Arlesienne Suites Nos. 1 8C 2. And Bizet: 
Patrie Overture. Royal Philharmonic Orchestra 
conducted by Sir Thomas Beecham. 1-12" disc 
(*ANG-35460TP) $3.98. 1-12" factory-sealed disc 
(*ANG-35460) $4.98. 

Debussy: Prelude a PApres-midi <Fun Faune. And 
Debussy: Nocturnes ("Nuages," "Fetes"). One 
side, and Ravel: Daphnis et Chloe Suite No. 2. 
And Ravel: Pavane pour une Infante definite. Phil" 
harmonia Orchestra conducted by Guido Cantelli. 
1-12" disc (*ANG-35525TP) $3.98. 1-12" fac- 
tory-sealed disc (*ANG-35525) $4.98. 
Ansermet presents the only full-length Coppelia 
n the catalog, and a handsome job it is, too. The 

'amiliar excerpts are all the more appealing when 

set off by the less well-known parts. Delibes' first 
ballet possesses a wealth of melody and sparkling 
effects. Ansermet's deft hand makes the whole work 
positively glitter. 

Sir Thomas Beecham delivers the incidental music 
for UArlesienne with a heavy but knowing hand. 
This reading, more than any other we have heard, 
points up the tragic overtones of the play for which 
Bizet supplied the music. It's not a very "Frenchy" 
interpretation, to be sure, but we would not have 
expected that from Sir Thomas. The first section of 
the Suite NO. 2, the "Pastorale," is appended to 
Side 1 in order to make room on Side 2 for the 
Patrie Overture which is a big work, grandiose in 
scope and scored for a large orchestra. 

Mourners for the late Guido Cantelli will welcome 
the appearance of the short works by Debussy and 
Ravel on the second Angel disc listed above. The 
performances, particularly the Nocturnes, serve only 
to point up the tragedy of this gifted conductor's 
early death. Cantelli generates a great deal of excite- 
ment with the Daphnis et CMoe, yet keeps a dis- 
ciplined grip all the while. N. 

Cherubini: Symphony in D. Vienna Symphony Or- 
chestra conducted by Carlo Zecchi. One side, and 
Weber: Symphony No. 2 in C. Hague Philhar- 
monic Orchestra conducted by Willem van Otter- 
loo. M2" disc (*EPIC L03402) $3.98. 
Couperin: L'Apotheose de Lully. Hewitt Chamber 
Orchestra conducted by Maurice Hewitt. One and 
one-half sides, and Cbrrette: Concerto in G for 
Three Flutes and Orchestra, Op. 3, No. 6. Lucien 
Lavaillotte, Andre Sagnier and Georges Boo 
(flutes) with the Hewitt Chamber Orchestra con- 
ducted by Maurice Hewitt. 1-12" disc (*EPIC LC- 
3383) $3.98. 

The "History of Music Department" gets a big play 
on these two Epic discs. On the first one are two 
symphonies by contemporaries of Beethoven, and 
both composers are better, far better, known for 
their operas than for instrumental works. Beethoven, 
incidentally, had an inexplicable (insofar as this 
writer is concerned) admiration for the academic 
and dry-as-dust Italo-French composer and even went 
so far to say, in 1817, that he considered Cheru- 
bini to be the "greatest living composer." The sym- 
phony recorded here is Cherubim's only effort in the 
genre and is scholarly, correct and uninspired; it is 
an historical document, no more, no less. Weber's 
youthful effort, on the other hand, is a sparkling 
little work that reminded this listener of Biaet's 
equally youthful essay. Van Otterloo directs the 
work with proper lightness and emphasises its wealth 
of melodic invention. 

The other disc contains Rameau's tribute to Jean- 
Baptiste Lully who, though an Italian, dominated 
French music for many years. Here again one is 
dealing with music of more historical than musical 
interest. This is definitely one for antiquarians; this 


Indicates LP 88 1/3 rpm. 
indicates 45 rpm. 





writer* while a baroque enthusiast, found the pet' 
formance dull whether it was due to the music or 
a somewhat stodgy performance is hard to tell and 
what does it matter insofar as this record is con' 
cerned? Dull it was and dull it remains. The same 
applies to the elaborately worked out arrangement 
of the Corrette Concerto in G major. 

One word of caution beware of Klaus George 
Roy's jacket notes; they are most persuasively written 
and almost persuaded this corner that the music was 
as good as he claims it to be, WILLIAM A. OLSEN 

Gliere: Symphony No. 3 in B minor, Op. 42 ("Ilya 
Mourometz"). Houston Symphony Orchestra con' 
ducted by Leopold Stokowski. M2" disc (*CL-P- 
8402) $4.98. 

Debussy: Images pour Orchestra ("Gigues," "Iberia/ 1 
"Rondes de Printemps"). I/Orchestre de la Suisse 
Romande conducted by Ataulfo Argenta. 1*12" 
disc (*L'LL-1735) $3.98. 

Conductors of the prima donna variety often have 
whims or predilections that seem to many of us 
somewhat unaccountable, and one of Leopold StO' 
kowskf s is a fondness for Reinhold Gliere's sprawl' 
ing and semi'historical musical essay he called his 
Symphony >fr>, 3 in B minor and sub'titled "Ilya 
Mourometz." Stokowski was the first ever to record 
the work (back in the 78 rpm days he and the 
Philadelphia Orchestra fathered a bob'taikd version 
for Victor that enjoyed a degree of popularity) ; now 
he has chosen to repeat, but more completely, his 
earlier effort. It does not come off, however, due per* 
haps to the passing of years and to an admitted 
lack of virtuosity (as compared with the Philadel' 
phia group of the Thirties) on the part of the Hous' 
ton Orchestra. The whole affair is curiously lack' 
lustre a dubious feature that extends even to Cap' 
itoFs recording. 

Ataulfo Argenta leads the excellent Suisse Ro' 
mande Orchestra (or vice versa!) through Debussy's 
Images pour Orchestre in a performance that adds 
little or nothing to what already has been said by 
Monteux and van Beinum. Insofar as the most im* 
portant section, Iberia, is concerned, Paray and In' 
ghelbrecht have it all over their Spanish confrere. 
This disc does have the best sound of all the com* 
plete Images, however, and that may commend it 
to hi'fi Debussyites. WILLIAM A. OLSEN 

Dinner Music for People Who Aren't Very Hungry 

("Spike Jones Demonstrates Your Hi-Fi") . Spike 

Jones and his Orchestra. M2" disc (*VERVE 

MGV-4005) $4.98. 

CONTENTS: Ramona; Duet for Violin and Gar- 
bage Disposal; Blac\ and Blue Danube Waltz; The 
Sow Song; Pal'Tat'Chee; Cocktails for Two; Wyatt 
Earf> Ma\es Me Burp; Memories Are Made of This?; 
The Sneezin Bee; Little Child; Brahm's Alibi; Chloe. 

Why not? Everybody else makes supersonic high 
fidelity recordings and the like; Spike Jones can do 

this and make the noises legally. Sandwiched care-* 
fully between two twelve'inch squares of cardboard 
one decorated with a beautifully clashing red'and' 
yellow multiple photograph of the handsome maestro 
is a literal bombshell of hi'fi sound. Delicately 
engraved into the Vinylite surface are assorted glugs, 
pbrts, skks, zptls, and various other sundry sounds. 
If one listens carefully, he may distinguish the beau' 
tiful strains of a pneumatic drill and a 1911 Black' 
hawk Stutz. One thing, however, is lacking: where is 

Seriously, though, this is a good album. The arm' 
chair folks will remember Rudy Vallee's Sou; Song 
with Cyril Smith, presented here by George Rock 
(complete with voice impediment). Listen to Betsy 
Gay's hillbilly interpretation of Pal'Yat'Chee, and, 
while you"* re at it, bend an ear to Tommy Pederson's 
trombone solo on The Sneezin* Bee, better known as 
Flight of the Bumblebee. A particularly magnificent 
production is Wyatt Earp Maizes "Me Bur. 

Here is a real test for your phonograph and 
your nerves. Shiny tinfoil stars will be given to any' 
one who finds that he can listen to this record in 
its entirety without cracking a smile. It's almost as 
amusing in a different way, as the Hoffnung Music 
Festival (*ANG-35500, TNR Oct. '57). L. 

The Playboy Jazz All Stars. Louis Armstrong, Chet 
Baker, Dizzy Gillespie, Shorty Rogers (trumpets); 
J. J. Johnson, Kai Winding, Jack Teagarden, 
Bob Brookmeyer (trombones); Paul Desmond, 
Bud Shank (alto saxes); Stan Get?, Charlie Ven' 
tura (tenor saxes); Gerry Mulligan (baritone sax); 
Benny Goodman (clarinet); Dave Brubeck (pi' 
ano); Barney Kessel (guitar); Shelly Manne 
(drums); Lionel Hampton (vibes); Frank Si' 
natra, Ella Fitzgerald (vocals); Stan Kenton 
(leader). 2-12" discs (*PLAYBOY PB-1957) $9. 

CONTENTS: Do You Know What It Means?; 
Band Aid; Bobbie's Tune; Bass Ball; Pilgrim's Prog- 
ress; I Concentrate on You; Blues for Mary Jane; 
Joogie Boogie; When Buddha Smiles; Date with 
Oscar; Joey, Joey, Joey; Theme and Harlem Fol\ 
Dance; A Playboy in Love; The Sophisticated Rdb' 
bit; Utter Chaos; Play, Boy!; Tangerine; Oh! Loo\ 
at Me How; Roc\in Chair; Fine's Idea; Who, Me? 

The Playboy Jazz All Stars album is a remarkable 
instance of intra'industry cooperation. Playboy maga' 
zinc originally planned to arrange a recording date 
with the winners of the Playboy Jazz Poll all par- 
ticipating together. Gerry Mulligan (winner of the 
Baritone Sax division) suggested that a better idea 
would be separate performances by the winners ac' 
companied by their regular sidemen. Thus, a new 
concept was born. Playboy approached seven major 
jazz record companies and obtained permission to 
use certain unreleased material featuring the winners 
of the poll. The effort resulted in the hourvand'a' 
half "jazz concert 1 ' of excellent music performed by 
these artists in their natural habitats. 

* indicates LP 38 1/8 rpm. 
indicates 46 rpm. 





Several of the winning artists contributed selec* 
tions which they gave names honoring Playboy. 
Dave Brubeck and Paul Desmond pooled their talent 
to write a nine-minute blues entitled Pilgrim's Prog' 
res$, in honor of Janet Pilgrim, a Playboy staff mem' 
ber who has appeared as "Playmate of the Month,' 1 
as Playboy calls the girl who graces the magazine's 
famed centerspread. Drummer Shelly Manne had his 
group perform a new composition of his own, So* 
phisticated Rabbit, which honors the tuxedo'outfitted 
rabbit, trademark of the magazine. Shorty Rogers 
wrote and recorded a selection for the album entitled 
Play t Boy! 

The music is good jazz, cleanly recorded. Included 
with the factorysealed package is a ten'page book- 
let which contains the results of the poll, an ex* 
planation of how the album was produced, a photo 
graph of each of the winners of the poll, and a 
complete LP discography of each artist. Hats off to 
Playboy magazine for a really fine jazz production! 


Stravinsky: Agon. Los Angeles Festival Symphony 
Orchestra conducted by Igor Stravinsky, One 
side, and Stravinsky; Canticttm Sacrum. Richard 
Robinson (tenor), Howard Chitjian (baritone), 
Los Angeles Festival Orchestra and Chorus con* 
ducted by Igor Stravinsky. 142" disc (*OML- 
5215) $3.98. 

Igor Stravinsky conducts the premiere recording 
of his latest work, Agon, a ballet for twelve danc- 
ers. Commissioned by the New York City Ballet, the 
work is dedicated to Lincoln Kirstein and George 
Balanchine, its choreographer. The world premiere 
was given in Los Angeles on June 17, 1957 under 
the baton of the composer at a special 75th birthday 
concert in his honor and recorded the following day. 
The ballet premiere took place on December 1, 1957 
at the New York City Center. 

Agon resumes the line of Stravinsky's ballets from 
Apollo to Jeu de Cartes, Danses concertantes, Scenes 
de Ballet and Orpheus. It contains much more fast' 
tempo music than any other recent composition. 
Also, though the orchestra is differently constituted 
for each dance and never employs quite full strength, 
it is the largest orchestra Stravinsky has used since 
the Symphony (1945). It contains some of the most 
brilliant music Stravinsky has written including, 
among other highlights, a quartet for mandolin, 
harp, violin and 'cello. 

Coupled with Agon is Stravinsky's preceding conv 
position, Canticum Sacrum (1956), written specifi' 
cally for performance in St. Mark's Church in 
Venice. It is dedicated by Stravinsky to "the City of 
Venice, in praise of its Patron Saint, the Blessed 
Mark, Apostle.'* The Cantictim has five parts; the 
texts are taken from both Testaments in the Latin of 
the Vulgate Bible. 

Following the tradition of the Venetian masters, 
Stravinsky's ensemble includes organ. It has a char- 
acteristic and integral role as an independent har- 

monk and contrapuntal voice. 

Like much new (and great) music, these works will 
take more than a single hearing to assess their true 
worth. Nevertheless, composer'Conducted works by 
a man of the musical stature of Stravinsky cannot 
be ignored, and Columbia has rendered a signal serv- 
ice in making them available to serious record col' 

Dello Joio: Air Power (Symphonic Suite). Phila^ 

delphia Orchestra conducted by Eugene Ormandy. 

M2" disc (*C-ML-5214) $3.98. 

Judging from the continued steady sale of RCA 

Victor's Victory *t Sea (*V<LM4779), there is a 

ready market for music of the calibre of Air Power, 

a symphonic suite composed by Norman Dello Joio 

as musical score for CBS Television's 26'part series 

on the development of flight. Composer Dello Joio, 

who worked on the score in a television business 

office while running film footage of the series, calls 

it his most challenging creative project to date. 


Beethoven: Concerto No. 5 in E-flat, Op. 73 ("Em- 
peror"). Emil Gilels (piano) with the Philhaf 
monia Orchestra conducted by Leopold Ludwig. 
M2" disc (*ANG'35476TP) $3.98. M2" fac' 
tory-sealed disc (*ANG-35476) $4.98. 
Liszt: Concetto No. 1 in E-flat One side, and Liszt: 
Concerto No. 2 in A, Alfred Brendel (piano) with 
the Pro Musica Orchestra, Vienna, conducted by 
Michael Gielen. M2" disc (*VX-PL-10420) 

There is no doubt that Emil Gilels is a master of 
the piano, but there is doubt in this reviewer's mind 
that he is a master of the Beethoven "Emperor" 
Concerto. The lyricism of any given measure of this 
concerto must be stressed, but not to the detriment 
of the ower and drive, so typical of this composer. 
In this manner, Gilels falls short of a pianist such as 
Rudolph Serkin, who has the knack of balancing 
brilliance, lyricism and sheer power. And it is for 
this reason that Gilels 1 most successful movement is 
the adagio, in which a tenderness of expression is 
most suitable. In addition, the conductor, Leopold 
Ludwig, does not exercise firm control over the or* 
chestra at all times in that he allows the tempo to 
lag on various occasions. The sound of orchestra 
and piano is well balanced and reproduced. 

The showmanship of Franz Liszt seems directly 
opposed to the solidity of Beethoven. Vox presents 
the young pianist, Alfred Brendel, in a recording 
containing both Liszt concertos. Brendel has the fire 
and golden curtains which are imperative in pre' 
senting works of a man who gloried in the spec' 
tacular side of his chosen instrument. Both works 
are played at breathless tempi and with an electric 
effect. The Pro Musica Orchestra of Vienna under 
Michael Gielen provides good balance as well as a 



* indicates LP 88 1/8 rpm. 
indicates 45 rpm. 





spirited background. The famous triangle part of 
the first work is in proper perspective. This, then, 
is well worth the investment, P. 

WieniawsH: Concerto No. 1 in F-sharp minor, Op. 
14. One side, and Bruch: Scottish Fantasy, Op. 46. 

Michael Rabin (violin) with the Philharmonia Or' 
chestra conducted by Sir Adrian Boult. 142" disc 
(*ANG-35484TP) $3.98. M2" factory-sealed disc 
(*ANG-35484) $4.98. 

Bach: Concerto in D minor for Two Violins and Or- 
chestra. David and Igor Oistrakh (violins) with 
orchestra conducted by Rudolf Barshai. And 
Sarasate: Navarra. David and Igor Oistrakh (vio- 
lins) and Vladimir Yampolsky (piano). One side, 
and Bach: Sonata No. 6 in G. And Hindemith: 
Sonata in E-flat, Op. 11, No. 1. David Oistrakh 
(violin) and Vladimir Yampolsky (piano). 142" 
disc (*MONITOR MC-2009) $4.98. 
Young violinist Rabin continues his tour of the 
standard repertoire in fine style. The Wieniawski 
work is a composition by a violinist for violinists; it is 
demanding in the extreme, yet it remains rewarding 
for the average listener as well. In the lovely Scottish 
Fantasy, Rabin makes Bruch's setting of folk melo- 
dies come alive with endearing loveliness. The great 
appeal in Rabin's style seems to be his ability to 
make the nearly impossible seem easy, to negotiate the 
rigors of a difficult work with perfect aplomb. The 
present disc is the only available version of the 
Wieniawski; those interested in the Bruch work 
might compare Heifetz* version. 

The Oistrakhs, pert et fils, offer a surprisingly 
well-recorded Double Concerto of Bach. The haunt- 
ingly beautiful slow movement has never been re- 
corded with two more acutely perceptive performers; 
every nuance of one is reflected in the partner. The 
filHn for Side 1 is Sarasate's Wavarra, an unusual 
contrast to Bach, but pleasant nevertheless. Over- 
side, a remarkable comparative study is offered with 
sonatas by Bach and Hindemith. Father Oistrakh 
performs both works with equal simplicity and is 
more than adequately supported by pianist Yampol- 
sky. The sound on this disc is better than previous 
Monitor LP's. N. 

Music for Trumpet and Orchestra. Roger Voisin and 
Armando Ghitalla (trumpets) with the Unicorn 
Concert Orchestra conducted by Harry Ellis Dick- 
son. 1-12" disc (*UNI-UNLP-1054) $5.98. 
CONTENTS: Concerto in E-flat for Trumpet and 
Orchestra (Haydn); Concerto in C for (2) Trum- 
pets and Orchestra (Vivaldi); Tune and Air in D, 
"Voluntary in C for (2) Trumpets, Sonata in D for 
Trumpet and Strings (Purcell); Trumpet Voluntary 
irtD (Clarke attr. Purcell). 

Another Unicorn first a twelve-inch LP devoted 
entirely to works for trumpet and orchestra. With 
the exception of Clarke's Trumpet Voluntary, none 
of the works listed have been recorded before in the 

United States. 

Haydn's Trumpet Concerto is played with great 
care; Mr. Voisin's horn playing is perhaps just a 
little too perfect stereotyped might describe it. The 
jacket notes state that this composition was originally 
played on the keyed trumpet, an instrument similar 
to the modern saxophone, inasmuch as the various 
pitches were controlled by keys which covered holes 
in the side of the tube. 

The Vivaldi Concerto for Two Trumpets is a 
splendid example of Italian Baroque music. The nee- 
essary harpsichord is present, and the soloists per" 
form the brilliant runs and fanfares with a little less 
of that mechanical perfection mentioned above. 

Tune and Air for Trumpet by Purcell is a beauti- 
ful thing and might remind one of the '""Grand March" 
from Aida. Mr. Voisin seems to have lost altogether 
his polished attitude for this performance. The or' 
chestra and organ provide a solid foundation for the 
crackling Tune, which is performed twice, separated 
by the lilting Air for Trumpet. 

Solo trumpets are not heard for the first half of 
Voluntary for Two Trumpets; this is possibly be- 
cause of the fact that the work was originally written 
for organ. The fiery Trumpet Voluntary in D is a 
splendid showcase for Voisin, who displays impeccable 
technique and excellent attack. 

PurcelFs Sonata for Trumpet brings the album 
to a delightful close, the trumpet loudly stating its 
appreciable importance in the closing chords of the 
work. I" 

Dohnanyi: Variations on a Nursery Tune, Op. 25. 
One side, and Dohnanyi: Concerto No. 2, Op. 42. 
Ernst von Dohnanyi (piano) with the Royal Phil- 
harmonic Orchestra conducted by Sir Adrian Boult. 
1-12" disc (*ANG-35538TP) $3.98. 1-12" fac- 
tory-sealed disc (*ANG-35538) $4.98. 
Mozart: Concerto No. 11 in F, K. 413. One side, and 
Mozart: Concerto No. 20 in D minor, K. 466. 
Sondra Bianca (piano) with the Philharmonia Or- 
chestra of Hamburg conducted by Hans-Jurgen 
Walther. 1-12" disc (*MGM-E-3564) $3.98. 
The Dohnanyi Variations on a "Nursery Tune 
easily assumes the proportions of a huge musical 
Joke from the outset. The orchestral introduction, 
which is grave and tragic, sets the mood for a dra- 
matic composition, only to be stopped short by what 
is possibly the most famous nursery tune in the 
world. The theme is then wonderfully underplayed, 
although the variations mount in complexity. With 
Dohnanyi at the piano, fortified by the Royal Phil- 
harmonic Orchestra under Sir Adrian Boult, the re- 
sult is lilting and delicious. The reverse side fea- 
tures Dohnanyfs Piano Concerto 7s[o. 2, again with 
the composer as soloist. This work is a different mat- 
ter, for it is filled with the warmth of German ro- 
manticism. Actually, it is far more rhapsodic than 
it is "concertic," the movements being played with' 
out pause. The composer may be expected to deliver 

* indicate LP 33 1/S rpna. 
indicates 45 rpm, 




The New Records 


an authentic performance; by any standards, he 
brings to the music an individuality and a sensitive 

The Mosart concertos from MGM are good with' 
out being outstanding. Sondra Bianca is not by any 
stretch of the imagination a Dame Myra Hess or a 
Rudolph Serkin. Her interpretations of the con' 
certos consist more of straightforward readings of 
the score than of sensitive playing. An understand' 
ing of the delicacy and fragile beauty, so typical of 
this composer, is lacking. This is not to say that her 
work is bad; it is simply not distinguished, and with 
many excellent Mosart interpreters already on discs, 
there is little need for a middle'of'the'road perform- 
ance. Miss Bianca shows promise of better things; 
many more playings of Mosart may bring forth 
something far superior to this effort. P. 

Wciniawski: Concerto No. 2 In D minor, Op. 22. 
One side, and Samt-Saetis: Introduction and 
Rondo Capriccioso, Op. 28. And Ravel: Tzigane. 

Isaac Stern (violin) with the Philadelphia Of 
chestra conducted by Eugene Ormandy. M2" 
disc (*OML-5208) $3.98. 

Foerster: Concerto in C, Op. 88. Igor Besrodny 
lin) with the Moscow Symphony Orchestra con' 
ducted by Nikolai Anosov. One side, and Chai- 
son: Poeme, Op. 25. Igor Besrodny (violin) with 
the State Symphony Orchestra of the USSR con' 
ducted by Kiril Kondrashin. 142" disc (*WEST- 
XWN'18534) $3.98. 

Saint-Saens: Concerto No. 3 in B minor, Op. 61. 
One side, and Samt-Saens: Introduction and 
Rondo Capriccioso, Op. 28. And Saint-Saens: 
Havanaise, Op. 83. Arthur Grumiaux (violin) 
with TOrchestre des Concerts Laxnoureux con' 
ducted by Jean Fournet. M2" disc (*EPIC LO 
3399) $3.98. 

Isaac Stern has long been a leading interpreter of 
the Wieniawski concerto, and this new recording 
with the Philadelphians proves his right to this claim. 
The orchestral balance and performance in general 
are done with finesse and are exquisitely recorded. 
The Saint'Saens and Ravel works are also familiar 
violin works which benefit by the team of Stern and 
Ormandy. The famous sound of the orchestra and 
deft fingering of the soloist bring an air of freshness 
to these pieces. 

Although the Foerster concerto is new to this re* 
viewer, it became a welcome musical experience at 
first hearing. The Concerto dates from the early part 
of this century and has a beautiful romantic quality 
to it. The reading which the young Russian violinist, 
Igor Besrodny, brings is restrained and sympathetic 
as is his performance of the well-known Chausson 
work. Although the sound is ,not outstanding, it is 
far from substandard. 

Arthur Grumiaux's Saint'Saens recital with the 
Lamoureux orchestra is indeed satisfying. He almost 
equals Stern's interpretation of the Introduction and 

Rondo Cttjw'cdoso and does the other two works 

deftly. Jean Fournet and the orchestra lend good 

support and are well recorded. * 

Hindemith: Concerto for Organ and Chamber Or- 

chestra, Op. 46, No. 2. E. Power Biggs (organ) 

with the Columbia Chamber Orchestra conducted 

by Richard Burgin. One side, and Rheinberger: 

Sonata No. 7 in F minor, Op. 127. E. Power Biggs 

(organ). M2" disc (*C'ML-5199) $3.98. 

NOTE: For review of this disc see under ORGAN. 

Corrette: Concerto m G for Three Flutes and Or- 
chestra, Op. 3, No. 6. Lucien Lavaillotte, Andre 
Sagnier and Georges Boo (flutes) with the Hewitt 
Chamber Orchestra conducted by Maurice Hewitt. 
One-half side, and Couperin: L'Apotheose de Lully. 
Hewitt Chamber Orchestra conducted by Maurice 
Hewitt. 1-12" disc (*EPICLC-3383) $3.98. 
NOTE: For review of this disc see under OR' 



Mozart: (6) Quintets for String Quartet and Viola. 

Budapest String Quartet with Walter Trampler 
(viola). 3-12" discs in box (*C-M3L-239) $11.98, 
Mozart has long been considered the most 
"heavenly" of composers. Frank Swinnerton wrote, 
without irreverence, that Mozart "had a telephone 
to Heaven" while Aldous Huxley thinks of the Be' 
atitudes and writes that not only shall the pure in 
heart see God, but that "they shall make God visible 
to others, too." Alfred Einstein compares the G 
minor Quintet to the scene in the garden of Geth' 
semane where "the chalice with its bitter potion 
must be emptied, and the Disciples sleep." Nowhere, 
it is safe to say, is the "angelic" or other worldly 
attribute of Mozart more noticeable than in the 
unique String ^.uintets, further identified as being 
for String Quartet and Viola. 

This set of six offered by Columbia in (*OM3I/ 
239) includes the Quintets in B flat major, K. 174; C 
minor, K. 406; C major, K. 515; G minor, K. 516; 
D major, K. 593; and E fat major, K. 614. Of the 
group, those in C major and G minor are prob' 
ably the most familiar. 

As has been implied above, the music beggars 
description. In these works (as elsewhere) Mozjart 
pours out his very soul and makes it possible fot 
the sensitive listener to lose himself and, at least 
while the music lasts, to have some comprehension 
of God's way with man no worries about ICBM's 
or the like just a vision of the shape of things that 
may come a well'ordered universe, where man's 
inhumanity to his fellows is no longer practiced, and 
the countless thousands do .not mourn. 

The performances by the Budapest Quartet and 
Mr. Trampler are the finest on records and, this 
writer feels, will not be challenged for many years. 
Columbia's recording is superb and remarkable for 
its "presence." 



* indicates LP S3 1/3 rpm. 
indicates 45 rpm. 





The set cannot be recommended highly enough, 
and every music lover is urged to add the set or at 
least the G minor and C major quintets (*C'ML' 
5192) to his library, for the discs are available sep' 
arately. If it should turn out to be the first piece of 
chamber music you buy, so much the better. 


Mozart: Simphonia Conccrtante in B-flat, K. 364. 
One side, and Benjamin: Romantic Fantasy. Ja* 

scha Heifets (violin), William Primrose (viola) 
with orchestra conducted by Uler Solomon. 142" 
disc (*V-LM-2149) $3.98. 

Haydn: Quartet in C, Op. 74, No. 1. One side, 
and Haydn: Quartet in G, Op. 77, No. 1. JulK- 
ard String Quartet, M2" disc (*V-LM-2168) 

Mozart: Quartet No. 14 in G, K. 387. One side, 
and Mozart: Quartet No. 19 in Q K. 465 ("Dig' 
sonant"). Juillard String Quartet. M2" disc (*V' 
LM-2167) $3.98. 

Schubert: Quintet in A, Op. 114 ("Trout"). Fes' 
tival Quartet: Syzmon Goldberg (violin); Wil' 
Ham Primrose (viola); Nikolia Graudan (violon' 
cello); Victor Babin (piano); with Stuart Sankey 
(double bass). M2" disc (*V-LM-2147) $3.98. 
Mendelssohn: Quartet No. 6 in F minor, Op. 80. 
One side, and Mendelssohn: Quartet No. 4 in E 
minor, Op. 44, No. 2. Manoliu Quartet. 1-12" 
disc (*EPIOLO3386) $3.98. 

Beethoven: Quartet No. 4 in C minor, Op. 18, No. 

4. One side, and Mozart: Quartet No. 23 in F, 

K. 590. Erica Morini, Felix Galimir (violins); 

Walter Trampler (viola); Laszlo Varga (violon' 

cello). 142" disc (*WEST-XWN-18595) $3.98. 

This seems to be chamber music month for RCA 

Victor, and if stellar performances of staple works 

(save for the new Benjamin Fantasy, which is per' 

fectly charming) by virtuoso artists, flawlessly repro' 

duced, can sell chamber music, this quartet of RCA 

Victor LP's should do the trick. 

Epic turns up a brace of unfamiliar Mendelssohn 
Quartets, played by the unknown (to us) Manoliu 
Quartet; the reproduction is on the dark side, but 
the playing and the music are fine . . Westminster, 
too, has turned its attention to relatively familiar 
fare, featuring Erica Morini with three other excel' 
lent artists. A nice coupling, well done. 

Schonberg: Quintet for Wind Instruments, Op. 26. 

Philadelphia Woodwind Quintet: Wm. Kincaid 
(flute); John de Lancie (oboe); Anthony Gigliotti 
(clarinet); Sol Schoenbach (bassoon); and Mason 
Jones (French horn.) 1-12" disc (*C-ML-5217) 

Schonberg: Piano Music (complete). Edward Steu* 
ermann (piano). M2" disc (*OML-5216) $3.98. 
CONTENTS: (3) Klavierstucfy, Op. 11; (5) 

Klavier$tuc\e, Op. 23; (6) \leine Klavier$tuc\e, 


Op. 19; Suite fur JOmner, Op. 25; (2) 
stuc\e, Op. 33a & 33k 

Two very important Schonberg releases are made 
available this month by Columbia, in its effort to 
produce recordings of the works of great contenv 
porary composers: the Quintet for Wind Inserts 
ments, Op. 26, played by the Philadelphia Wood' 
wind Quintet, and the complete Piano Music, played 
by Edward Steuerman. 

The works are modern "with a vengeance,** and 
are definitely not for the uninitiated. Richard S. Hill, 
in his scholarly jacket notes for the Quintet LP, gives 
this reason for Schonberg's having written as he did: 
"Music may seem to flourish from a completely free 
use of fancy, but past centuries have demonstrated 
very conclusively that the difference between man' 
made music and that of the birds is that man pre' 
fers to work within the prescribed limitations of an 
organised system of tones. 1 ' 

There will be those who will rebut: "Then we 
may safely assume that Schonberg wrote the 
and most of his piano music for the birds." 


Palestrina: Missa Brevis. One side, and Palestrina: 
Missa ad Fugam. And Choral Recital. Netherlands 
Chamber Choir directed by Felix de Nobel, with 
George Stam (organ). M2" disc (*EPIC LO 
3359) $3.98. 

unschuldig, Herzliebster ]e$u, O haupt voll Blut und 
Wunden (Bach); Vere languor es nostros, Crucifixus 
(Lotti); Adoramus te Christe (Lassus); Ecce quo- 
modo (Handel). 

The Netherlands Chamber Choir, under Felix de 
Nobel, presents a choral concert on this Epic record' 
ing of works by composers of the sixteenth and 
seventeenth centuries. The major part of the disc, 
devoted to two masses of Palestrina, is an excellent 
representation of this composer's tremendous output 
of religious music. The sounds evoked from a Pales' 
trina score may disappoint the listener who expects 
a strong sense of drama, for the music here was in- 
spired by plainchant and demands sensitivity and. 
skillfully woven texture rather than vocal pyro^ 
technics. Such is the approach of the Netherlands 
Chamber Choir, and the result is indeed successful. 
Both masses come off as though they were being 
presented by a choir composed of seraphim. Devo" 
tion and pious religious fervor are the resultant 
moods derived from the smooth work done here. 

The remainder of the recording is devoted to 
Three Chorales of J. S. Bach and works by Lotti, 
Lassus, and Handel. The approach is again straight' 
forward in that the choir attempts to thread the 
melodies together with a serenity of expression. Al' 
though the appeal of this disc may not be wide, the 
total effect is one of a technique which might well 
be imitated and studied by those interested in choral 
music, P. 

* indicates LP 83 1/8 rpnu 
indicates 45 rpm. 







Stravinsky; Canticum Sacrum. Richard Robinson 
(tenor), Howard Chitjian (baritone), Los An* 
geles Festival Orchestra and Chorus conducted by 
Igor Stravinsky. One side, and Stravinsky; Agon. 
Los Angeles Festival Orchestra conducted by Igor 
Stravinsky. M2" disc (*OML-5215) $3.98. 
NOTE: For review of this disc see under OR' 




Famous Records of the Past (Vol. IX). Voices of the 
Golden Age. M2" disc (*FRP-9) $3.98. 
CONTENTS: K6nigs\inder Ei ist das schwer 
ein Bettler sein (Humperdinck) (Jadlowker); Las 
Hijas de Zebedeo Carceleras (Chapi) (Hidalgo); 
Les Rameaux (Faure) (Gilibert); Carmen Haba* 
nera (Ober); Requiem Confutatis (Verdi) (An- 
mpndi); Lohengrin Reve d'Elsa (Litvinne); Bo* 
heme In poverta mia lieta (Bassi); Loreley Dove 
son (Catalani) (Musio); Creation In native worth 
(Haydn) (Althouse); Le Prophet* Ah, mon fils 
(Meyerbeer) (d % Alvarez); Faust Dio possente (de 
Luca); Tc Who Have Teamed Alone (Tchaikov 
sky) (Raisa); La Sonnambula Vi ravviso (Bellini) 

Famous Records of the Past (Vol. X) . Voices of the 
Golden Age. M2" disc (*FRP-10) $3.98. 
CONTENTS: Rigoletto Cortigiani, vil rawa 
dannatta (Demuth); Tosca Recondita armonia 
(Fertile); Forza del Destine Pace, pace mio Dio 
(Rurxio); Le Caid L'axnour, ce dieu profane (Bel' 
homme); Carmen Air des cartes (Gay); Die Zau* 
berftote Dies bildnis (Tauber); Euryanthe Unter 
bluhenden Mandelbaumen (Slcbjak); Die schone 
Mullerin Wohin? (Hempel); Don Giovanni Ser' 
enata, Falstaff Quand 'ero paggio (Sanxmarco); 
Barber of Bagdad Liebeslied und Cadenz des Ab' 
dul (Knupfer); Boheme Mi chiamano Mimi 
(Melis); Manon Lescaut In quelle trine morbide 
(R. Ponselle). 

Famous Records of the Past (Vol. XI). Voices of the 
Golden Age. M2" disc (*FRP'll) $3.98. 
CONTENTS: PaglfacaVesti la giubba (Al- 
varez); Don Carlo O don fatale (Fremstad); Faust 
Dio deir or (de Segurola); Clemenza di Tito 
Non piu di fiori (Kirkby-Lunn); Semiramide B'ell 
raggio (Boninsegna); Faust Morte di Valentino 
(Ancona); Le Prophete Hymne (Schmedes); II 
Cuarany Sensa tetto (Gomes;) (Amato); Der JPrei* 
schutz Leise, leise fromme Weise (Arnoldson); 
Les Huguenots Lieti, Signor (Freeman); La Favor* 
ita Spirto gentil (Lauri'Volpi); Domtno T^oir 
Deo gratias (Auber) (Belhomme); Herodiade II est 
doux, il est bon (Adini). 

It must be stated at the outset that, despite the 
few adverse remarks the reader will encounter be' 

low, these three Famous Records of the Past albums 
are always a pleasure and, in some instances, proved 
to be eye (or ear) openers. Since there are so many 
different artists and selections, this review will of 
necessity be on the sketchy side but, it is hoped, in- 

Volume IX consists of some 13 selections ranging 
from good to wonderful back through so-so to plain 
poor. Among the wonderful items are Journet's Vi 
ravviso and Felicia Litvinne's Lohengrin aria. D'Al- 
varez, Jadlowker and Musio all turn in good per- 
formances. Althouse, Raisa, Gilibert and Hidalgo are 
on the poor side the gold is tarnished. 

Volume X has a somewhat higher batting average. 
Demuth (a real old timer), Tauber, Ponselle (the 
inimitable), Slezak, Burzio (this was a "sleeper"), 
Belhomme (who will be a stranger to most, but the 
possessor of an excellent bass), and Maria Gay are 
all very fine. Pertile, Hempel and Knupfer turn in 
so-so performances, leaving only Sammarco (his 
ideas on Mozjart do him little credit the Verdi is 
better more his cup of tea) and Melis on the debit 
side, the latter being almost fantastically poor. 

The remaining volume contains a few real prizes. 
First there is Mme. Kirkby-Lunn* s amazingly beau- 
tiful Clemenza di Tito excerpt it is gorgeous. Bon- 
insegna's Semiramide is also lovely. Alvarez is his- 
torically interesting (he was Jean de Reszke's under- 
study on occasion) as is the Sigrid Arnoldson record. 
Olive Fremstad does a first-rate O don fatale. The 
others are so-so with the exception of de Segurola, 
Ancona and Adini who are actively bad. 

The sound, as those interested are sure to 
realise, is primitive some of the excerpts even in- 
clude an unintelligible spoken announcement. These 
are for collectors and students, primarily. 


Puccini: La Tosca (complete), (Sung in Italian). 

Soloists, Rome Opera House Orchestra and 

Chorus conducted by Erich Leinsdorf. 2-12" discs 

in album (*V-LM-6Q52) $7.98, 

Floria Tosca Zinka Milanov (s) 

Cavaradossi Jussi Bjoerling (t) 

Baron Scarpia Leonard Warren (bt) 

Sacristan Fernando Corena (bs) 

Spoletta Mario Carlin (t) 

Someone has said of Zinka Milanov that she is 
like the little girl with the curl in the middle of her 
forehead * fc when she is good she is very good -in- 
deed, but when she is bad she is horrid." Unfor- 
tunately, Madame Milanov's performance in this 
"Tosca" from RCA Victor is not good. Her voice 
suffers from lack of focus, which destroys the dra* 
matic effect and becomes awkward. A hearing of the 
sumptuous Tebaldi or the electrifying Callas inter- 
pretation only accentuates the vocal shortcomings 
of Madame Milanov. 

The men, on the other hand, perform beautifully. 
Leonard Warren delineates the madness of Scarpia 



* indicates LP 83 1/8 rpm. 
indicates 45 rpm. 





with subtlety and vocal skill, although his Scarpia 
does not rival that of Tito Gobbi on Angel. And 
Jussi Bjoerling brings more than a spark of life to 
the role of Cavaradossi. 

Sonically, this set is clearly keyed to such adjec- 
tives as crystalline. The chorus and orchestra, as well 
as the principal singers, are faithfully and astonish- 
ingly recorded. In addition, the notes and libretto 
are nicely worked out. 

With all the emphasis on Callas, Milanov, and 
Tebaldi these days, a comparison must be drawn 
since all three have recorded this opera. If you want 
a "Tosca" which lives and breathes and is all but 
earth/shaking pledge allegiance to Callas, Gobbi, di 
Stefano, and De Sabata on the wonderful Angel 
recording (TNR May '54). P. 

R. Strauss: Der Rosetifcavalier (complete). (Sung in 
German). Soloists, Philharmonia Orchestra and 
Chorus conducted by Herbert von Karajan. 442" 
discs (*ANG-35492/5TP) $15.92. 4-12" discs in 
factory-sealed album (*ANG-3563D/L) $20.98, 
Princess von Werdenberg . Elisabeth Schwarzkopf (s) 

Baron Ochs Otto Edelmann (bs-bt) 

Octavian Christa Ludwig (ms) 

Von Faninal Eberhard Wachter (bt) 

Sophie Teresa Stich-Randall (s) 

Marianne Ljuba Welitsch (s) 

Since there had not been a new recording of 
Strauss' Der Rosen\a,vcdier in Just about three years, 
it would seem time that a new one put in an ap' 
pearance, and Angel obliges with one of its copy 
righted gilt-edge masterpieces that, if it does not 
altogether replace the now three-year-old London set 
(TNR Dec. '54), certainly gives it a nudge a sort 
of artistic "move it, Bud," and takes its own place 
in the preferred class. Of course, nothing can replace 
the old Victor abridged version with Lehmann, Schu- 
mann and Mayr, still available, fortunately, on 
*V-LVT-2002 (this is an unpaid commercial). 

Angelas cast, headed by Elisabeth Schwarzkopf 
(a youthful but aristocratic Feldmarschelin) and 
Otto Edelmann (a classic and not overly vulgar 
Ochs), is a superb one In addition to the afore- 
mentioned principals, there are the glonous'voiced 
Teresa Stich-Randall as a delightful and convincing 
Sophie; and, surprisingly, Ljuba Welitsch (remem- 
her her?) sounding good in the relatively minor role 
of Marianne. Christa Ludwig is a vocally shining 
Octavian it is a fine performance. There are many 
others who turn in sterling performances: Dermota, 
Wachter and Anny Felbermeyer (why, oh why, is she 
limited to such minor roles??). 

Herbert von Karajan proves again that he is a 
first-rate operatic conductor. He has given exciting 
performances of three very different operas on rec- 
ords: II Trovatore, Cosi fan Tutte and now Der 
Rosen\avalier. How's that for versatility? The Phil- 
harmonia Orchestra sounds better than ever, and 
the whole affair must be accounted a rousing suc- 

cess. The packaging is de luxe, to say the least; and 
the libretto, with its up-to-date translation, is the 
final touch. Angel's sound is magnificent. 


VOCAL dfe 

Hassler: (10) Teutsche Gcsang. One side, and 
Lechncr: (7) Teutsche Lieder. Berliner Motetten- 
chor conducted by Giinther Arndt. 1*12" disc (*D- 
ARC-3075) $5.98. 

Marenzio: (6) Madrigals. One side, and Gesualdo: 
(6) Madrigals. Singgemeinschaft Rudolf Lamy 
conducted by Rudolf Lamy. 142" disc (*D-ARC- 
3073) $5.98. 

Milan: Musica de vihuela de mano. Bernhard Mich- 
aelis (tenor) accompanied by Walter Gerwig 
(lute). One side, and Ortiz: Musica de Violones. 
Margot Guilleaume (soprano) accompanied by 
August Wenzinger (viola da gamba) and Eduard 
Muller (harpsichord). 1-12" disc (*D-ARO3078) 

The Netherlander from Josqutn des Pres. Pro Musica 
Antiqua directed by Safford Cape. 1-12" disc (*D- 

CONTENTS: (9) Chansons from the t4 Noten- 
biicher der Margarete von Osterreichf (16) Dan- 
serye from the "Derte Musyck Boexken^ 1 of Trelman 

While listening to these four discs devoted to 
music of the High Renaissance, your correspondent 
was struck by a singular, if extra-musical, fact. It is 
strange, in this barren and mechanised desert we 
inhabit (for the most part), that man should have 
preserved the antidote for so many of his ills; that 
despite the unspeakable vulgarity that has come upon 
the human mind (created in a large part by the 
chain press, the radio, television and other com- 
mercial agencies which habitually and deliberately 
engage in debasing the mass mind for profit) there 
is available such music in matchless performances - 
living evidence of a time when men thought and 
lived with style. Will the twentieth century leave 
any such memorials? 

Here are samplings, generous ones, of a glorious 
era music from the Netherlands, Italy, Germany 
and Spain Marenziio, Gesualdo and Hans Leo Hass- 
ler, along with less well-known names and some 
anonymous composers. Yet all are bound together 
with a common touch: that of musical genius. These 
performances were prepared with true inspiration 
and are presented with spirit and authority. 

It is good to know that such men once lived and 
equally good to realise that there are people of today 
who are interested enough to perform, record and 
offer such recordings for sale. It only remains, then, 
to support the enterprise (which can hardly be very 
profitable in the modern that is, a monetary sense) . 

* indicates LP 33 1/3 rpm. 
indicates 45 rpm. 


PAGE 12 





But by buying and listening to such music, much can 
be done to counteract the effect of television's and 
radio's loud hilarities and pompous banalities it 
helps combat the spiritual pauperism which seems 
to have inherited the earth. 

These discs, as do virtually all the others in the 
Archive Series, constitute a liberal education, not 
only in music but in the humanities. 


When Dalliance Was in Flower (Vol. II). Ed Me' 
Curdy (vocals) with banjo, recorder and harpsi' 
chord accompaniments. 1-12" disc (*ELEKTRA 
EKL-140) $4.98. 

CONTENTS: Uptoils All; Tottinghatn Frolic; A 
Toting 1 Man; A Tradesman; A Tenement to Let; The 
Playhouse Saint; Merchant and the Fidlers Wife; A 
Virgin's Meditation; Would You Have a Toung 
Virgin; The Jolly Miller; Of Chloe and Celia; A 
Lady so Frolic and Gay; My Thing Is My Own; 
The Jolly Pedlars Pretty Thing; Phillis; To Bed to 

Last March we reviewed Volume I of When Dal* 
liance Was in Flower (*ELEKTRA EKL-110) and 
noted that we rather felt that the disc was more 
for the Playboy and /or Esquire set than for lovers 
of folk music. Whatever was the case, the disc evi* 
dently sold well enough to warrant the issuance of 
the present Volume II of no doubt authentic folk 
songs taken from a 1719 London edition of songs 
celebrating the delights of pleasure collected by one 
Thomas D'Urfey. Ed McCurdy is properly (?) 
lusty and leering. 

Schumann Song Recital. Dietrich Fischer-Dieskau 
(baritone) accompanied by Gunther Weissenborn 
(piano). 142" disc (*D-DL-9935) $3.98. 
CONTENTS: Freisinn, Op. 25, X[o. 2; Schnee- 

gloc\chen, Op. 79, ?s[o. 26; Stdndchen, Op. 36, Ho. 

2; (2) Venetian Songs, Op. 25, K(os. 17 & 18; Des 

sennen Abschied, Op. 79, >{o. 22; Talismane, Op. 

25, >{o. 8; (12) Songs, Op. 35. 

Shakespeare Songs and Lute Solos. Alfred Deller 

(counter tenor) and Desmond Dupre (lute). 1*12" 

disc (*ANG-45016) $3.98. 

CONTENTS: As Tou Li\e It It was a lover and 
his lass; Othello Sing willow; 12th "Night O mis- 
tress mine, Peg-a-Ramsay; Measure for Measure 
Take o take those lips away; The Tempest Where 
the bee sucks, Full fathom five; Henry V Callino 
castore me!; Merry Wives of Windsor Greensleeves 
(songs). Almaine; Tarleton's Resurrection; Fantasia; 
Variations on Walsingham; Toy (lute solos). 

Dietrich Fischer-Dieskau again scores with the 
newly recorded Schumann songs from Decca. Herr 
Fischer-Dieskau''s reputation continues to build, as 
da his performances on discs, for he is an uncom- 
monly understanding singer. Most of the nineteen 
songs here date from the period immediately preced- 

ing Schumann's marriage, and his happiness fills the 
music with joy. Schumann's wonderful expressiveness 
and unity of words with music are not lost on 
Fischer-Dieskau, who brings to each work a spon' 
taneous ability to delve into the meaning of music 
and lyrics alike. His tones are colored and easily 
produced, and his sense of drama is noteworthy. 
With Gunther Weissenborn providing fine accom- 
paniments, this is indeed a recording to be desired. 
A record of marked interest to Shakespeare dev- 
otees is Angel's disc of Shakespeare songs and lute 
solos, featuring the excellent counter tenor, Alfred 
Deller. The collection here attempts a degree of au- 
thenticity, using the songs of various Elizabethan 
composers. The result is a well-constructed and in' 
terestingly presented recital by voice and instrument. 
The counter-tenor voice never ceases to amase this 
reviewer because of its unusual quality and range. 
Desmond Dupre adds to the charm of the entire 
production by his lute accompaniments and exquisite 
solos. Unusual as it is, this disc has genuine appeal. 


Sullivan: The Gondoliers. Soloists, Glyndenbourne 
Festival Chorus and Pro Arte Orchestra conducted 
by Sir Malcolm Sargent. 2-12" discs (*ANG- 
35556/7TP) $7.96. 2-12" discs in factory-sealed 
album (*ANG-3570B/L) $10.98. 

Duke of Plasja-Toro Geraint Evans (bt) 

Don Alhambra Owen Brannigan (bs) 

Marco Richard Lewis (t) 

Giuseppe John Cameron (bt) 

Duchess of Plasa-Toro Monica Sinclair (c) 

Gianetta Elsie Morison (s) 

Tessa Marjorie Thomas (c) 

Casilda Edna Graham (s) 

This is the first time we can ever recall having 
heard a Gilbert and Sullivan operetta performed by 
a grand opera cast, and the results, surprisingly 
enough to us, were absolutely marvelous! We do not 
know whether this group could properly present 
The Gondoliers on the stage, and get all the stage 
"business" 1 "* in the true manner of the D'Oyly Cartes; 
but they can sing, and sing they do, capturing all 
the humor and wit, as well as the clever poetry, of 
Gilbert's lyrics. Sir Malcolm Sargent obviously knows 
the work; and, what's more, he surely enjoys it as 
much as his audience. 

A fine libretto and excellent notes accompany the 
factory-sealed edition. 

The Basso Profundo, the Silver-Throated Tenor and 
the Barbershop Quartet. John Neher (bass), Gor- 
don Goodman (tenor) and the Summit Four, with 
orchestra conducted by James Peterson. 1-12" disc 
(*EPIC LN-3396) $3.98. 
CONTENTS: I Want a Girl; Honey That I Love 

So Well! Asleep in the Deep; Mah Lindy Lou; 

She May Have Seen Better Days; She Is More to Be 

Pitied than Censured; She Was Happy 'til She Met 

PAGE 13 


* indicates LP 33 1/8 rpm. 
indicates 45 rpm. 





You; Deep River; Has Sorrow Thy Young Days 
Shaded; When Big Pro/undo Sang Low "C; ' I 
Wwh't I Was A Rd Rose? Bush; Ke* in the Mid- 
dle of the Road; Forgotten; Sometimes I Feel ii\e a 
Motherless Child; That Old Gang of Mine; In the 
Evening by the Moonlight; Moonlight Bay; You 
Tell Me Your Dream; The Gang That Sang "Heart 
of My Heart.'* 

If everyone felt as we do, this record would be a 
smash! But, alas, we wonder whether our grand- 
children and their contemporaries will think this 
stuff is as great as we did when the basso profundo, 
the silver-throated tenor and the male quartet were 
se stock in trade of every minstrel show. Children, 
if you want to light the sparkle in grampus eyes some 
evening, slip this disc on your turntable. 


Franck: Piece Heroique. One-half side, and Franck: 
(3) Chorales. Edouard Commette, playing the or- 
gan at the Cathedral of St. Jean de Lyon, France. 
M2" disc (*ANG-S5369TP) $3.98. M2" fac- 
tory-sealed disc (*ANG-35369) $4.98. 

Franck: (3) Chorales. Albert Schweitzer (organ). 
M2" disc (*OML-5128) $3.98. 
CONTENTS: Chorales NOS. I in E; 2 in B 
minor; 3 in A minor. 

Hindemith: Concerto for Organ and Chamber Or- 
chestra, Op. 46, No. 2. E. Power Biggs (organ) 
with the Columbia Chamber Orchestra conducted 
by Richard Burgin. One side, and Rheinberger: 
Sonata No. 7 in F minor, Op. 12. E. Power Biggs 
(organ). M2" disc (*OML-5199) $3.98. 
Monsieur Edouard Commette, the Dean of French 
organists, gives a calm and mature reading of these 
standard works by Cesar Franck, although we were 
sorry to note that the organ voicing and recording 
conditions for his previous Bach disc for Angel 
(TNR Feb. *57) seemed more salutary than on the 
present disc. The pieces themselves are models of 
taste and discipline, and it is unlikely that they will 
receive better readings than they are accorded here. 
One of the great men of our time, Albert Schweit' 
aer, also tries his hand at the three Franck Chorales. 
To criticize Schweitzer, the organist, is in no wise 
to be considered criticism of Schweitzer, the mis' 
sionary, the humanitarian the scholar, the man. 
Schweitzer's playing is calm, deliberate, and almost 
devoid of color; yet, somehow, it is most pleasing. 
His many fans do not expect a Biggs, a Marchal, or 
a Commette; and they are not disappointed. Schweit' 
Zer believes in letting the music speak, and he sub' 
limates whatever feeling he has to that end; this 
makes for less excitement, less "interpretation,' 1 '' and, 
for many, less enjoyment. The organ is not named; 
it sounds like a rather smallish church organ. The 

Schweitzer disc will please many persons; not as 
many, we feel, as the Commette. 

The Hindemith Concerto for Organ and Chamber 
Orchestra, recorded in Boston's Symphony Hall, is 
a strange work; the scoring is for woodwinds, 
brasses, organ, cellos and double basses. This is one 
of those compositions which is easily conceivable 
as being better on records than in most live per' 
formances; the balancing of ensemble and organ is 
of utmost importance, and the intricate counterpoint 
of soloist and orchestral forces needs careful place* 
ment to come through to best advantage. 

The name of Josef Rheinberger is new to the LP 
catalog. He was born in the tiny Alpine principality 
of Liechtenstein in 1839 and died in 1901. The 
present organ sonata, recorded in the Deutsches 
Museum in Munich, the home, of the composer for 
much of his life, is a surprisingly ne work, played 
by Mr. Biggs in a style that accents its classic pro* 
portions. N. 


Chopin Nocturnes. Peter Katin (piano). 1'12" disc 

(*L-LL-1499) $3.98. 

CONTENTS: Nocturnes NOS. 11 through 20. 
Horowitz Plays Chopin. Vladimir Horowitz; (piano). 

142" disc (*V'LM-2137) $3.98. 

CONTENTS: Scherzo in B<$at minor, Op. 31, 
No. 2; Nocturne in B, Op. 9, NO. 3; Nocturne in 
F, Op. 15, NO. 1; Nocturne in & sharp minor, Op. 
27, No. 1; Nocturne in E'flat, Op. 9, NO. 2; Bar- 
carolle, Op. 60; Scherzo in Qsharp minor, Op. 39, 

Chopin: (12) Etudes, Op. 25. One and one-half 
sides, and Chopin: (3) Nouvellcs Etudes. Claudio 
Arrau (piano). 1-12" disc (*ANG-35414TP) 
$3.98. 1-12" factory-sealed disc (*ANG-35414) 

As we prophesised in TNR Aug. "56, London has 
made Volume 2 of Chopin's Nocturnes by Peter 
Katin available. We felt Volume 1 unsatisfactory 
because the reproduction was so close'to that one 
could hear the hammers on the strings; Volume 2 
is just the opposite, with dark, distant reproduction. 
We feel that the latter is just as unsatisfactory as 
the former . . . RCA Victor has accorded Vladimir 
Horowitz; perfect reproduction as he runs through 
seven of Chopin's most enjoyable (and probably 
most difficult to play) piano works . . . Claudio Ar- 
rau^s performance of the Etudes, Op. 25, with Trois 
Nouvelles Etudes thrown in for good measure, will 
find favor with many collectors; it surely does with us. 

The Popular Piano Music of Ravel and Debussy. 

Robert Casadesus (piano). M2" disc (*OML- 
5213) $3.98. 

CONTENTS: Pdvane >our une Infante defunte; 
]eux d'eau; In the Style of Chabrier; Ondine; Ha" 

* indicates LP 38 1/8 rxn. 
indicates 45 rpra. 


PAGE 14 



banera (with Gaby Gasadesus); Alborada del graci* 
oso (Ravel). Girl with the Flaxen Hair; LA Cathe* 
dral engloutie; Minstrels; The Little Shepherd; Gol* 
liwog's Ca\ewal\; Reflets dans Yeau; Arabesque 3s[o. 
I; Firewor^ (Debussy). 

Just the disc for someone who likes "some of De' 
bussy and Ravel," but who wouldn't care for the 
complete works. Robert Casadesus has great feeling 
for both composers and presents many of their most 
popular works in a most enjoyable manner. 

Liszt: Spanish Rhapsody., And Liszt: Feux Follets. 
One-half side, and Liszt: (6) Etudes after Pagamni. 
Ruth Slenczynska (piano). 142" disc (*D-DL' 
9949) $3.98. 

Liszt RecitaL Gyorgy Cziffra (piano). 142" disc 
(*ANG-35528TP) $3.98. 14 2" factory-sealed disc 
(*ANG-35528) $4.98. 

CONTENTS: Mephisto Waltz >(o. 1; Jeux d'eaux 
d la Villa d'Este; Valse oubliee ]N[o. I; Polonaise 
from "Eugen One gin;" Rhapsodic Espagnole; Valse 
impromptu; Gnomenreigen; Grand galop chroma* 

Liszt-Chopin RecitaL Louis Kentner (piano). 142" 

disc (*CL'P-8400) $4.98. 

CONTENTS: Sonetto del Petrarca HO. 47; So' 
netto del Petrarca 3s[o. 104; Sonetto del Petrarca N[o. 
123 (Liszt). Impromptu HO, 1 in A* flat, Op. 29; 
Pantasie Impromptu in G- sharp minor, Op. 66; H.&C' 
tume HO. 8 in D-flat, Op. 27, HO. 2 (Chopin). 
Valse de V 'opera Faust (Gounod art. Lisst). 

Chopin: (4) Impromptus, (4) Ballades (complete). 

Agi Jambor (piano). 142" disc (*CL-P-8403) 


CONTENTS: Impromptus in A'flat, Op. 29; F' 
sharp, Op. 36; G'flat, Op. 51; Osharp minor, Op. 
66 ("Fantasie'Impromptu"). Ballades in A'flat, Op, 
47; G minor, Op. 23; F, Op. 38; F minor, Op. 52. 

Seems as though the manufacturers never tire of 
issuing Lisst and Chopin piano music probably be" 
cause the public doesn't seem to tire of buying it. 
Readers of TNR were introduced to Ruth Slen- 
csynska last March; we can report that her liszt is 
as fine as her Chopin. . . Our first acquaintance 
with Gyorgy Cziffra was last August, when we rather 
fancied his performances of Hungarian Fantasy and 
the famous "Triangle" Concerto; Cziffra^s prodigious 
technique fails him not here. . . . Howard Taubman 
wrote in The H^w Torif^ Times, concerning Louis 
Kentner's American debut (Nov. <I 56) "His perform.' 
ances were so imaginative and exhilarating that one 
could not understand why his introduction to this 
country had been delayed so long." This repre* 
sents the inherent danger of buying a record by an 
artist because his personal performances received 
fine notices; some artists are thrilling to watch but 
nothing special merely to hear. Mr. Kentner's 

playing is fine; but there are plenty of fine pianists 
making records today. . . . Agi Jambor is one who 
never fails to thrill via her discs (see TNR May 
'57 & Oct. "56); her gracious performances of the 
lovely Chopin Ballades and Impromptus shows an* 
other facet of Mme. Jambor's capabilities, for her 
previouslyissued Bach discs demanded quite a dif' 
ferent approach. 

Sdionberg: Piano Music (complete). Edward Steuer- 
mann (piano). 142" disc (*GML'5216) $3.98. 
NOTE: For review of this disc, see under CHAM' 



Carroll: The Hunting of the Snark. One side, and 
Browning: The Pied Piper of Hamelin. Boris 
Karloff (reading). 142" disc (*CAEDMON TO 
1075) $5.95. 

Stevenson: A Child's Garden of Verses. Judith An' 
derson (reading). 142" disc (*CAEDMON TO 
1077) $5.95. 

Stevens: Selected Poems. Wallace Stevens (reading) 
142" disc (*CAEDMON TC4068) $5.95. 
CONTENTS: The Theory of Poetry; The Idea 
of Order at Key West; Credences of Summer; Poem 
that Too\ the Place of a Mountain; Vacancy in the 
Par\; Large Red Man Reading; This Solitude of 
Cataracts; In the Element of Antagonisms; Puella 
Parvula; To an Old Philosopher in Rome; (2) lllus* 
trations That the World Is What You Ma\e of It; 
Prologues to What Is Possible, II; Looking across 
the Fields and Watching the Birds Fly; Final Solilo- 
quy of the Interior Paramour; The Life of the Poet. 

Ecclesiastes. James Mason (reading). 142" disc 

(*GAEDMON TC4070) $5.95. 

Caedmon Publishers currently has one of the 
largest catalogs of recordings of readings of prose 
and poetry extant and one of the best. Four of its 
most recent releases are listed above; the titles are 
almost self'explanatory, but a word about each 
would be in order. 

Lewis Carroll's The Hunting of the Snar\ holds a 
special place in our heart; its broad humor has al" 
ways tickled us, and the book which contains it in 
our library has worn corners on those pages. Boris 
Karloff would not have been our choice to read it, 
but we were surprised at the fine job he does; this 
excellence obtains also for his reading of The Pied 
Pier of Hamelin . . . Judith Anderson reads A 
Child *s Garden of Verses to perfection; the record 
will be a wonderful rainy day companion for any 
child . . . Wallace Stevens is an insurance executive 
by profession, a poet by avocation. This recording 
sounds as though it were made in his office after 
hours -a strange background aura is present, includ" 
ing offstage auto horns and voices who seem not to 
realise that a recording is being made. Mr. Stevens 

PAGE 15 


* indicates LP 83 1/8 rpm, 
indicates 45 rpm. 





may be a poet; he is not, however, a reader . - 
James Mason could well ask Charles Laugh ton to 
move over; his reading of Ecclerfortei IB at once 
reverent and inspired. 

Carroll: Alice's Adventures in Wonderland. Cyril 
Rtehard (reading and singing) tk the New 
York Woodwind Quintet conducted by Alec 
Wilder. 4-12" discs in box with facile .volume 
of 1865 1st edition of book (*RIVERMUiJ 
SDP-22) $24.95. 

Here is an item for Lewis Carroll fans among 
adults and for those children who would be fas- 
coated to have Cyril Ritchard read every word of 
Mice's Adventure, in WonderUnd to them When 
J. Ritchard comes to the songs, he s.ngs thern too 
very much in character, we might add. For those 
who would like to follow the text, a hard-cover 
Simile of the very rare 1865 first edition of the 
book is included. Alec Wxlder was comimssKmed to 
supply incidental music and to give the songs ap- 
propriate musical settings. He has done this very 
wef and the New York Woodwind Quintet under 
L direction adds greatly to the charm of this = re- 
markable recording. The publisher Riverside Rec- 
ords, has spared no expense in making this a truly 
deluxe item. 


Pour la Harpc. Marcel Grandjany (harp). M2" disc 

(*CL'P-8401) $4.98. 

CONTENTS: Arabesque NO. 1 (trans. Renie); 
Cldir de Lune (trans. Grandjany); Danse de la 
Poupee (trans. Grandjany); Arabesque >[o. 2 (trans. 
Renie); La Fills aux Cheveux de Lin (trans. Grand' 
jany) (Debussy). VHirondelle (Daqmn -trans. 
Renie). L'Bgyptieune (Rameau trans. Renie). Le 
Bon Petit Roi cTYvetot; Frere Jacques; Et Ron, Ron, 
Ron, Petit Patdpon (trad. arr. Grandjany). Le 
Tombeau de Couperin Menuet (Ravel trans. 
Grandjany). Soeur Monique (Gouperin trans. 
Grandjany). CTumson de Guillot Martin (Perilhou 
trans. Grandjany). 

W*e don't recall having run across an original LP 
by the great Marcel Grandjany before (though there 
is a Camden disc, *CAM-CAL'338, featuring re' 
issues of some of his 78 rpm discs made for RCA 
Victor). For many persons, Marcel Grandjany is 
the greatest living harpist; certainly, with Salzedo 
and Zabaleta, he is one of the three greatest. It was 
surely an oversight not to have Grandjany repre' 
sented in the hi'fi catalogs, and our thanks go to 
Capitol for having remedied this situation with this 
capital disc. 


The World's Encyclopedia of Recorded Music 
(3rd Supplement). By Francis F. Clough 
and G. J, Cuming. xxvi -f- 564 pp. Sidg' 
wick and Jackson, Ltd. (London). Price 

Introduction to Opera: a guidebook sponsored 
by The Metropolitan Opera Guild. Edited 
by Mary Ellis Peltz. xiii + 332 pp. Paper 
bound. Barnes &? Noble, Inc. (New York) . 
Price $1.65. 

Record Ratings: The Music Library Associa^ 
tion's Index of Record Reviews. Compiled 
by Kurt* Myers; edited by Richard S. 
Hill, viii + 440 pp. Crown Publishers 
(New York). Price $5.95. 

The World Treasury of Grand Opera. Edited 
by George R. Marek xi + 674 pp. Har- 
per & Brothers (New York). Price $6.95. 

The Guide to Long-Playing Records (Chamber 
6? Solo Instrument Music) . By Harold C. 
Schonberg. xi + 280 + vi pp. Alfred A. 
Knopf (New York). $3.50. 

The Guide to Long'Playing Records (Vocal 
Music). By Philip L. Miller, xvi + 381 
-f- xxii pp. Alfred A. Knopf (New York) . 

The World's Encyclopaedia of Recorded Music 
(Including 1st Supplement). By Francis 
F. Clough and G. J. Cuming. 890 pp. 
Sidgwick and Jackson, Ltd. (London). 
Price $17.50. 

The World's Encyclopaedia of Recorded Music 
(2nd Supplement) . By Francis F. Clough 
and G. J. Cuming. xxii + 262 pp. Sidg- 
wick and Jackson, Ltd. (London), Price 

NOTE; All the above books have been reviewed 
in previous issues of The Tsjeu; Records. If your local 
dealer does not stock them, orders addressed to H. 
Royer Smith Co., Philadelphia 7, Pa., will be 
promptly filled. The prices quoted include postage 
to any point within U.S.A. 

The first letters In the record number indicate the manufacturer: A NG Angel, BG Bach Guild, CColumbia, CAM Camden, CE Cetra, 
CH Concert Hall Society, CL Capitol, C LAS Classic Editions, CSM Colosseum, D Decca, DT Ducretet-Thomson, E A Experiences 
Anonymes, ESO Esoteric, FOLK Ethnic Folkways Library, G 10 A Gregorian Institute of America, HMV His Master's Voiee (England), 
HS Haydn Society, L London Gramophone, LYRLyri chord, ME Mercury, DC Oceanic, OL L'Oiseau Lyre, PE Period, PHM Phil- 
harmonia, PLM Poly music, REN Renaissance, SOT Sounds of Our Times, 8TR Stradivari, T Telefunken, UNI Unieorn, UR Urania, 
V Victor, VAN Vanfluard; VX Vox. and WEST Westminster. 

* indicates LP 33 1/8 rpm. 
indicates 46 rpm. 


PAGE 16 




Issued Monthly by 






/OL 25, NO. 12 


By mail to any address 
$1 per year 

CARUSO: His Life in Pictures. By Francis 
Robinson. Illustrated. 160 pp. Studio- 
Crowell (New York). Price $6.50. 

As a general rule we are not very enthusi- 
astic about anybody's "Life in Pictures." Our 
experience has been that these books are usu- 
ally designed for those who cannot or do not 
care to read. A hack writer gathers together 
a collection of pictures, the more sensational 
the better, from the tabloids and the roto- 
gravure sections of the metropolitan Sunday 
papers, and ties them together with a running 
commentary of little factual or literary value; 
thus a volume is produced that one may care 
to glance at while he is waiting to see his phy- 
sician or dentist. 

We are very happy to report that Mr. 
Robinson's interestingly written, carefully 
edited and artistically arranged book, with its 
hundreds of photographs and reproductions of 
programs and letters, certainly does not be' 
long in this class. It is very evident that the 
present volume is a work of love and that it is 
the result of years of very diligent research. Of 
particular interest to those who are making a 
collection of Caruso recordings is the compre- 
hensive discography which occupies the last 
twelve pages. It contains 266 Caruso record' 
ings with their various identifying catalog 
numbers and dates. This discography was com* 
piled by John Secrist, the founder of New 
York's Vocal Record Collectors' Society, and 
who is said to possess "the only complete set of 
Caruso's published recordings in existence." 

We do not hesitate to recommend this fine 
publication to anyone who is interested in the 
life of the fabulous Caruso, in the opera of 
his day (especially at the Metropolitan) , or in 
the' vast number of truly great recordings that 
he made, both as soloist and in ensemble with 

the greatest vocalists of his era. 
# # # 

Hundreds of our readers have written us 

that they have inserted the name of our pub* 
Hsher in the space provided on the application 
blanks of the various record clubs, so that 
credit could be given to the sponsoring dealer. 
However, we learned that in an immense 
mailing of applications by one of the clubs 
the space for the sponsoring dealer had in- 
advertently been omitted. If you have received 
one of these defective applications and you 
should wish to give our publisher credit for 
your membership, please enclose the applica- 
tion in an envelope addressed to our publisher 
rather than sending it direct to the Club. This 
will insure proper credit being given. 

A large majority f subscriptions end with 
this issue if yours does, please return the en- 
closed blank promptly in order that you may 
not miss any issues. If your subscription still 
has some months to run, we will extend it for 
an additional twelve months upon receipt of 
your renewal at this time. Each year we send 
everyone renewal blanks with the February 
issue (the last number in the volume) and in 
March we check the subscription list and drop 
those whose subscriptions have expired during 
the last year and who have not renewed them. 

The Current Market Price of records is the 
retail price that is charged by most leading 
dealers, including the publisher of this bul- 
letin. When the major companies reduced their 
list prices for LP records, some of the smaller 
publishers reduced only their wholesale prices 
and did not change their list prices (see TNR 
Mar. '55); thus the Current Market Price 
came into being. 

Also, from time to time, in order to stimu- 




late business, some companies have drastically 
reduced prices for limited periods. In order 
that our readers may know the Current Mar- 
ket Price, we are indicating in this and future 
issues the prices that are presently in effect, 
and, although we cannot guarantee these 
prices, they should prevail during the current 


We are continually receiving requests for 
back copies of THE NEW RECORDS. Most of 
the issues published during die last twenty- 
five years are available. The price is lOc each, 
A file of all available issues (at least 160 copies) 
is $5. These prices are postpaid within U.S.A. 

NOTE: Those persons interested in recent 
recordings only may secure all of the issues of 
the last three years beginning February 1955 
(36 copies) at the special price of $2 (postpaid 
within U.S.A.). 


Tradition Folk Sampler. Various singers in samples 
from various Tradition Records. 142" disc 
CONTENTS : Bird's Courtship (McGurdy ) ; 

O'Donncll Aboo; John Henry (Baker, guitar); 

Hearse Song (Davies); 10 others. 

Beethoven: Concerto No. 4 in G, Op. 58. Paul Ba- 
dura-Skoda (piano) with Vienna State Opera 
Orchestra conducted by Herman Scherchen. One 
side, and Beethoven: Concerto No. 5 in E-flat, 
Op. 73 ("Emperor"). Paul Badura^Skoda (piano) 
with the Vienna State Opera Orchestra conducted 
by Armando Aliberti. M2" disc (*WEST<XWN' 
18540) $4.98. Current Market Price: #1.98. 

Date with Riverside. Sampling of Riverside IP's, 
featuring Chauncey Gray, Bob Gibson, Mundell 
Lowe Ed McCurdy, Coleman Hawkins and oth' 
ers. M2" disc (*RIVERSIDE S'4) $1.98. 

Ole! Flamenco Sampler. M2" disc ^COUNTER- 
POINT CPT-1504) $1.98. 
CONTENTS: Fandangos f?or Soled; Sevillianos; 

Fandangos; Brisas del Genii; 7 others. 


Mahler: Symphony No. 4 in G. Philharmonia Of' 
chestra conducted by Paul Kletski, with Emmy 
loose (soprano). M2" disc (*ANG-35570TP) 
$3.98. 1-12" factory-sealed disc (*ANG-35570) 
"Why do you doubt your senses?*' asked the 

"Because," said Scrooge, "a little thing affects 

them. A slight disorder of the stomach makes them 

cheats. You may be an undigested bit of beef, a blot 
of mustard, a crumb of cheese, a fragment of an 
underdone potato . /* 

The above lines sprang, unbidden, to the writer's 
mind while he listened, in utter amazement, to Paul 
Kletzki and the Philharmonia Orchestra play Mah- 
ler's Symphony T^o. 4 in G he could not believe 
the evidence of his senses. Mahler was never a par- 
ticular favorite with this listener, and it was with a 
sense of duty rather than one of expectation that 
the disc was played. Very early in the performance 
it became evident that something out of the ordinary 
was taking place; this was unlike any other per- 
formance of the Mahler Fourth, or any other Mahler 
symphony for that matter. Here there is no bombast, 
no violent rhetoric, no piling of Pelion on Ossa; 
rather it is just a calm, dignified statement of the 
beautifully orchestrated score. In the final move' 
ment, Emmy Loose completed the spell by singing 
the half -humorous, half-naive verses (that form a 
sort of YBnvoie) with understanding and the requi- 
site light touch. 

It may have been the quiet of a winter's Sunday 
afternoon, it may have been the excellent dry 
sherry, but it definitely was not indigestion that 
made the writer doubt his senses. It could only, 
then, have been Paul Kletski, the ravishing Phil- 
harmonia Orchestra and the shade of the unhappy 
Gustav Mahler, for this recorded performance of 
his G major Symphony created a magical hour in 
the early January twilight that was as unexpected as 
it was beautiful. WILLIAM A. OLSEN 

Beethoven: Symphony No. 3 in E-flat, Op. 55 
("Eroica"). One and one-half sides, and Bee- 
thoven: Coriolan Overture, Op. 62. Philharmonic 
Promenade Orchestra of London conducted by 
Sir Adrian Boult. 1-12" disc (*VAN-VRS-1012) 
$4.98. Current Market Price: #2.98. 

Beethoven: Symphony No. 5 in C minor, Op. 67. 
One and one-half sides, and Beethoven: Leonore 
Overture No. 3, Op. 72b. Philharmonic Prome- 
nade Orchestra of London conducted by Sir 
Adrian Boult. 1-12" disc (*VAN-VRS-1013) 
$4.98. Current Market Price: #2.98. 

Beethoven: Symphony No. 6 in F, Op. 68 ("Pas- 
toral"). One and one-half sides, and Beethoven: 
Fidelio Overture, Op. 72c. Philharmonic Prome- 
nade Orchestra of London conducted by Sir 
Adrian Boult. 1-12" disc (*VAN-VRS-1014) 
$4.98. Current Market Price: #2.98* 

Beethoven: Sympfiony No. 7 in A, Op. 92. One 
and one-half sides, and Beethoven: Egmont Over- 
tore, Op. 84. Philharmonic Promenade Orchestra 
of London conducted by Sir Adrian Boult. 1-12" 
disc (*VAN-VRS-1015) $4.98. 

Current Market Price: #2.98. 
NOTE: Vanguard has released the above quartet 

of discs and has announced that they will sell, for the 

month of February only, at the special price of 

* indicates LP 38 1/8 rpm. 
indicates 45 rpm. 







$2.98. We assigned them to one of our seasoned 
critics but did not inform him of this bargain price 
so that his opinions would not, thereby, be influ* 
enced. Ed. 

Sir Adrian's performances here rank with the very 
best, so far surpassing the Toscanini- Victor perform- 
ances that it is almost no contest! The "Eroica" re' 
ceives straightforward treatment and emerges as the 
great musical miracle that it is. The rugged Fifth 
is played in robust fashion, properly dramatic, and 
has a finale that positively scampers along. The "Pas' 
toraF (a prime favorite in this corner) is handled 
in such a way that all the quiet and gorgeous melo' 
dies are brought forward, and the piece sounds as 
delightful as this listener ever remembers hearing it. 
For the Seventh one can only offer the highest praise 
it is simply the best recorded performance to date. 
All four "bonus" overtures receive the same intel" 
ligent and exciting performances as the symphonies. 
One feels, after hearing these four grand readings, 
that Sir Adrian Boult has been one of the most 
underrated conductors on records. Vanguard has 
supplied the superior, natural sound one has come to 
expect from this fine company. 

This writer would like to urge all those who do 
do not have any or all of these symphonies to in' 
vestigate these discs. Those who bought their Bee' 
thoven Symphonies some four or five years ago are 
invited to listen to these recordings and hear the 
music again, as for the first time, 


Britten: Peter Grimes (4) Sea Interludes and Pas' 
sacaglia. And Britten: Soirees Musicales, Op. 9. 
One side, and Britten: Young Person's Guide to 
the Orchestra, Op. 34. And Britten: Matinees 
Musicales, Op. 24. Philharmonic Promenade Of 
chestra conducted by Sir Adrian Boult. 142" 
disc (*WEST-XWN* 18601) $4.98. 
Kabalevsky: Symphony No. 4. Leningrad Philhar 
monic Orchestra conducted by Dmitri Kabalevsky. 
One side, and Prokofiev: The Volga Meets the 
Don, Op. 130. Moscow Philharmonic Orchestra 
conducted by Samuel Samosud. 142" diac 
(*MONITOR MC-2007) $4.98. 
Karlovich: Concerto in A, Op. 8. Galina Barinova 
(violin) with the State Symphony Orchestra of 
the USSR conducted by Kiril Kondrashin. One 
side, and Machavariani: Concerto for Violin and 
Orchestra. Mikhail Viaman (violin) with the State 
Radio Orchestra of the USSR conducted by 
Odyssei Dmitriadi. 142" disc (*WEST>XWN- 
18535) $4.98. 

Only the most fastidious audiophile will express 
dissatisfaction at the result of combining the ma' 
terials from two Westminster Lab discs onto the 
single Britten issue listed here. Most of Britten's 
best orchestral efforts are included, and Boult is, pep 
haps, his most able interpreter. We are inclined to 
prefer our Young Person's Guide without narration, 

thus the present version despite its occasionally odd 
tempos is quite acceptable. The excerpts from Peter 
Grimes form a unified and interesting concert suite. 
The Matinees and Soirees are Britten^arranged bits 
of Rossini, treated for ballet much as Mackerras ar* 
ranged The Lady and the Fool from early Verdi. 
Altogether, a most pleasant disc. 

Kabalevsky finished his Fourth Symphony in 
1956; the present version is a first recording. Un" 
fortunately, we shall have to wait for another and 
better one to make final judgment on the music. 
The performance is marred by odd noises (an au' 
dience, perhaps?) and by far too much bass empha' 
sis. The Prokofiev work, written in 1951 when the 
composer had been firmly won over to writing to 
adhere to the party line, shows the tragedy of 
political suffocation. All the usual idioms of this 
composer's style are used, but without either en- 
thusiasm or inventiveness. The result is a pompous 
lot of nothing. 

Karlovich and Machavariani, though their names 
sound ideal for a duo'piano team, have no affiliation 
other than their common obscurity. Karlovich was 
a fin du siecle Polish composer whose Concerto oc" 
casionally sparkles in the manner of Mendelssohn; 
Machavariani is an Armenian'born contemporary 
composer of the Khachaturian persuasion. The re' 
cording is quite good as Russian-made discs go, and 
Mme. Barinova makes quite a delightful thing of 
the Karlovich work. This disc should have genuine 
appeal to violin concerto enthusiasts who are look' 
ing for something new and different. N. 

Berlinski: Symphonic Visions. Ashai Orchestra of 
Tokyo conducted by Richard Korn. One side, and 
Gerscliefski: Saugatuck Suite. And Ballou: Pre- 
lude and Allegro. Vienna Orchestra conducted by 
E Charles Adler. 142" disc (*COMPOSERS 
CRI415) $5.95. 

Riegger: Romanza. Orchestra of the Accademia Na' 
sionale di Santa Cecilia, Rome, conducted by Al- 
fredo Antonini. And Riegger: Dance Rhythms. 
And Riegger: Music for Orchestra. Oslo Philhar" 
monic Orchestra conducted by Alfredo Antonini. 
One side, and Avshalomov: The Taking ol T'ung 
Kuan. And Cazden: (3) Ballads from the Catskills. 
Oslo Philharmonic Orchestra conducted by Igor 
Buketoff. 142" disc (*COMPOSERS CRI417) 

Finney: String Quartet No. 6 in B. Stanley Quartet 
of the U. of Michigan. One side, and Weiss: Trio 
f,or Garinet, Viola and Violoncello. Kalman Bloch 
(clarinet), Abraham Weiss (viola) and Kurt 
Reher (violoncello). 142" disc (*COMPOSERS 
CRI416) $5.95. 

It seems that back in 1938, when the Bridgeport 
(Conn.) Hydraulic Company wanted to build a dam 
across the Saugatuck River, the citizens of south" 
western Connecticut initiated a "Save the Sauga* 
tuck" movement, which manifested, among other 



* indicates LP 83 1/3 rpm. 
indicates 45 rpm. 


The ISIew Records 


things, the Gerschefski Suite heard here. Among 
the titles of the movements are the following: "Ro- 
bot Controlled Precision without Escape" and ki Dy 
namite Accomplished Perversion and Artificiality of 
Every Description." The titles serve adequately 
enough to illuminate Gerschefskfs noisy piece; but 
more than that, they serve to typify most of the 
music heard on all three discs listed in the heading 

There are exceptions. Norman Berlinski's Sytn* 
phonic Visions is one of the few pieces to deserve 
repeated hearings, particularly in the two visions 
drawn from the book of Jeremiah. Wallingford 
Rieggers Dance Rhythms can be counted among 
the more pleasant works from the pen of a senior 
American composer. Likewise, the chamber trio by 
Adolph Weiss contributes materially to the liter' 
ature for clarinet, though the jacket notes describ- 
ing Mr. Weiss' method of composition seems utterly 
beyond belief. His compositions, we are told, are 
conceived in a purely numerical form; they are first 
written as columns of figures in a loose-leaf notebook, 
later transcribed into conventional notation. 

The other works on these discs fall for us into 
one of the categories named above. Unless you are 
a devoted enthusiast of contemporary American 
music, the sounds coming from Tokyo, Oslo and 
Ann Arbor may appear, as they did to us, mostly 
"controlled precision without escape" with just a 
pinch of "dynamite accomplished perversion." Per* 
formances and recordings are consistently at a high 
level. N - 

Tchaikovsky: Symphony No. 5 in E minor, Op. 64. 

Philharmonia Orchestra conducted by Constantin 
Silvestri. 1-12" disc (*ANG-35566TP) $3,98. 
142" factory-sealed disc (*ANG-35566) $4.98. 
Tchaikovsky: Manfred, Op. 58. State Symphony Or- 
chestra of the USSR conducted by Natan Rakh- 
lin. 1-12" disc (*WEST-XWN-18536) $4.98. 
Tchaikovsky: The Sleeping Beauty (excerpts). Lon- 
don Symphony Orchestra conducted by Pierre 
Monteux. 1-12" disc (*V-LM-2177) $4.98. 
Constantin Silvestri, Roumanian conductor of sev- 
eral musical organizations in Bucharest, made his 
British debut with the London Phlharmonic in the 
spring of 1957. The London press greeted his con' 
certs enthusiastically. We must therefore assume that 
better things than the present Tchaikovsky Fifth can 
be had from this conductor. To begin with, most of the 
tempos from the beginning of the symphony to the 
middle of the waltz; movement are on the slow side. 
Then, like Whirlaway in the stretch, we are off on 
the most breathless finale we have ever heard. Even 
the players of the Philharmonia find it hard to keep 
up. There are other weaknesses, too: certain im- 
balances that could possibly be due to Angel's micro- 
phone placement rather than any fault of the con- 
ductor and a lack of decisiveness in the three Jbtoi- 
cflto chords in the second movement. At least half 

a dozen of the eighteen available Tchaikovsky Fifths 
have more to offer than this one. 

Westminster's Manfred, likewise, has more short- 
comings than strengths. Not one of Tchaikovsky's 
best works to begin with, it needs an especially 
gifted conductor to give it life. Toscanini could do it, 
but his recording is outdated; Kletski comes close, 
and the sound is much better. On the present disc 
there is one especially annoying discontinuity (a tape 
splice, maybe?) near the end of the final movement. 
It almost seems as if the final measures were recorded 
by another group or at a different location. 

One of the periods of Pierre Monteux's long life 
was spent in close association with Diaghilev, so 
though we are inclined of late to identify him with 
other works and periods Russian ballet is definitely 
a field of strength for Monteux. The present reading, 
however, seems to differ significantly in places from 
most present-day performances in matters of tempo. 
Convincingly dramatic and exciting in its orchestral 
climaxes, Monteux has produced perhaps the most 
listenable version of this music to be had. Ballet en- 
thusiasts may find this Sleeping Beauty controversial. 
The rest of us will revel in RCA Victor's exquisite 
sound and spend fifty minutes in fairyland. N. 

Tchaikovsky: Romeo and Juliet (Overture-Fantasia). 
Pro Musica Symphony, Vienna, conducted by 
Jon el Perlea. And Tchaikovsky: Symphony No. 
6 in B minor, Op. 74 ("Pathetique"). Filarmonica 
Triestina conducted by Heinrich Hollreiser. And 
Tchaikovsky: Concerto No. 1 in B-flat minor, Op. 
23. Friedrich Wuehrer (piano) with the Pro 
Musica Orchestra, Vienna, conducted by Hein- 
rich Hollreiser. 1-12" 16% rpm disc (fVX-XL-1) 

Beethoven: Concerto No. 5 in E-flat, Op. 73 
("Emperor"). Friedrich Wuehrer (piano) with 
the Pro Musica Orchestra, Vienna, conducted by 
Heinrich Hollreiser. And Beethoven: Leonore 
Overture No. 3. One side, and Beethoven: Corio- 
lan Overture. Pro Musica Symphony, Vienna, 
conducted by Jascha Horenstein. And Beethoven: 
Concerto in D, Op. 61. Bronislaw Gimpel (violin) 
with the Bamberg Symphony conducted by Hein- 
rich Hollreiser. (TNR Aug. '55) 1-12" 16% rpm 
disc (fVX-XL-2) $6.95. 

Rimsky-Korsafcov: Scheherazade, Op. 35. Bamberg 

Symphony conducted by Jonel Perlea. One side, 

and Tchaikovsky: Nutcracker Suite, Op. 71a. 

Bamberg Symphony conducted by Marcel Cou- 

raud. And Borodin: Prince Igor Polovtsian 

Dances. And Bizet: L'Arlesicnne Suites, Nos. 1 

8C 2. Bamberg Symphony conducted by Jonel 

Perlea, 1-12" 16% rpm disc (fVX-VL-3) $6.95. 

Though these Vox 16% rpm discs have been on 

the market for a couple of months, we did not wish 

to bring them to the attention of our readers until 

we had completed our experiments with them, feeling 

that any departure from "standard" and already 

* indicates LP 38 1/3 rpm. 
indicates 45 rpm. 




New Records 


approved records should be thoroughly investigated 
before recommending it. We believe that chief in" 
terest in these records would be in their technical 
qualities, rather than in their artistic merit. Vox in' 
troduces these discs thusly: 

"For several years manufacturers of record chang- 
ers ... have been including a fourth speed . . . 
This speed is 16% rpm. VOX thinks that this is an 
opportunity to give the music lover more for his 
money. The question is, 4 Will the quality be up to 
the high VOX standard?* The answer is 'YES.' 
After a year of experimentation and development . . . 
VOX is proud to give you the first classical record 
to contain up to two hours of music." 

We found the quality surprisingly good, but 
NOT as good as the best LP (33% rpm) records. 
Vox suggests that one warm up his turntable for 
several minutes before playing one of these records; 
this is highly important, for the 1 6 rpm speed is so slow 
that the slightest variation, such as that which might 
be caused by a cold motor, will prove catastrophic 
to the reproduction. (Some inferior changers could 
not be made to give an absolutely isochronous 16% 
rpm with any amount of warm-up ) . 

Vox suggests that those with wide range repro" 
ducing equipment compensate for the standard 
RIAA curve; we found that by exaggerating both 
treble and bass (i.e., turning the response to a point 
slightly higher than the RIAA point), the results 
were superior. We found this necessary, even when 
using a professional turntable with heavy-duty 
motor and counterbalanced tone arm. 

Those who might wish to experiment with these 
records may be assured of satisfactory results if 
their phonographs are of sufficient quality, particu- 
larly as to the turntable and motor. We must ac- 
knowledge the bargain (a saving of about $2) in 
these records . . . always provided that one wishes 
all of the items contained on the record; the prob- 
lem of duplications, however, we feel will prove to 
be rather a serious one for the manufacturer in 
supplying a pre-selected two hour program. J. 
Stravinsky: Le Sacre du Printemps. I/Orchestre de 

la Suisse Romande conducted by Ernest Anser- 

mct. M2" disc ( <54 L-LL-1730) $3.98. 

Current Market Price: #2.98. 

London is going all out to promote this one, and 
we don 7 t blame London one bit, for this disc should 
certainly break some sales records for a classical 
discs. It has everything! One of Stravinsky's most 
interesting scores; a capital orchestra, capable of 
producing beautiful sounds; a dependable conductor 
whose world-wide fame is justly deserved; and re- 
production which positively beggars description! 

The present LP replaces Ansermet's previous ef' 
fort (*L-LL'303, TNR May '51), now withdrawn 
from the catalogs. At that time, "S" 11 said, ". . . the 
choice of ... Ansermet . . . will be a safe one for 
a long time to come, because any future versions 
have little chance of bettering (it)." To have An' 

sermet doing the Sacre in this brand new record' 
ing makes it possible to repeat "SV previous com' 
ments. By all means hear this disc on a good phono- 
graph; we have heard hi-fi records, but this one . . . 
well, just hear it! The special price is for February 
only. ! 

Lollipops. Royal Philharmonic Orchestra conducted 
by Sir Thomas Beecham. 1-12" disc (*ANG' 
35506TP) $3.98. M2" factory-sealed disc 
(*ANG-35506) $4.98. 

CONTENTS: Le Rouet d'Omphalc (Saint' 
Saens); Prelude a VApre$"mide d'un Faun (Debussy); 
Dance of the Sylphes, Royal Hunt and Storm 
(Berlioz); Marche Joyeuse (Chabrier); Poet and 
Peasant Overture (Suppe); Valse Trine (Sibelius); 
March in D, K. 249 (Mosart). 
Nocturne. Hollywood Bowl Symphony Orchestra 
conducted by Carmen Dragon. 142" disc (*CL- 
P-8363) $4.98. 

CONTENTS: Lyric Suite, Ojb. 54- Nocturne 
(Grieg); Elegie (Massenet); Poeroe (Fibich); Han* 
sel und Cretel Children's Prayer (Humperdinck); 
Kinderscenen Traumerei ( Schumann) ; Thais 
Meditation (Massenet); Stdndchen (Schubert); Re' 
verie (Debussy); Yannhauser Evening Star (Wag' 
ner); Wiegenlied (Brahms). 

Sibelius: Tapiola. And Sibelius: Swan of Tuonela. 
One side, and Sibelius: Karelia Suite. And Sibel- 
ius: Bolero ("Festive")- Berlin Philharmonic Or- 
chestra conducted by Hans Rosbaud. 142" disc 
(*D-DL-9938) $3.98. 

Rossini: (6) Overtures. Minneapolis Symphony Or- 
chestra conducted by Antal Dorati. 142" disc 
(*ME-MG-50139) $3.98. 

Current Market Price: #3.19. 

CONTENTS: Overtures to La Scala di Seta, La 
Cenerentok, La Gazza Ladra, 11 Barbiere di Siviglia, 
LItaliana in Algeri and II Signer Bruschino. 
Overtures in Spades. New Symphony Orchestra of 

London conducted by Raymond Agoult 142" 

disc (*V'LM-2134) $4.98. 

CONTENTS: Light Cavalry (Suppe); Zampa 
(Herold); If I Were King (Adam); Morning, Moon 
and Might in Vienna (Suppe); Queen of Spades 
(Suppe); The Cretan Diamonds (Auber). 

Quite the cleverest title for an LP disc we've come 
across in a long time is the "Lollipops" one by Sir 
Thomas Beecham an apt description for the sweet' 
meats contained on it. Sir Thomas licks the last bit 
of candy off of each stick, too, you may be sure 
More sugar plums, also, from the Hollywood 
Bowl Orchestra; brilliant reproduction . . . The Si' 
belius disc by the Berlin Philharmonic is nothing 
special . . . Antal Dorati has a fine time with the six 
Rossini Overtures . . . Members of RCA Victor 8 
Save-On-Records club will recognize the Overtures 
in Spades as one of the Free Bonus Records they 
might have chosen last October. If you were not a 



indicate LP 33 1/3 rpm. 
indicates 45 rpm. 





member, or if you were and chose the other bonus 
disc, here's your chance to add this delightful LP 
to your library. 

The Lure of France. Andre Kostelanets and his 
orchestra. 1-12" disc (*C-CL-1054) $3.98. 
CONTENTS : Mademoiselle de Paris; Under Paris 
S^ies; Bon/our Paris; My Prayer; Mimi; La Mer; 
Autumn Leaves; April in Paris; Clair de lune (De- 
bussy); Pizzicato Pol\a (Delibes); Louis Depuis le 
jour; Reverie (Debussy); The Girl with the Flaxen 
Hair (Debussy trans Mouton); Can Can (Offen- 

Concert Encores. Mantovani and his orchestra 1*12" 

disc (*L-LL-30>04) $3.98. 

CONTENTS: Clair de lune (Debussy); Spanish 
Dance (Granados); La Boutique fantasque Can 
Can (Rossini); Chanson de Matin (Elgar); Gypsy 
Airs (Sarasate); Autumn (Chaminade); Song of 
India (Rimsky'Korsakov); Schon Rosmarin (Kreis- 
ler); Thai's Meditation (Massenet); Perpetuum 
Mobile (Strauss). 

A pair of mood music beauties by masters of the 
art. Many of the items on the Mantovani disc are 
arranged by him, and those that are not are syrupy 
enough without his inimitable treatment. 

Stravinsky: Petrouchka (Suite). One side, and Stra- 
vinsky: L'Oiseau de Feu (Suite). Berlin Philhar- 
monic Orchestra conducted by Leopold Stokow- 
ski. 1-12" disc (*CL-PAO'8407) $4.98. 
Nearly any orchestra is a good orchestra under 
Stokowski, but it is a real Joy to hear this distin- 
guished conductor before one of the world's great 
ensembles, the time-honored Berlin Philharmonic. 
The Berliners take to the personal Stokowski im- 
print in full measure, and the performances of these 
two Stokowski specialties are typical of this great 
conductor at his best. We could think of many 
works that this combination could commit to discs 
to the benefit of the record collecting public. 

Ansermet, Monteux, and Ormandy are repre- 
sented in the LP lists with fine readings of Pe- 
trouch\a (the latter two with good, modern repro- 
duction). Whatever the individual merits of various 
performances and Monteux (*V-LM-2113, TNR 
Oct. '57) has many merits the Stokowski reading 
is a real thriller from start to finish. We never had 
the feeling that either the letter or the intent of the 
score was sacrificed for the superb effects which 
Stokowski and the Berlin players create. We can 
offer nothing but praise for what the grooves of this 
disc contain. 

Much the same could be said for Firebird, a work 
just as closely identified with the Stokowski career 
and, if anything, even more his style than other 
Stravinsky works. Firebird, with its romantic melo- 
dies alternating with flashing, brightly orchestrated 
passages, finds the Berlin first desk players, as well 
as the ensemble, and Stokowski enjoying some of 

the most wonderful music-making you could wish 
for. It is interesting to note the obvious pleasure 
Stokowski takes from this orchestra, as evidenced by 
the different tempo he uses in the tender Dance of 
the Princesses from that employed with orchestras 
less capable of good tone. We have a feeling of 
good rapport between orchestra and conductor. 
Whatever the merits of other distinguished conduct- 
ors who have recorded Firebird, this reading by 
Stokowski can almost be considered in a class by 
itself. E. E. SHUPP, JR. 

Green: Raintree County. Music from the sound- 
track of the MGM motion picture, with the MGM 
Studio Symphony Orchestra and Chorus con- 
ducted by Johnny Green. 2-12" discs in folder 
(*V-LOC-6000) $9.98. 

RCA Victor informs us that Johnny Green, who 
wrote the score for MGM"*s movie, Raintree County, 
has rearranged the music ". . . to produce the op- 
timum in listening music consistent with what had 
been originally recorded for the picture." So that, 
although all the music is here, it is not necessarily 
in the same sequence as that of the movie. Collectors 
of music from the films will here find the biggest 
chunk of the same ever offered at one time and 
some of the most enjoyable. 

Festival Casals de Puerto Rico 1957. Casals Festival 
Orchestra conducted by (1) Pablo Casals or (2) 
Alexander Schneider; or (3) Rudolf Serkin (pi- 
ano). 1-12" disc (*C-ML-5236) $3.98. 
CONTENTS: Symphony Ho. 8 in B minor 
("Unfinished 1 ") 1st movement (rehearsal only) 
(Schubert) (1); Capriccio on the Departure of His 
Beloved Brother (Bach) (3); Suite NO. 1 in C 
(Bach) (2). 

Festival Casals de Puerto Rico 1957 (Vol 2). Eu- 
gene Istomm, Miecsyslaw Horssowski (pianos); 
Isaac Stern, Alexander Schneider (violins); Mil- 
ton Katims (viola); Mischa Schneider (violon- 
cello). 1-12" disc *C-ML-5237) $3.98. 
CONTENTS: Quartet in E'flat, K. 493 (Istomm, 
Stern, Katims, M. Schneider) (Mosjart); Sonata in 
A minor, Op. 137, No. 2 (A. Schneider, Horssow- 
ski) (Schubert). 

We think that Columbia should look into its 
sales records before repeating an experiment which, 
it seemed to us, did not fare so well on the first ef- 
fort. We refer to the "rehearsal" of the 1st move- 
ment of the "Unfinished" Symphony on the first 
record listed above. Columbia tried this before (The 
Birth of a Performance, *C-SL-224, TNR Nov. 
"55); though our critic, "S," drooled over this al- 
bum, it was never much of a seller. It is rather to 
be feared that the "rehearsal" on *C-ML-5236 
might hurt the sale of an otherwise satisfactory 
disc, taken from the 1957 "Casals" Festival. 

Of course, everyone knows that (during this very 
rehearsal) Pablo Casals was stricken with a heart 

* indicates LP 38 1/8 rpm, 
indicates 45 rpm. 




The ISiew Records 


attack, and his forced withdrawal from the Festival 
was certainly a sad loss; nevertheless, the Festival 
went on under the direction of Alexander Schneider, 
and the two discs listed above are the only ones 
issued from these recording sessions thus far. Espe- 
cially fine are the Bach Cajpriccio (Serkin) and the 
Mozart Quartet; the Bach Suite for Orchestra suffers 
from inferior reproduction (in this day and age?); 
Schubert's Sonata is just not our bowl of custard, 
though the artists strive mightily to put this work 
over and will surely please lovers of this piece. J. 

Wagner Program. Philharmonic Symphony Orches* 

tra of London conducted by Arthur Rodsinski. 

142" disc (*WEST-XWN48602) $4.98. 

CONTENTS: Die Meistersinger Preludes to 
Acts 1 6? 3; Dance of the Apprentices, Procession of 
the Mastersingers; Tannhauser Overture; Lohert' 
grin Prelude to Act 1. 
Wagner Orchestral Program. Pro Musica Symphony 

Orchestra of Hamburg conducted by Hans'Jurgen 

Walther. 142" disc (*MGM-E-3193) $3.98. 
CONTENTS: Die W^ure Ride of the Valkyries, 
Magic Fire Music; Tannhauser Festival March; 
Lohengrin Prelude to Act 3, Wedding Music; Sieg- 
fried Forest Murmurs; Die Meistersinger Dance 
of the Apprentices; Der fliegende Hollander 

If the Rodzinski disc listed above is nearly the 
best Wagnerian disc to come our way in some little 
time, the Walther is quite the poorest. Mustering 
all the charity at our command, we can see no reason 
for its issuance it has neither good playing nor 
good conducting, and these are somewhat hidden by 
extremely thin reproduction. 

The Rodsinski is a cracker jack: exciting, won' 
derfully played, and brilliantly reproduced. 

Tiomkin: Search for Paradise. Cinerama Orchestra 

conducted by Dimitri Tiomkin, with Robert Merrill 

(baritone). M2" disc (*V-LOC4034) $4.98. 

Those who have seen the Cinerama production, 

Search for Paradise (it will not be shown in your 

neighborhood theatre!), may be pleased to learn that 

the musical score, taken from the sound track, has 

been committed to discs. We got awfully tired of 

it, but readily admit that this sort of thing has little 

appeal to us particularly without the Cinerama 

film, which is most certainly improved and amplified 

by the score. 


Mozart: Concerto No. 9 in E-flat, K, 271. One side, 
and Mozart: Concerto No. 12 in A, K. 414. Ru' 

dolf Serkin (piano) with the Marlboro Festival 
Orchestra conducted by Alexander Schneider. 
142" disc (*OML-5209) $3.98. 
NOTE: For review of this disc see under CHAM- 

Bach: Concerto No. 1 in D minor for Harpsichord 
and Strings, BWV. 1052. Karl Richter (harpsi- 
chord) with the Ensemble of the Ansbach Bach 
Festival conducted by Karl Richter. One side, and 
Bach: Concerto in C for (2) Harpsichords and 
Strings, BWV. 1061. Karl Richter and Eduard 
Muller (harpsichords) with the Ensemble of the 
Ansbach Bach Festival conducted by Karl Richter. 
142" disc (*MX4445) $3.98. 
Bach: Concerto in A minor for Violin and Strings, 
BWV. 1041. Bevy Erlih (violin) with the Pro 
Arte Chamber Orchestra, Munich, conducted by 
Kurt Redel. And Bach: Concerto in D minor for 
(2) Violins and Strings, BWV. 1043. Devy Erlih 
and Henry Merckel (violins) with the Pro Arte 
Chamber Orchestra, Munich, conducted by Kurt 
Redel. And Bach: Concerto in E for Violin and 
Strings, BWV. 1042. Henry Merckel (violin) 
with the Pro Arte Chamber Orchestra, Munich, 
conducted by Kurt Redel. 142" disc (*DT-DTL- 
93067) $3.98. 

Bach: (3) Concertos for Harpsichord and Orches- 
tra. Rolf Reinhardt (harpsichord) with the Pro 
Arte Chamber Orchestra, Munich, conducted by 
Kurt Redel. 142" disc (*DT"DTL'93097) $3.98. 
CONTENTS: Concertos J<[os. 1 in D minor, 
BWV. 1052; 5 in F minor, BWV. 1056; 4 in A, 
BWV. 1055. 

Bach: (6) Clavier Concerti. Silvia Marlowe (harp- 
sichord). 142" disc (*CL'P-8361) $4.98. 
Bach: Concerto No. 1 in D minor. Sviatoslav Rich' 
ter (piano) with the State Orchestra of the USSR 
conducted by Kurt Sanderling. One side, and 
Prokofiev: Concerto No. 2 in G minor, Op. 63. 
Leonid Kogan (violin) with the State Orchestra 
of the USSR conducted by Kiril Kondrashin. 
142" disc (^MONITOR MC-2002) $4.98. 
Bach: Concerto No. 1 in A minor for Violin and 
Strings. One side, and Bach Concerto No. 2 in 
E for Violin and Strings. Arthur Grumiaux (vio' 
lin) with the Cruller Chamber Orchestra. 142" 
disc (*EPICLC3342) $3.98. 

Bach: Brandenburg Concerto No. 5 in D. One side, 
and Bach: Concerto No. 1 in minor for Piano 
and Orchestra. Zimbler Sinfonietta conducted by 
Lukas Foss (piano). 142" disc (*UNI-UNLP- 
1039) $3.98. 

This will have to be a very efficient notice since 
virtually all the allotted space has been taken up 
with the listing of the records for review. There are 
four recordings of the Bach D minor keyboard con- 
certo: two for piano, two for harpsichord. Of the 
four, only Lukas Foss on the Unicorn disc conveys 
the drama and power one associates with this mag' 
nificent music. Other couplings may tend to alter 
ones choice, however. With the Foss performance 
comes a fine Brandenburg Concerto NO. 5; Rein- 
hardfs playing of the D minor concerto is good as 
are his performances of Nos. 4 and 5, but when 



* indicatfl LP 38 1/3 rpm. 
indicates 45 rpm. 





compared with Finn Videro's sterling performances 
on Haydn Society (*HS'HSL-92), they sound pale 
and weak. The sound on the Monitor disc is poor, and 
the performance is no great shakes either. The other 
side (Prokofiev G minor violin concerto) has been 
rendered out of date, even before its issue, by 
Angel's fine modern recording (TNR Nov. "57). 
DucretefThomson's entry is an also-ran. The con^ 
certo for two harpsichords is available (as are all the 
keyboard and multiple keyboard concert! ) on Haydn 
Society in a rousing performance by Finn Videro 
and Soren Sorensen (*HS'HSL'93). 

Of the violin music, Grumiaux's disc is outstand' 
i n g th e style and general ambiance of the Ducretet' 
Thomson is ordinary and, even with the dividend 
of the D minor concerto for two violins, is not es* 
pecially desirable. 

Miss Marlowe's Capitol recording is a fine idea, 
but it suffers from low level recording and Miss 
Marlowe's indifferent playing and her tampering with 
the scores. This one was a real disappointment. 

Prokofiev; Concerto No, 3 in C, Op. 26. Gary Graff' 
man (piano) with the San Francisco Symphony 
Orchestra conducted by Enrique Jorda. One side, 
and Prokofiev: Symphony No. I In 0, Op. 25 

("Classical"). San Francisco Symphony Orchestra 
conducted by Enrique Jorda. M2" disc (*V-LM' 
2138) $4.98. 

Tchaikovsky: Concerto No. 1 in B-flat minor, Op. 
23. Kyla Greenbaum (piano) with the Sinfonia 
of London conducted by Richard Austin. One and 
one'half sides, and Brahms: (4) Hungarian Dances 
(Nos. 1, 5, 6, 10). Sinfonia of London conducted 
by Richard Austin. 142" disc (*LIBERTY 
SWL45005) $3.98. 

Gary Graffman delivers a spectacular version of 
the difficult Prokofiev concerto as he performs with 
the San Francisco Symphony Orchestra under En- 
rique Jorda. The fingers seem to be utterly plastic 
as they fly through the sharp passages. With the 
orchestra attempting to match the pianist in bril' 
liance and the engineers in accord, the entire under' 
taking is highly successful* Such is not the case with 
the "Classical" Symphony. The sparkling little work 
becomes dull and uninteresting under Jorda's baton. 
This is unfortunate, in that a performance of such 
merit as the Concerto warrants a happier coupling. 
The Tchaikovsky Concerto receives a passable 
performance by Kyla Greenbaum and the Sinfonia 
of London. There is a great deal to be desired in the 
playing of this pianist. The notes are not clearly 
defined in many cases. In addition, the chief idea 
in mind seems to be to "get the whole thing over 
with" as soon as possible. Although the tempi 
hardly rival those of the old Toscanini'Horowits 
set, they assume a close second. Highly familiar music 
is difficult to make outstanding. These interpreters 
fail because they do not provide a stroke of genius 
to a concerto familiar to every music lover. The 

Brahms bubbles with everything but Brahms. Hear 
Bruno Walter! P. 

Tchaikovsky: Concerto No. I in B-flat minor, Op. 23. 

Colonne Orchestra, Paris, conducted by Jose Iturbi 
(piano). 142" disc (ANG-35477TP) $3.98. 
142" factory-sealed disc (*ANG-35477) $4.98. 
Tchaikovsky: Concerto in D, Op. 35. One side, and 
Bruch: Concerto No. 1 in G minor, Op. 26. Arthur 
Grumiaux (violin) with the Vienna Symphony Or' 
chestra conducted by Bogo Lescovich. 142" disc 
(*EPIC LC-3365) $3.98. 

Iturbf s dual role as pianist'conductor is certainly 
the most persuading feature of Angel's latest addi' 
tion to the twenty-five recorded performances of 
the Tchaikovsky Concerto NO. 1 . The reading is very 
straightforward; conductor Iturbi sees to it that solo- 
ist Iturbi can have things pretty much as he likes 
them. There is little of the virtuoso'type glitter that 
distinguishes the Gilels-Reiner disc (*V'LM-1969), 
but Iturbi is still a pianist in the grand style and he 
makes a fine showpiece of the present work. Some 
recent LP's of this work have compressed the con' 
certo to one side of the disc; Angel still uses both 
sides, and the resultant sound is a convincing argu- 
ment for doing so. 

This reading of the Tchaikovsky Violin Concerto 
recalled to mind many of the features that marked 
Rabin's recent effort on the Angel label. Both solo' 
ists make such an easy thing of the work, robbing 
it perhaps of some of its barbaric flavor, but re' 
placing it with a bittersweet smoothness that is en' 
lightening. Mr. Grumiaux, unfortunately, gets less 
help from his conductor than M. Rabin got from 
Alceo Galliera. In the Bruch, there seems to be a 
greater feeling of understanding between conductor 
and soloist. The lovely and lyrical first movement is 
very well performed. Epic's balance of sound is less 
close'to than some recent concerto recordings; it 
gives the feeling of being in the concert hall but 
puts the listener in the twentieth row instead of 
the second. ^* 



Corelli: (12) Church Trio Sonatas, Op. 1, And 
Corelli: (12) Chamber Trio Sonatas, Op, 2. Musi" 
corum Arcadia. 3-12" discs in album and box (VX* 
DL-263) $19.50. 

The music of Archangelo Corelli (16534713), 
in direct contrast to the usual historical pattern, was 
not only fabulously successful in his lifetime, it also 
enabled him to die one of the wealthiest composers 
in the history of music Grove estimates he left the 
"not inconsiderable sum" of $300,000! All of which 
is mildly astonishing because his music really de' 
serves the adjective "great," and "great" music is 
seldom recognised for what it is by the composer's 

The two sets of Trio Sonatas recorded here by 

* indicates LP 83 1/8 rpm. 
indicates 45 rpm. 




The ISiew Records 


the Musicorum Arcadia (two violins, a 'cello and 
an organ and /or harpsichord) are quite typical both 
of Corelli and of his period. They are elegant (in 
the old sense of the word), stately, and demon' 
strate a state of being that has been lost these many 
years the state of a man at one with his time and 
his God. This is difficult. Bach and Handel did 
achieve this state in many of their works, but the 
mold was beginning to crack; later composers (such 
as Mozart, Beethoven and Berlioz), while able to 
pass along states of consciousness that eluded the 
older masters, were not able (except, of course, 
Mozart) to achieve the Olympian calm that is so 
characteristic of the baroque age. However, through 
Corellf s magic we can get a glimpse of how it may 
have been, and for this favor we should be grate- 

The performances have a genuine baroque flavor; 
they are both stylish and exciting. Vox has given 
the performers good recording and the package is a 
de luxe edition limited to 500 copies. Dr. Joseph 
Braunstein has supplied copious notes that are 
scholarly but are directed more to the cognoscenti 
than the neophyte. All in all, however, the album 
is decidedly worth investigating, for it will repay 
study many fold. WILLIAM A. OLSEN 

Mozart: Sinfonia Concertante in E-flat, K. Anh* 9. 
Wind Quartet of Paris and FOrchestre des Con' 
certs Disenhaus conducted by Isaie Disenhaus. 
One side, and Mozart: Quintet in A, K. 581. 

Sidney Forrest (clarinet) and Galimir String Quar 

tet. M2" disc (*LYR-LL^67) $4.98. 
Mozart: Concerto No. 9 in E-flat, K. 271. One side, 

and Mozart: Concerto No. 12 in A, K. 414. R.U' 

dolf Serkin (piano) with the Marlboro Festival 

Orchestra conducted by Alexander Schneider. 

M2" disc (*C'ML-5209) $3.98. 

Good Mozart performances on records (or else' 
where, for that matter) are not common. The 
Viennese usually do a good job, and the French 
have a well'deserved reputation for their thoughtful 
and elegant playing of the immortal Wolfgang's 
scores. Couple this with the notorious fact that our 
French cousins also make the finest wood-wind play 
ers, and the Lyrichord disc listed holds considerable 
promise. The promise is fulfilled, too, insofar as 
performance is concerned, a circumstance that makes 
the rather poor recorded sound doubly disappointing. 
M. Disenhaus is new to this writer, but his ideas 
on the surpassingly lovely Sinfonia Concertante in 
E*flat are good Mozart; that is, brisk but not fast 
tempi, care for phrasing, and everyone in high 
spirits. The overside contains the classic Clarinet 
Quintet in a good but in no way exceptional per 
formance. It is a real pity that the sound, particularly 
in the Sinfonia, is so poor. Lyrichord, in its laudable 
intention to give the buyer his money's worth, has 
compressed each work on one side, which further 
lowers the quality of the recorded sound. Better hear 
this one first. 

Mr. Serkin (from whom one expected better 
things) and his cohorts unburden themselves of 
somewhat dreary and lifeless performances of two of 
Mozart's most sparkling concertos. Unless one is an 
uncritical admirer of Rudolf Serkin, there are sev 
eral better performances of No. 9 (KempfF on Lon' 
don for example) and Ho. 12 (Jensen on Haydn 
Society). The sound is fair but nothing to rave about. 


Finney: String Quartet No. 6 in E. Stanley Quartet 
of the U. of Michigan. One side, and Weiss: Trio 
for Clarinet, Viola and Violoncello. Kalman Bloch 
(clarinet), Abraham Weiss (viola) and Kurt 
Reher (violoncello). 142" disc (*COMPOSERS 
CRM16) $5.95. 
NOTE: For review of this disc see under OR' 



Bach: Christmas Oratorio, BWV. 248. Gunthild 
Weber (soprano), Sieglinde Wagner (contralto), 
Helmut Krebs (tenor), Heinz Rehfus (bass); 
Berliner Motettenchor; RIAS Kammerchor; Berlin 
Philharmonic Orchestra conducted by Fritz Leh' 
mann and Gunther Arndt. M 2" discs (*D-ARO 
3079/81) $17.84. 

Bach wrote his Christmas Oratorio, consisting of 
six parts, for the Christmas period of 1734/35. The 
six individual parts were to be performed on the 
three days of the Christmas festival, New Year's 
Day, the Sunday after New Year's Day and the fes' 
tival of the Epiphany. It is not correct to think of 
the Christmas Oratorio (as some do) as a collection 
of six cantatas, however. Cantatas do not have a 
continuous Biblical recitative as does the Christmas 
Oratorio which feature, incidentally, is character- 
istic of oratorio, especially in 18th century Germany. 
This performance, directed by the late Fritz Leh' 
mann (he died before the recording was completed 
and parts five and six are under the direction of 
Gunther Arndt) is a revealing one. Here one hears 
no dry as dust pedants music but rather a magical 
score that comes vibrantly to life. The soloists are 
just about as fine as could be desired Helmut Krebs 
carries the brunt of the vocal burden, and he does 
an impeccable job. Sieglinde Wagner, Gunthild 
Weber and Heinz Rehfuss all turn in performances 
that could not be bettered. The all-important chorus 
proves to be one that not only sings with style and 
precision but also sings expressively. 

The welcome opportunity of hearing such a mas' 
terful performance of the Christmas Oratorio at will 
goes a long way towards enabling the listener to 
sense something of the wonderful unity of the con' 
ception which pervades the entire musical structure 
of the work, from the first note to the last. It is an 
experience that never grows old or repetitious, for 
such is Bach's genius that the music remains ever 
new, ever fresh. WILLIAM A. OLSEN 



indicates LP 83 1/8 rpm. 

indicates 45 rpm. 


The IS^ 



Tomkins: Musica Deo Sacra. (Sung in English). 
Ambrosian Singers and the In Nomine Players 
conducted by Denis Stevens, with Martindale 
Sidwell (organ). 1-12" disc (*EA-0027) $4.98. 

The English Church Music of Thomas Tomkins 
(1572-1656) represents the beginning of the transi- 
tion from the Polyphonic Era of Byrd and Tallis to 
the more florid verse anthem period of Purcell and 
Handel. In some sections Tomkins makes use of four 
equal voices in intricate contrapuntal patterns, while 
in others, he alternates between solo and full chorus 
passages in a homophonic style. 

The selections on this recording were chosen from 
a collection of Tomkins" 1 s liturgical works. Musics 
Deo Sacra. Several short organ voluntaries are also 
included, having been recorded on an Eighteenth 
Century instrument. 

This music has never been very widely used. Soon 
after the death of Tomkins, church music became 
more secular, and the music of the conservative era 
was forgotten. With the renewed interest in liturgi< 
cal music, particularly in the Anglican Church, the 
music of Tomkins should help to fill the need for 
anthems which can be an integral part of the service. 

This music, performance by a small choir of men 
and boys and their string accompanists, follows the 
best traditions of the Chapel Royal. Liturgical con' 
siderations aside, it is magnificent music, splendidly 
reproduced. B. 


Puccini: Turandot (complete). (Sung in Italian). 
Soloists, Chorus and Orchestra of La Scala (Mi- 
lan) conducted by Tulho Serafin. 3-12" discs 
(*ANG-35558/60TP) $11.94. 3-12" discs in fac- 
tory-sealed album (*ANG-3571C/L) $15.98. 

Turnadot Maria Meneghini Callas (s) 

Altoum Giuseppe Nessi (t) 

Timur Nicola Zaccaria (bs) 

Calaf Eugenia Fernandi (t) 

Liu Elisabeth Schwarzkopf (s) 

Ping Mario Borriello (bt) 

Pang Renato Ercolani (t) 

Pong Piero de Palma (t) 

"An aura of tragedy seems to hang over post- 
humous works, 11 writes William Weaver, in his ex- 
cellent introductory notes to this sumptuous Angel 
edition of Puccini's Turandot, "and especially over 
unfinished ones." This is very true, and one cannot 
get rid of the thought that, had he lived, Puccini 
would have made some drastic revisions. An opera 
wherein the heroine (the title role no less) is not 
heard until the latter half of the second act (side 4, 
not before!) is strange; and the -end, written by 
Franco Alfano from Puccini's sketches, is weak. 
There are wonderful moments, however Liu's 
scenes are endowed with typically Puccinian pathos, 
while the role of Timur is a triumph of musical 

characterization. On the other hand, Calaf is a heel, 
a sort of oriental Lt. Pinkerton. Turandot herself, 
one of the most unpleasant ladies in all opera, is a 
curious mixture, beside whom Amnens seems, Mr. 
Weaver amiably notes, "a downright homebody." 

The performance recorded here is fine in most re- 
spects, tremendously exciting in others and curiously 
poor at times. Elisabeth Schwarzkopf is natural and 
moving as the pitiful Liu; she is ideally cast. Nicola 
Zaccaria, as Timur, does some extraordinarily fine 
singing. Ping, Pang and Pong, the curious set of 
"ministers" (Grand Chancellor, General Purveyor 
and Chief of the Imperial Kitchen, respectively) are 
excellently sung and acted by Borielli, Ercolani and 
de Palma the latter, incidentally, doubles as the 
unfortunate Prince of Persia and makes appropriate 
gurgling noises as his head is chopped off. 

The excitement is supplied by Maria Callas as 
Turandot a fine characterization and an equally 
fine singing job as fine as she has ever done on 
records. Even the cruelly high tessitura, of the role 
does not cause her too much trouble she is the icy 
Princess to perfection. Eugenio Fernandi is a very 
ordinary tenor with ringing high notes and little 
else. He sings everything the same way, no expres- 
sion just the right notes, good and loud most of 
the time . . . just loud at others. He also has the 
harnmy operatic habit of sobbing indiscriminately, 
presumably to express emotion. Another disappoint- 
ment is the casting of Giuseppe Nessi as the Em- 
peror, Turandot' s father a less emperor-like voice 
would be hard to imagine; he sounds more like an 
old time burlesque comedian. 

The sound is very fine, and Serafin's direction is 
sure and on the deliberate side. A fine libretto with 
a sensible translation is furnished with the factory- 
sealed package. This is the second Turandot on LP 
discs, the other, a London set (TNR Mar. ""56) is 
good too, but this one gets the nod primarily be- 
cause of Maria Callas' electrifying singing and acting. 

Granados: Goyescas (complete). (Sung in Spanish). 

Soloists, Madrid Singers and National Orchestra of 

Spain conducted by Ataulfo Argenta. 1-12" disc 

in box (*L-A-4121) $4.98. 

Rosario Consuela Rubio (s) 

Pepa Ana Maria Iriarte (ms) 

Fernando Gines Torrano (t) 

Paquiro Manuel Ausensi (bt) 

(Enrique Granados) first introduced his musical in- 
terpretations of the paintings of Francisco Goya as 
piano pieces. Later, however, he re-arranged the 
works into an opera Goyescas, consisting of three 
tableaux. The intermezzo after the first of the 
tableaux is indeed familiar; it is one of Granados' 
most inspired compositions. This is Spanish opera 
which bears only a faint resemblance to the Italian 
variety. Much of the music is devoted to expression 
of the gaiety of throngs at a celebration, especially 
in the first scene, which bears a marked resemblance 

* indicates LP 33 1/3 rpm. 
indicates 46 rpm. 


PAGE 10 





to the sarzuela. The introductory music to the third 
scene and the beautiful aria of Rosario bring a 
genuine feeling of opera seria to the work. 

The overfall impression is, quite naturally, that of 
a rich Spanish flavor. The National Orchestra of 
Spain under the well-known Ataulfo Argenta con" 
tribute an inherent Latin spirit to the tragic drama 
of the music. Consuela Rubio, in the outstanding 
part of Rosario, merits praise, although her upper 
register needs strength and focus. Gmes Torrano's 
tenor lacks the warmth demanded by music of this 
type but manages the dramatic inference quite well. 
In the realm of Spanish music, the opera holds an 
important position, and this recording brings forth 
the fire which makes the music worth hearing. P. 

Rossini: II Barbiere di Siviglia (excerpts). Soloists, 
RCA Victor Symphony Orchestra and Chorus 
conducted by Giuseppe Bamboschek. 1'12" disc 
(*CAM-CAL-386) $1.98. 

Back in the days of 78 rpm recordings, RCA 
Victor initiated what was called a "recordrama," 
consisting of excerpts from an opera presented with 
many pages of notes designed to span the omitted 
parts of the score. The "recordrama" of II Barbiere 
di Siviglia is given a new hearing on a Camden disc 
made from the old masters. 

The most successful part of this particular record' 
ing is the price. A large part of Rossinf s opera for 
only $1.98 is, indeed, a bargain. The soloists are not 
bad, nor are they good. They manage to sing the 
notes quite well with few lapses in pitch. The part of 
Rosina is filled by a lyric'coloratura soprano, Hilde 
Reggiani, rather than the more popular (at present) 
mezzo'soprano of the original. Her Una voce poco 
fa is not half so interesting as the colorless pyny 
technics of Roberta Peters, but the vocal focus is 
quite good. Carlos Ramirez, the Figaro, whistles to 
the consternation of this reviewer. 

Giuseppe Bamboschek, an old hand at this sort of 
thing, manages to pace the orchestra nicely. For 
$1.98, what do you have to lose? P. 


The Union, 1861-1865. Peggy Zabawa (soprano), 

Jule Zabawa (baritone), Cantata Choir of the 

Lutheran Church of the Reformation, and the 

National Gallery Orchestra conducted by Richard 

Bales, with Raymond Massey (narrator). 1-12" 

disc in album (*C-DL'244) $10. 

Why Columbia waited from December 1954, 

when it issued The Confederacy, until now to issue 

the companion piece, The Union, no one knows. 

Judging from the spectacular (and almost unproplv 

esied) success of t