Phonograph Monthly Review, Vol. 1, No. 3 (1926-12)

The Phonograph Monthly Review 101 genius by the composers Gliere and Glazounow and other eminent authorities. Sir Henry Wood has also praised it highly. The Symphonic-Ballet, “The Dance in the Place Congo” was produced with notable effectiveness at the Metropolitan Opera House, New York, and the Boston Opera House. Other noted works are the Symphonic Prologue to Synge’s “Riders to the Sea,” the “Negro Rhapsody,” “Americanesque,” “Indian Sketches,” Music for the Plymouth Tercentenary Pageant, and the “Symphonic Piece” performed by Koussevitzky with great success in Boston, Cambridge, and New York. There is also the famous “Pirate Song” (Fifteen Men on a Dead Man’s Chest), “Salammbo’s Invocation to Tan- ith,” “The Lament of Deidre,” and many other songs, piano pieces, etc. It is peculiarly fitting that this new feature which promises to be of such inestimable value to the cause of music in America should be in the hands of Henry F. Gilbert who already has done such valiant service for the cause. We are justly proud of the feature, “Recorded Symphony Pro- grams,” and of Mr. Gilbert’s willingness to con- duct it. Mr. Gilbert’s Personal Message to the Readers of the Phonograph Monthly Review When the Managing Editor of The Phono- graph Monthly Review told me about his idea of publishing the programs of the leading sym- phony orchestras of America, with a careful and complete list of all recordings of the different numbers, I became enthusiastic at once. It struck me as a fine idea. And when he asked me to take charge of this “feature,” I was indeed much pleased—in fact delighted. I am convinced that the phonograph is the most powerful and far-reaching agent for the spread of music appreciation. It is music's “best friend,” as it were. In the large cities where the symphony orchestras are located, one can go to the concert: but for the great majority of the population this is not possible. Those of us who live in one of the large cities of the East usually fail to realize how restricted is the influence of our local symphony orchestras. (A few days ago a young man from Utah called upon me. Al- though he was very musical, and about twenty- five years of age, it came out in the course of con- versation that he had never heard more than ten symphony concerts in his whole life. Doubtless there are thousands like him: a typical case.) Neither have most persons the time and patience to search the Phonograph catalogues for pos- sibly existing recordings. But in this Depart- ment not only will all such useful and necessary information be assembled; its educational value and help in the spread of the knowledge of good music cannot be gainsaid; and I sincerely believe that the actual influence of the symphony orches- tras, themselves, will be much increased thereby. We are all interested in that which is current; the news; events which happen during our life- time. Witness the daily newspaper. Modern life is unthinkable without it. Now this column aims to be a news column, but one of a superior order, which shall give the current news of the activities of the finest bodies of musicians in our country. And not only that, but it will point out the way— give the information in a nutshell—by which he who possesses a phonograph, and a refined mus- ical soul may practically duplicate a current sym- phony concert which he reads about—in the priv- acy of his own home, though he live in New Mexico and the symphony concert be in New York. The practice of broadcasting symphony con- certs—so that anyone may hear them who possesses a radio set—is coming to be more and more general. This is indeed all to the good, as it cannot but help the cause of good music in this country. But the phonograph possesses one great advantage over the radio, inasmuch as one can play the record of a composition (or any part of it) as many times as one pleases, and get to really know and appreciate it. This, of course, cannot be done with the radio set; nor can it oc- cur at the concert itself. The performance, once over is done. As Omar Khayyam says, does he not? “The Morning Fingers fly: and having flit Move on; nor all your Piety nor Wit Shall lure them ~baelc to cancel half a line Nor all your Tears recall a note of it.” There is very seldom a repetition at a symphony concert. How many times at a concert, have I asked a friend, “Well, what do you think of that composition?”—and he has replied, “I don't know —I'm all mixed up—I'd like to hear the thing right over again.” Now this is just what will be made possible for the possessor of a phonograph who follows this symposium of the current sym- phony programs. All recordings of a given com- position will be listed, with brief discriminative remarks as to their salient points and compara- tive value—whether the composition has been recorded with or without cuts — whether the record is remarkable for faithfulness, or brilli- ancy of interpretation, beauty of tone, perfection of recording, etc. I beg to assure the reader that these “discriminative remarks” will be dictated entirely by aesthetic considerations as long as I, personally, have charge of the “feature.” I un- derstand that there are no strings tied to The Phonograph Monthly Review anyway. Considering all the points outlined above, I am convinced that this department can be both useful and valuable, and will certainly be appreciated by all phonographically inclined music-lovers. The symphony orchestras must also do their bit (which they undoubtedly will be glad to do) by sending us their programs, betimes, for examina- tion, comment, and reprint.