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

222 The Phonograph Monthly Review most of them. Rosenthal, Hess, Leginska, and Dohnanyi are all fairly regular visitors to this country, and Hutcheson and Schelling actually live in it. One might add to this list Lhevinne who has made only one record that I know of, and Ganz, since I think their records are no longer available. It may be, of course, that some of these artists have recorded for European companies such as the Odeon or the Parlophone to whose catalogues I have not had access. Thanking you in advance for any information you may be able to give me on this subject, I remain, Yours sincerely, San Diego, Cal. Harry L. Anderson. Editor, The Phonograph Monthly Review: Dear Sir: . I thanks for your letter dated Nov. 18th, and the speci- men copy of the Phonograph Monthly Review which I read with great joy and interest, I think the magazine is the best one of its kind ever published in U.S.A., immedi- ately after when I received it, I sent the subscription to your business manager, so please enlist me as one of your faithful readers. The magazine is full of the useful and interesting articles and photographs, just are I wish to know or to see, surely every gramophone lover must read it, and especially it is indispensable one to the enthusiastical phonograph lovers as me far from your country. Here, and thanks to your splendid efforts and I may hope the flourish of your busi- ness in future. Now, I have almost 600 records which I collected during the past 15 years with great difficult and inconvenient, my collections contain many Symphonies, Concertos, Chamber Music and Vocal records and I play these records not only to enjoy but also to study orchestral compositions, and for the later purpose, American catalogues contain rather small serious works (I mean original recorded ones than the Euro- pean Catalogues, frankly to write my opinion why American Gramophone Company do not to make the records of their excellent American composers serious compositions as the British Gramophone Company contributed to their modern composers for the purpose of the propagation and the pa- triotism I wishes to hear the symphonic works of Messrs. MacDowell, Hadley, Cadman, Chadwick, Converse, Rubin Goldmark, John Powell, Paine, Parker, finally recently much discussed George Gershwin’s Piano Concerto etc., and from this point of view I prefered the Victor records of Mr. Ernest Schelling’s a “Victory Ball” and C. S. Skilton’s “Two Indian Dances.” Eagerly I wish to record above American composers serious works, instead of making many jazz records. I use the 100 type large Victrola machine which I care- fully preserve (my collections of records with the machine were entirely escaped from the earthquake disaster of 1923.) such a phonograph and records will be easily to get or to select in your country, but in Japan, the matter is not same as yours. Moreover, since the earthquake disaster, we must pay the 100 percent luxurious tax for the phonograph and its accessory, this economic condition greatly prevents to widespread of Occidental music records through Japan. There is no country where the phonograph records have so deep relation to the musical taste of its people, except in Japan, such complete success of the records were caused as follows: 1. We have no chance to hear or to attend the concert of world famous artists (except recent few years, in these years, Violin Virtuoso as Elman, Zimbalist, Heifetz, Kreisler, Pak- low. Pianists as Godowsky, Miinz, Levitzki, Vocalists as Schuman-Heink, Garrison, Johnson, McCormack were come to Japan, and their concerts were very successful these tri- umphal results greatly their records which to make compre- hend their art among Japanese before they came, then if a musician (not a recorded artist) come here, even if he or she possess admirable technique and faculty, their recital will be not successful one, for most Japanese music lovers thinks that the great musicians limit only to the recorded artist, this matter proved by the concerts of Piastro, Milo- vitch, (both, before American appearance) Prokoffief, Eich- heim, in Tokyo.) 2. We should like to hear the fine records rather than to go to the concerts of our native musicians who could not perform the difficult works or modern composition by their poor technique and interpretation. There is interesting phe- nomenon as the Japanese musician’s concert programmes, that is the most their reportoire is the same to some recorded music, the fact proves that professional musicians use the gramophone records as the teacher or pedagogue. 3. Cultivated young men or women wishes to hear the Occidental music very eagerly, for they disgust their native music as primitive and monotonous, and these demand only filled by the gramophone records. 4. We could not hear any symphony concerts as perfect as your own. We have no Symphony Orchestra in Japan except Naval and Military Bands. 5. The merit and advantage of gramophone records also available to us. I should like to write another topics of about the phono- graph in Japan in near future. Please accept my best thanks again and don’t forget that if there is anything you require from Japan do not fail to let me know. Yours faithly, Hajime Fukaya. Kamakura, Kanagawa-Ken, Japan December 20th, 1926. THE MUSIC APPRECIATION CLASS OF EAST MACHIAS GRAND CONCERT For Sarah Condon, Sunday Evening, November 20th Mrs. Alice B. Talbot, Rim Road, East Machias, Maine Program Lady, you are very welcome to our house; It must appear in other ways than words, Therefore we discourse sweet music. From Tannhauser Overture Philadelphia Orchestra Leopold Stokowski, Conductor Act III Elizabeth’s Prayer Marie Jeritza Evening Star Emilio deGogorza Pilgrim’s Chorus Victor Male Chorus From Lohengrin Act I Prelude Philadelphia Orchestra Elsa’s Dream Marie Jeritza The King’s Prayer Marcel Jounet Act III Prelude Symphony Orchestra The Bridal Chorus Chorus and Orchestra Albert Coates, Director Lohengrin’s Narrative Even Williams A hundred thousand welcomes: I could weep And I could laugh—Welcome. Caruso, grandest songster of our age, Gives you welcome. Stradella. 1645-1681 Lord Have Mercy Handel, 1685-1759 Largo Massenet, 1842-1912 Almighty Lord, Oh Judge, Oh Father Rossina from “William Tell” His life basely taken. Martinelli. DeLuca and Mardones DeGogorza, whose melting lays are full or nameless graces, Bids you a blithe good evening. Alveras The Departure DeLara The Garden of Sleep O’Hara Little Bateese Collation The banquet waits our presence, festal joy Laughs in mantling goblet, and the night Illumined by the taper’s dazzling (?) beams Rivals departed day. By request Thirteen Songs from “When We Were Very Young” A. A. Milne Music by H. Fraser-Simson Sung by George Baker. THE NATIONAL GRAMOPHONIC SOCIETY M ANY American phonograph enthusiasts are familiar with the splendid work the National Gramophonic Society is do-