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

172 The Phonograph Monthly Review Several recent records by various companies are still under discussion in the Studio and con- sequently are not included in any of the budgets. Apologies are due to the Brunswick and Colum- bia Companies for the seeming neglect of their January domestic releases. As this is being writ- ten, we are already twenty-four hours late in go- ing to press and the Victor January issues are the only ones in, having arrived last night. We have been hard at work in the Studio since then, going over the releases, for it is an unwritten rule that no recordings are commended, or even mentioned, without having been heard and ac- curately estimated by the Staff. As the other companies’ January lists have failed to arrive, partly on account, of course, of the transportation difficulties at this time of year, it has been neces- sary to go forward with the budgets without them. Next month they will be given every op- portunity. THE PHONOGRAPH SOCIETY MOVEMENT Enthusiasts, interested in the rapidly-growing Phonograph Society Movement, may write to the Editorial Department, Phonograph Monthly Review, 64 Hyde Park Avenue, Boston, Mass., for advice and assistance in the formation and maintenance of societies, and the preparation of programs. Arrangements may be made to obtain demon- stration records as a loan from the leading recording companies who have assured us their heartiest co-operation. On pages 175, 176, and 177 of this issue are printed the reports of the activities and plans of the Societies already established. The work they are doing is of inestimable value to the cause of fine recorded music. Can your community afford to be without a Phonograph Society? There are undoubtedly many enthusiasts in your neighborhood who would be glad to join the movement. Write in to us for information and assistance. - ■ ■ = 1 '1 Traditional Irish Music By JOSEPHINE SMITH Ireland has had many titles covering many phases of her history, “Banba,” “Dark Rosaleen” and “Caitlin ni Houlihan,” etc., but the greatest and most endearing of all has been that beautiful one—“Land of Song.” While western Europe was still in a state of barbarism, the little Isle of Erin (smaller in extent than New York State) was sending her zealous teachers and musicians to educate and enlighten the European Continent and indeed the then known world. Ireland is unique in having a musical instrument for its national emblem—The harp of Erinl—Who has not heard it, and thrilled to its strains? The traditional airs of Ireland, composed many centuries ago when the world was young, long before printing was known, or present day notation, have come down to us from mother to child through countless generations. And though we find many versions of the same air, it is small cause for wonderment. It would be absolutely impossible to have retained all the airs in their original state. Where the singer, or harper took liberties it was inevitable that slight changes should occur in the passing of the airs to posterity. But the basic principle of the airs remained unchanged. These prehistoric composers in Erin composed their melodies on the same principles’ practically that governed Beethoven, Mozart, Wagner, and the rest of the great masters of Europe several hundred (or perhaps) thousands of years later. Take for example that most beau- tiful and simple of all airs—“Eibhlin Aurin”—Its greatest charm is in its antiquity and simplicity. In Burns’ time the Scotch put forth the claim to this air under the title of “Robin Adair.” But Burns himself confessed to taking the air from the Irish. In fact Robin Adair of whom he wrote was an Irishman. And the air itself was written years before Burns was born. Handel the master musician was so charmed by the beauty and simplicity of this old air, that he said he would have given anything he had written to have the distinction of being the composer of “Eibhlin Aurin.” Another fine example of traditional Irish song is “Una Bhan.” Here is a tone poem, a sublimity of expression as great as anything ever expressed in music. No known com- poser from Palestrina down has ever written anything more beautiful. And the remarkable thing is that it is only within the past twenty years or so that this air was collected and arranged by Carl Hardebeck the foremost Irish musician of today. Here is an air from which Beethoven could have fashioned a symphony: On these two airs alone I could fill a volume but they are only two of the many that I have heard and delighted in. In fact in my research work in Ireland at this late day, I have taken down songs from the peasantry that were never put in staff notation before. Strange though it may seem, I have heard traditional singers in Ireland sing old airs that defied transcription, simply be- cause modern staff notation does not allow for quarter tones. Irish peasants with no technical idea of music can sing intervals of quarter tones with ease and (strange though it seems) beauty. And it is true also that in Ireland there are to be heard many airs in what is called the grapped scale —having but five notes— doh, re, me, soh, lah.—the two other notes, fah and te, being absent. All these airs were composed long, long ago when the world was young and the Gael allowed to go his way unhampered by foreign rule, dreaming his own dreams, and singing his own songs that his children and his childrens’ children may love their country, her glorious past, her traditions, her joys and sorrows, even to the last generation. For as has been said, “The History of Ireland is written in her music.