Phonograph Monthly Review, Vol. 1, No. 10 (1927-07)

The Phonograph Monthly Review 432 music lovers! Dealers are welcomed as music lovers (when they really are) and not as dealers alone. To sum up: beware of the dangers of social climbers, drones, and un-musical commercial influences. (I have not dwelt much on the drones, those who wish to enjoy the benefits of a society without sharing any of the necessary work, because the vitriolic words of Mr. L. Harry Terhune in the January Correspondence Column dealt with them according to their deserts. I might add however a note on one incident I observed. At a society meeting where it was necessary to work out a line of action for future meetings and where the business part of the evening was rather extended, one man complained over the fact that he couldn’t get more music in an extremely surly manner. Upon inquiry I found that this man, who had attended meetings since the formation of the society, incessantly demanding what records he wished to hear, this man had never contributed a cent in dues or offered to help in any way!) It is difficult to write about conditions like this without becoming rather extreme; it is so easy to get “worked up.” I notice the same thing in the magazine and perhaps I may be pardoned for commenting on your caustic remarks con- cerning the dealers who see the handwriting on the wall and are forced to realize that they must either know something about the music they are selling or find work selling hardware or frankfurts! This is certainly the truth, but sometimes the truth must be uttered a little more discreetly. I agree ab- solutely with you, but I must advise you not to frighted the non-musical dealers. They are beginning to realize the conditions themselves and are not having many happy hours over the fact that they can no longer “get away” with their lack of knowledge as they have in the past. I trust you will permit me to add to the above, which I had the pleasure of handing to you personally when I visited the Studio on my way through Boston last week, a few more words. After our conversation I understood better than ever before the necessity of combining the artistic and practical factors in a movement like this. It is hard to say which has done the greater damage in the past, the lunatic fringe (or plain “nuts”) or the purely commercial people (described by one disgusted “nut” as the “hard-headed business men whose heads are so hard they can’t see real business”!). When I see the way in which you have demonstrated the practicability of the movement, the fact that good music can be sold if it is given a fair chance, while at the same time holding firmly to sincere and high artistic ideals, I realize that everyone interested in the movement must strive their utmost to re- main sane, but sincere; idealistic and practical. Bread is very necessary for life, but roses are no less necessary, and life that is merely food and sleep with no thought or consideration for beauty is not life at all, but mere existence—and a pretty low one at that! New York City. “Edwin C. Harrolds.” Editor, Phonograph Monthly Review: The ways of the manufacturers are indeed mysterious and wonderful to behold! Why doesn’t the Victor Company con- tinue the series of popular overtures it began so brilliantly with Poet and Peasant and Egmont? And why aren’t any of the cheap, abbreviated versions of well-known symphonies made any more by the Victor Symphony and Concert orches- tras? I still preserve some of the old ones, but how much better still they could be made today. This present fad for complete expensive works reaches the ridiculous in some of the recent issues, to say nothing of a Mahler Symphony on eleven records—and then not complete! Such works may be ali right for professors and so-called “super-nuts,” but how about the rest of us? Give us a chance! Why can’t some orchestra do the same stunt Creatore’s Band does in issuing a double-sided “selection” or “fantasie” of well-known orchestral works. Stokowski used to do some- thing of the sort when he did single movements from Sym- phonies. And the old Columbia catalogue of several years ago contained some splendid stuff by Prince and his orchestra. The new men can still learn something from the old lel- lows! _ Miami, Fla. R- A. Scott. Editor, Phonograph Monthly Review: Allow me to congratulate you and Captain Barnett on his excellent British Chatter, a mine of information and interest to me and my friends. I am looking forward to the editorial findings on sound-boxes, etc., which I expect to be of great value. It may interest you td know that I had no less than four instruments of the leading makes sent to my home for careful trial and the unanimous choice of my family was the same as that of you and the Staff. You ’cannot emphasize the technical side of the phonograph and recorded music too much to suit me. Mount Vernon, N. Y. R. D. M-K. Editor, Phonograph Monthly Review: In answer to “C. D. M.’s” letter about educational records. The special article in the same issue in which your letter was printed should be of great advantage to you. The Victor Company has always been in the forefront of educational music work. I’m sure their Educational Director, Mrs. Fran- ces C. Clark, would be glad to assist you with any specific information you may desire. She has been very helpful to me on several occasions. The Columbia Company, too, issues a special educational list and particular attention should be drawn to the recent catalogue’s “educational” section, containing a number of very valuable works. Most manufacturing companies issue special educational records and catalogues; in addition, there is thei series issued by Ginn and Co. of Boston, under the direction of Mr. Elbridge Newton, etc,, etc. For school work, where you have only a limited amount of money at your disposal, I should advise you to obtain catalogues and supplements from all the companies and then pick out the works most valuable. The Educational Departments—I have found—are always ready to assist you with advice that is of real help, not the mere sales talk received from most dealers. I should also suggest buy- ing or ordering from a branch or wholesaler as small dealers neither carry the desired records in stock nor know enough to give you any intelligent information about them. And for a final hint, do not overlook the foreign catalogues; some of the records best suited for educational work may be found there. I noted with pleasure among the reviews of 1 his month’s Russian records mention of a Ukranian Orchestra’s release as “excellent for children’s dance-game.” I immedi- ately ordered it and have found it exceedingly valuable. Many of the “blues” and foreign recordings in the Okeh lists are also good. My principal nearly had me expelled the first time I played a “blues” for my children, but it was not long before he was asking me where they could be obtained! Of course, judicious selection is absolutely imperative in buying such records. I had a most amusing singing-talking Greek record once which I played for my classes with great delight until a parent of Greek extraction informed me of the nature of the words! It was fortunate indeed that we had not un- derstood them! It is a strange thing, but children seem to be more impressed by the simple, un-affected manner of the colored “blues” and the foreign singers than by the trained concert-manner of well-known artists. Experiments along such lines are most fascinating and instructive. I wonder if any other worker has tried them. Cincinnati, Ohio. “Phonographic Teacher.” Editor, Phonograph Monthly Review: I have read Mr. Fisher’s challenge to a duel, the rather sensible remarks of the man who loves light overtures, Mr. Colton’s sarcastic slams, and all the rest, and of the whole bunch, only the letter signed “D. R.” in the April issue seems to take a really human view of my letter I wrote somei time ago. I didn’t mean to insult Mr. Fisher with my little bit of kidding about Stravinski’s name, but as D. R. says, how can you know how to spell it? However, I wanted to be fair and square all around, so I actually got out that Fire-Bird music and played it all through for myself. (And believe me, I waited until everyone had left my place for the night before I started!) But honestly, it still did sound like the dishes dropping and the trombone gargling soup and all the rest. And where it wasn’t all wild like that, it was so slow and drawn out that I couldn’t fol- low it at all. I can’t really understand it, so it’s no use for me to try. But as far as the rest of my letter’s 'concerned I cant see why Mr. Fisher and the others should get so angry. He says