Phonograph Monthly Review, Vol. 1, No. 12 (1927-09)

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The Phonograph Monthly Review 491 vale upon the radio. Yet in truth, we hear only a small percentage of the unfinished waste products of would-be musical culture, for the larger per- centage are rejected. There is a profuse bunch of teachers in exis- tence today, who specialize (like quack physic- ians) in quick cures. Their shingles promise a short road to success. They blame failures on the cerebral absorption of the student, or else they turn out technical monstrosities, whose sense of balance in nearly everything but the essential principle is almost perfect. But this may be in part, a representative reaction from the period in which we exist. The exceeding restlessness of the times, would be reflected in all phases of life, and would be a good cause for those who seek exemptions, to attribute it to. It is surely an un- usual soul who can escape the influence of the age in which he is born. However, all this is not intended to imply that we haven’t great artists. Every age has it celeb- rities, the failures are forgotten. It is as it should be. Yet, yesterday’s celebrities are cast aside too soon. Observe the withdrawal of all the fine rec- ords of these artists from the various catalogues. Most people condemn the manufacturer for this, but that is delusive condemnation. It is a case of holding the mirror up to nature, that is necessary; for we, the general public in this country are the real ones to blame. The interest we take is so small, that to continue an output of these, would be running a constant deficit for the manufacturer. The stimulus is wanted in the people, not in the various companies. If we will wake up, take an active interest, and support the producers will quickly respond. In England, there is a separate list at the end of the regular catalogue, where old favorites are listed. Celebrities of a by-gone day and so forth. They are there, inviting the general public to turn back a page, and grow acquainted with the art of a generation before. They are there, be- cause demand and support keep them there, and a sense of appreciation. My profound respect goes out to a nation that has such esteem, in- stilled in the hearts of its youth as well as its elders, for those who are buried in yesterday’s files. If only we had ways to cherish the memory of the singer as the painter and sculptor are cher- ished. They have their museums, their art gal- leries and so forth, conducted by people who know their business, and who know something about art. But the singer, even of the day, or any musical artist who reproduces his art, has only a dealer’s shop mostly devoid of atmosphere, certainly devoid of art. And half of the dealers know nothing of the artistic merits of the wares they are offering the public. The forgotten singer, the singer of an age gone-by fares worse, they have only the cherished admiration of a few appreciable collectors. There should be a room in some public place set aside for the portraits of these great artists of yester- day who have left their finest vocal paintings, chiselled in copper for posterity. Of course the artist of today, with the electrical recording will have an advantage upon those of yesterday, but still the portraits of the others that went before, will ever be valuable to people of appreciation and discernment. It is a fault that is redundant in the educated as well as the ignorant. A false belief, that the phonograph is not a genuine musi- cal instrument; that a musical disc is not a faith- ful reproduction of some of the most beautiful art available. The Victor Talking Machine Co. has a sepa- rate list of cut-out records, which will be sent upon request. It contains some rare records. Public demand is so slight, these records have to be especially pressed upon request. But the fact that they are available, makes me want to praise the spirit this company has shown in issuing such a catalogue. What a galaxy of old stars are represented in those pages. As I look down that list and read the names of those who have left us discs of great vocal art, I realize they belong, a great many of them, to a race of extinct artistry. A sense of thoroughness, a sense of proportion, a sense of dignity are there; the result of years of untiring effort. There is an enlightening example for a large percentage of the haphazard performers of our day, as well as the modern transitory student. Comparison is odious, so to compare any artist who is successful today with an artist of a past generation, would be an absurdity only indulged in by the very young or the very ignorant. There will never be another Caruso, but there will be a tenor always who will be deservedly equally as famous. There will never be another Eames, nor another Gerville-Reache, but there will be singers with their types of voices, who will in their time be equally as famous. I shall take a few old favorites, and go over their records in part. A short review of some of these records here, I am certain would not be untimely. It rounds up, I believe, my argument most fitly. Approaching alphabetically, we will begin with Mario Ancona: Those who knew Hammerstein’s Manhattan Opera, will recall this finished artist. His sing- ing was faultless. Of the fourteen records in the catalogue, I wish to recommend the airs from Dinorah, Ernani, and Favorita. The records of Battistini, are old ones. Their chief value would be for comparison (being his early voice), with the discs now available in this country and England which are better recorded. Giuseppe Campanari was one of the most fa- mous baritones of his day. He sang at the Metropolitan the latter part of the nineties and in the early years of this century. His interpre- tations were famous and his ability for phrasing and diction were above the average. He is well- known as a teacher today. I believe a choice of his records should rest with those who are inter- ested. Edmond Clement was unexcelled in his lyric singing. No one has ever caught the subtle