Phonograph Monthly Review, Vol. 1, No. 6 (1927-03)

250 The Phonograph Monthly Review Philadelphia Symphony, Leopold Stokowski, Conductor January 28, 1927 (Artur Rodzinski, Conducting) Rossini: Overture to The Barber of Seville (x); Schreker: Prelude to a Drama; Charpentier: Impressions dTtalie (re- corded in part); Tchaikowsky: Symphony No. 4, F minor (x). s}i j|c !j« % ♦ Rochester Philharmonic, Eugene Goossens, Conductor February, 10, 1927 Glinka: Overture, Russian and Ludmilla (x); Schumann. Symphony No. 1 (x); Mendelssohn: Concerto for Violin, Richard DeSylva, Soloist (x); Eciheim: Oriental Rhapsody; Bach: Air on G string (x); Auber: Overture, Fra Diavolo (x). * * * * * Boston Symphony Orchestra, Serge Koussevitzky, Conductor December 10, 1926 C. P. E. Bach: Concerto for Orchestra in D major (arr. by Steinburg); Strawinsky: Suite, The Fire-Bird (x); Sibelius: Symphony No. 7; Sibelius: Finlandia (x). * * * * * San Francisco Symphony, Alfred Herz, Conductor December 16, 1926 Wagner: Prelude to Lohengrin (x); Mozart: Concerto No. 4 for Violin (D major) Lajos Fenster, Soloist (x); Saint- Saens: Le Rouet d’Omphale (x); Thomas: Overture to Mig- non (x); Humperdinck: Dream Pantomine from Hansel and Gretchel (x); Delibes: Ballet Suite from Sylvia (x). * * Jjc * * New York Symphony, Walter Damrosch, Conductor January 7, 1927 (Otto Klemperer, Guest Conductor) Strauss: Don Juan (x); Debussy: Fetes (x); Ravel: Albor- ado del Gracioso; Bharms: Symphony No. 1, C minor (x). sfs * * sfs * Boston People’s Symphony, Stuart Mason, Conductor January 2, 1927 Tchaikowsky: Symphony No. 6, “Pat-hetique” (x); Grieg: Concerto for Piano, Felix Fox, Soloist (x); Schubert: Over- ture to Rosamunde (x). * * * * * Minneapolis Symphony, Henri Verbrugghen, Conductor January 21, 1927 All-Beethoven Program Overture, King Stephen (x); Three Equali for four Trom- bones; Elegiac Song, Op 118; Benedictus from Mass in D; Symphony No. 9 (with Apollo Club and Minneapolis Sym- phony Choruses) (x). * * s|c * * New York Philharmonic, William Mengelberg, Conductor January 20, 1927 (Georges Gorgesco, Guest Conductor) Smetana: Overture, Bartered Bride (x); Rabaud: La Pro- cession Nocturne; Strauss: Till Eulenspiegel (x); Brahms: Symphony fro. 2 (x). * * * sfs * Boston Philharmonic, Ethel Leginska, Conductor October 24, 1926 Weber: Overture, Oberon (x); Beethoven: Symphony No. 5 (x); Peterka: Prelude, Triumph of Life; Liszt: Hungarian Fantasia, Leginska, Soloist (x); Wagner: Overture, Tann- hauser (x). THE PHONOGRAPH SOCIETY MOVEMENT Enthusiasts, interested in the rapidly-growing Phono- graph Society Movement, may write to the Editorial De- partment, Phonograph Monthly Review, 64 Hyde Park Avenue, Boston, Mass., for advice and assistance in the formation and maintenance of societies, and the prepara- tion of programs. Arrangements may be made to obtain demonstration records as a loan from the leading recording companies who have assured us their heartiest co-operation. On pages 269 to 274 of this issue are printed the re- ports of the activities and plans of the Societies already established. The work they are doing is of unestimable 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. T HE Auditorium Orthophonic Victrola, so called by its designers, the Victor Talking Machine Company, is shown in the accom- panying illustration in a theatre stage setting at Loew’s State Theatre, Boston, where it was presented as part of the regular program for an entire week. The audiences of this large and elaborate theatre were highly enthusiastic over this world’s most powerful instrument. The stage presentation also was most favorably com- mented upon. A huge record eight feet in dia- meter and a reproduction of the familiar Victor dog eight feet high were placed on each side of the large horn which measures approximately eight feet square. The horn itself was treated with a goljl finish with a Grecian frieze border and the entire equipment was placed in a gold stage set, made up of heavy golden silk drops, etc., valued at $10,000. The demonstration was under the capable direction of Mr. James A. Frye, the Victor Company’s representative for the Boston territory. So successfully was this huge Orthophonic Victrola received that all the leading local theatres immediately put in application for its use as a feature of their performance. It was booked by Mr. Frye through the leading Paramount houses in New England, selecting only those of the highest grade. Undoubtedly this is the first time that big, outstanding theatres have used a manufactured instrument as unusual entertain- ment. The results showed conclusively that the public accepts the talking machine as an out- standing form of entertainment, since even when in competition with star performers, the instru- ment has proved the hit of the bill. The Auditorium Orthophonic Victrola was de- monstrated also by Mr. Frye in the recital hall of the Jordan Marsh Company. Located in a store on Boylston Street, Boston, during the week between Christmas and New Year, it entertained thousands on the street and in the Boston Com- mon opposite. It could be clearly heard even at Bunker Hill, a mile and a half away. The Auditorium Orthophonic Victrola is a greatly magnified version of the Credenza Ortho- phonic in use at the Studio. As the latter is designed especially for use in the home, the former is made on a huge scale for use in auditoriums and other large places of assembly, giving the same faithful reproduction as the smaller orthophonic instruments, but on a larger scale. At the first special Press hearing at Loew’s State Theatre, we, like the rest of those present were amazed at the fidelity at which it reproduced instrumental and vocal music with a volume equal (or far greater, if desired) to the original volume of the recording artist. Of course, its vast power