Phonograph Monthly Review, Vol. 1, No. 4 (1927-01)

The Phonograph Monthly Review 156 - --i= - ■ . — —— <sy by a violin figure and a few notes from the vibra- phone. This merges into the verse, which is taken up by the full body of strings, very legato. A trumpet figure, played very softly, is heard in the background and there is a counter-melody heard from the ’cello. Through it all the first violin is heard singing the melody, not obtrusively but prominently, nevertheless. Now comes the first rendition of the chorus, which is heard first as a violin solo, against the full accompaniment of all the other instruments, through which can be heard a beautiful ’cello obbligato. This continues through the first half of the chorus, when the melody is shifted to a violin duet, against one low vibraphone note and it ends with the melody returning to the full body of strings. For the second playing of the chorus, the violin duet is again heard, this time against a ’cello counter-melody. This is followed by a return to the violin, which plays a duet with the vibra- phone and the chorus is finished with the ’cello and strings playing the melody in unison. While it is easy to describe the process by which Shilkret obtains his effects in “Just a Cot- tage Small,” the effects themselves are not des- cribable. You must hear them to realize their beauty, and beauty of tone, beauty of rhythm, beauty of expression, are what distinguish all Victor Salon records. All one can say of this rendition of “Just a Cottage Small” is that it is a masterly recording of a splendid, melodious number. And after all, what more could be said of any record? Walter damrosch and the New York Symphony Orchestra Exclusive Columbia G/4rtists T HE familiar name of the Symphony Society of New York can never be divorced from the even more familiar one of Damrosch. The Damroschs, father and son, have practically been the Symphony Society. One the wise and cour- ageous pioneer in the heart-breaking task of planting and encouraging the growth of a musical culture in a new country, the other the indefati- gable and undaunted worker in the carrying on of the same ideals. It would be hard to estimate the musical debt that this country owes to the Damroschs. And the work is still being carried on. Dr. Leopold Damrosch was born in Posen, Prus- sia, on Oct. 22, 1832. At the height of his distin- guished career as a composer, conductor, and violinist, he was called to America to become conductor of a prominent male chorus in New York. Dr. Damrosch, already famous as a friend of Wagner and Liszt and an interpreter of their and other (then) modern composers’ works, soon made his unusual ability as an organizer strongly felt in the musical life of New York and America. In 1874 he founded the Oratorio Society and in 1878 the Symphony Society, remaining conductor of both until his death in 1885. His help in the establishment of German Opera at the Metropoli- tan Opera House was also of invaluable service, for he put German Opera on such a firm found- ation that it became inseparable from the musical life of the city. His son, Walter Johannes Damrosch, born in Breslau, January 30th, 1862, and trained under his direction from childhood, succeeded him as Conductor of the Oratorio and Symphony Socie- ties. In 1894 he formed The Damrosch Opera Company and gave performances all over the country for a period of five years, retiring from his conducting in 1899 to devote a year to com- position. 1900-1902 he conducted German Operas at the Metropolitan and the next season he con- ducted the New York Philharmonic Society. The following season he organized an orchestra called the New York Symphony which for four years operated on a co-operative basis. Early in 1907 the old Symphony Society was formed again by the guarantors Dr. Damrosch had gathered to- gether to assist in the cause to which he was devoting himself. The old Society rejuvenated prospered and in 1914 the President of the Society, Harry Harkness Flagler, endowed it with an annual income of $100,000. In the same year Columbia conferred the degree of Doctor of Music on the Conductor. Three years later Dr. Damrosch also returned to the Oratorio Society to take up again the work which had been carried on by his father, his brother, and himself. In 1920 an extended European tour was taken by Dr. Damrosch and the New York Symphony Orchestra and concerts given in most of the principal cities. The New York Symphony has continuously been active in touring America and