Phonograph Monthly Review, Vol. 1, No. 11 (1927-08)

The Phonograph Monthly Review 453 recognized as representing—for better or worse —this country. And if it represents us for the worse rather than the better (a point which many would strongly deny with me), perhaps the blame lies not with Gershwin but with America itself. The issue of the Rhapsody (unfortunately in- complete in both new and old versions) is one that deserves the highest praise. The Victor Comp- any again takes honors here, but Columbia de- serves credit also for the truly remarkable piano solo records made by Gershwin himself of some of his songs. (Strangely enough, two of these have been issued in England, but not here.) The record of Clap Yo’ Hands shows both genre and composer in their most effective light; if this is not American music, then nothing is! An equally effective recording of the newly composed Pre- ludes may well be anticipated. Among the radicals, Aaron Copland should be mentioned again, particularly for his suite, Music for the Theatre, which contains a Dance admirably suited for recording, its verve and piquant tunefulness promising well for its popu- larity. His Organ Symphony and Piano Con- certo, significant as they are, would be impractic- able of course at present for the phonograph. Much can still be expected from talents like those of Carpenter and Whithorne (not to men- tion many others), but obviously, it is to Ger- shwin, Copland, and the still younger men that we must look for the significant works of the future. Mourn the fact as we may, it is indisputable that the works of the older school in American are coming to possess more and more a purely historical and academic interest. Except in cases where the influence of the composer as a conduc- tor or conservatory director manages to secure him repeated performances of his own works, most compositions are given but one or two hear- ings—if at all—and are heard no more. Some of these works deserve a better fate; the majority do not. In any case, we can hardly expect the recording companies to devote any serious con- sideration to them for recording purposes. The younger men (whose music for the most part pulses with truer vitality and life—in some cases it is of course as drab an imitation of current styles as that of the academics was in their day) can hardly hope for much consideration from the recording companies either, since their works will appeal only to the comparative few who possess some understanding of the modern idiom. But as their works receive the attention they are beginning to receive in the concert hall, conditions will soon change.^ Perhaps we may be able to expect recordings of works by Antheuil, Varese, et al, four or five years hence. For the present, the choice of American compositions for record- ing must necessarily fall between the extremes of both orthodoxy and heterodoxy, unless some uni- versity or conservatory undertakes private re- cordings of the former type or an organization like the League of Modern Composers’ recordings of the latter. IV. Since the suggestion of various works suitable for recording has occurred rather naturally in connection with reference to certain composers, it might be well in summing up the ground already covered to note down a few more suggestions, made with the dominant consideration of prac- ticability strongly in mind. In the field of folk music we have found negro music, particularly the spirituals, excellently represented; their current popularity will insure the continuation of the praiseworthy work, per- haps with increased attention to authentic vers- ions and interpretations. Indian music has surely received as much attention as it can honestly be said to deserve (the omission of recordings of MacDowell’s Indian Suite, Gilbert’s Indian Sketches, etc., properly falls under the composed music classification). Country dances, minstrel tunes, and mountaineer ballads, already repre- sented to a considerable extent will undoubtedly continue to be recorded, with increased emphasis on authentic versions, I trust. David Guion’s piano transcriptions of Turkey in the Straw and Goat and Sheep Walking to Pasture (the former recorded by Grainger) may perhaps be the first of many similar works, which when interest in Henry Ford’s orchestra subsides, will continue to keep alive interest in this type of American folk music. The records made by various “old- time fiddlers” are also of unusual value in pre- serving the original flavor and raciness of the pioneer music, which played such a prominent part in the history of this country. Perhaps sailor songs and shanties may win more recogni- tion ; Colcord’s Roll and Go, and similar books are rich in shanties and whaling songs of genuine American qualities. One might also look for- ward to some systematic attempt on the part of the American Folk-Lore Society or the Smithson- ian Institute thoroughly to unearth and record American folk music of all classes while it is yet possible to find folk singers and players who have kept the old pieces in their memories. Such work of course properly belongs to the domain of scientific investigation, not to the recording companies themselves. (Concluded next month) Enthusiasts, interested in the rapidly-grow- ing Phonograph Society Movement, may write to the Editorial Department, Phono- graph Monthly Review, 64 Hyde Park Avenue, Boston, Mass., for advice and assistance in the formation and maintenance of societies, and the preparation of programs. Can your community afford to be without a Phonograph Society? There are unodubt- edly many enthusiasts in your neighborhood who wou’d be glad to join the movement. Write in to us for information and assist- ance.