Phonograph Monthly Review, Vol. 1, No. 5 (1927-02)

The Phonograph Monthly Review 213 El Clackson (3) is a fox trot of a somewhat different style in which the staccato of the wood block is used with good effect. The fox-trot arrangements of the Mexican songs, Mi Viejo Amor (4) (which has been pre- viously mentioned), and of Es por Ella (5) are also very fine. For waltzes may be mentioned Mavi (6), also of Mexican origin, partly in minor key, with a specially fine bass, rich in harmony. Another (3) Vocalion 14511 (4) Victor 73639 (5) Victor 73639 (6) Victor 73701 (7) Victor 77255; Edison 80784 beautiful Mexican waltz is Abandonado (7), the melody giving a little tug at the heart-strings. And thus ends our little sojourn among the melodies of Spain. If you have followed along, by means of the records named, I am sure you have found enjoyment and instruction, with nothing to repel and much to attract. And if, perhaps, through this brief survey of the music which arouses or calms the emotions of our Spanish brethern we can arrive at a better sympathy with, and understanding of, their minds and hearts, then indeed have our efforts been well worth while. The End. Recorded Symphony Programs A S stated in the last issue, this feature has proved to be of much greated scope than at first imagined. The complete season’s programs are being sent in from every American Symphony Orchestra except one. These pro- grams are now being classified, the many re- corded works listed and the notes on the record- ings prepared. The tremendous amount of ma- terial and the non-arrival of several catalogues of foreign recording companies have combined to make it necessary for us to ask our readers to be patient for another month at least. We be- lieve this feature to be of such importance and permanent value that we do not wish to begin it prematurely, omitting material which should be included. It is of interest to note that many symphony programs are available complete in recorded form. This is particularly true of the many All-Beethoven or All-Wagner programs. The “Popular” programs given by many symphony orchestras on special occasions are also usually completely recorded. Although the season is hardly half elapsed some works have already ap- peared on a surprising number of programs. Glinka’s Overture to Russan and Ludmilla, for example, has been played by four orchestras; Scheherazade by five; the Oberon Overture by six; Tchaikowsky’s Fifth Symphony by four; etc. Detailed notes will be given later, of course. A S usual, it seems to be we dealers who come in for all the blame. I have been in the game for many years and watched the industry grow, diminish, and now start to expand again. And always the dealers were at fault for everything wrong in the eyes of the so-called enthusiasts. It sounds fine to talk about keeping all these wonderful things in stock and letting them out on trial, and so forth and so one, but it doesn’t make any money. I admit, all right, that it’s better to sell one set of five or six $1.50 or $2.00 records than three or four 75c jazz records. And the few of my customers who really like the classical stuff certainly do keep coming back for more. But just the same, the “jazz-hounds” are the ones that keep me alive. They may throw their records away after a week or two but that’s none of my business. There are enough of them to keep me busy. As a matter of fact I don’t know anything about these symphonies and all this super-nut music. I don’t understand it and I don’t like it and so far I’ve been able to get along without it. One day a fellow came in and asked for the “Fire-Bird” by this Strabinsky or Stravinsky composer and I hunted it up all over and finally dug out a set. He played a little of it and when he came to that place in one record where the waiter drops a pile of dishes and the bowl of soup goes into the trombone, he says, “That’s fine; I’ll take it!” “Say, now honestly, do you like that stuff?” I asked and he had to admit, “No, but we’ve got neighbors in the flat above that keep the radio going all day and night, and if I can’t drown them out and scare them off with this piece, there’s no hope. I asked a nephew of mine in the Con- servatory the worst thing written and he told me this, and I believe him!” Well there you are. And that just about re- presents my customers and me. This Stravinsky should be called Strangle-insky for us. But frankly, The Phonograph Monthly Review seems to be starting something that’s getting to be pretty big. And I have to admit I did a bigger business this last fall than for the past three years. Radio is falling off. I’d never be writing here if I wasn’t afraid there is something to chew over in this magazine. But it sounds too good to be true. If people do want this classical music, there will have to be a big change, I can see that and I want to be on the bandwagon. But—please—give the dealer a chance. We want to sell records and as long as we sell jazz, we’ll like jazz. But maybe if enough people really do come in and play Mr. Strangle-insky’s classics I can find some tunes in them too. New York City, N. Y. S. K.