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

The Phonograph Monthly Review 267 VSIE ^3|SV marking the price I would pay on each sketch. If the workman lost, I would pay his regular wages; if he made more than the wages, he kept it. The workman who got the sketch was John Kruesi. I didn’t have much faith that it would work, expecting that I might possibly hear a word or so that would give hope of a future for the idea. Kruesi, when he had nearly finished it, asked what it was for. I told him I was going to record talking, and then have the machine talk back. He thought it absurd. However, it was finished, the foil was put on; I then shouted 'Mary had a little lamb’, etc. I adjusted the re- producer and the machine reproduced it perfect- ly. I was never so taken aback in my life. Every- body was astonished. I was always afraid of things that worked the first time. Long experi- ence proved that there were great drawbacks found generally before they could be made com- mercial ; but here was something there was no doubt of.” The furore created by the announcement im- mediately following this invention of the Phono- graph in the autumn of 1877 was tremendous. A number of the primitive tin foil machines which were made and exhibited over the country, drew immense crowds wherever they were shown. Then Mr. Edison buried himself in his work on the electric light and the phonograph was temporar- ily neglected. Over ten years later, however, he developed the Cylinder Phonograph which soon became widely popular. About eighteen years or more ago he again took up the problem of the phonograph and after five years of constant endeavor and experimentation evolved Edison instrument and "Re-Creation” records. Comparative tests between the records and the actual artists were held over the coun- try, undoubtedly the most daring and conclusive test of a reproducing machine that had ever been attempted. Now, within the last year, comes the announce- ment of records able to play for twenty minutes on each side and the news that soon it will be possible to have complete symphonies, sonatas, operas, etc., on a few disks. Mr. Edison has already worked miracles and it seems is more capable than ever of further refinements and developments of the creation of his genius. Along with our tribute and honor to the great composer, Beethoven, we must not for- get our tribute to the man who has enabled us to possess in recorded form the musical master- pieces of the world, the great inventor, Edison. Record Budgets By Robert Donaldson Darrell All-Beethoven *Fifth Symphony (Royal Albert Hall—Ronald) Victor 9029-32—4 D 12s Al $6.59 *Second Symphony (London Symphony—Beecham) Columbia Masterworks Set No. 45—4 D12s Al 6.00 Fidelio—“Ha! It Is Not Too Late” and “If You Have No Gold”—(Michael Bohnen—baritone) Bruns- wick 151115—D12 $2.00 Romance in F (Thibaud—violinist) Victor 6606 2.00 “Moonlight” and “Pathetique” Sonatas (Friedman; Murdoch) Columbia Masterworks Set No. 54— 4 D12s Al 6.00 • $ 10.00 Egmont Overture (Victor Symphony—Pasternack) Victor 35790—D12 $1.25 *Quartet in C, Op. 18, No. 2 (Lener Quartet) Colum- bia Masterworks Set No. 66—3 D12s Al 4.50 $5.75 *Quartet F minor, Op. 95 (Lener Quartet) Columbia Masterworks Set No. 56—3 D12s Al $4.50 * Fifth Symphony (Royal Albert Hall—Ronald) Victor 9029-32—4 D 12s Al 6.50 • $ 11.00 Egmont Overture (Victor Symphony — Pasternack) Victor 35790 — D12 $1.25 Fidelio Arias (Michael Bohnen) Brunswick 15115 — D12 2.00 Quartet in C minor, Op. 18, No. 4 (Lener Quartet) Columbia Masterworks Set No. 59 — 4 D12s Al 6.00 $9.25 *Quartet in C, Op. 59, No. 3 (Lener Quartet) Colum- bia Masterworks Set No. 51—4 D12s Al $6.00 Romance in F (Thibaud—violinst) Victor 6606—D12 2.00 Egmont Overture (Victor Symphony — Pasternack) Victor 35790 — D12 1.25 ORCHESTRAL * Fifth Symphony (Royal Albert Hall—Ronald) Victor 9029-32—4 D12s Al Third Symphony “Eroica” (New Queen’s Hall—Wood) Columbia Masterworks Set No. 46 — 7 D12s Al Egmont Overture (Victor Symphony — Pasternack) Victor 35790—D12 $9.25 $6.50 10.50 1.25 $18.25 WAGNER’S TANNHAUSER *Bacchanale; and Prelude Act III (Symphony Orch.— Coates) Victor 9027-8 — 2 D12s $3.00 Dich, Teure Halle (Elisabeth Rothberg — soprano) Brunswick 15116—D12 2.00 Evening Star and Prize Song — Meistersinger (Casals — ’cello) Victor 6620 — D12 2.00 *Overture (Concertgebouw — Mengelberg) Columbia 67221-2 D—2 D12s 3.00 $ 10.00 LIGHT ORCHESTRAL Tchaikowsky: 1812 Overture (Cleveland Symphony— Sokol off) Brunswick 50090 — D12 2.00 Rimsky-Korsakoff: Coq d’Or—Russian Dance and Bridal Precession (British Broadcasting Co. Orch.) Columbia 50030-D — D12 1.25 Waldteufel: Estudiantina and Skaters’ Waltzes (Int. Concert Orch.—Shilkret) Victor 35798—D12 1.25 INSTRUMENTAL *Debussy: Waltz and The Girl with the Flaxen Hair; and Grieg-Achron: Scherzo-Impromptu (Heifetz — violinist) Victor 6622—D12 Traumerai and Apres un reve (Felix Salmond—’ceilist) Columbia 2045-M — D10 Bach: Sarabande and Schubert: Impromptu in A flat (Rachmaninoff — pianist) Victor 6621 — D12 $4.50 $2.00 1.00 2.00 VOCAL $5.00 Mozart: Lullaby and Reger: Maria Wiegenlied (Maria Kurenko — soprano) Columbia 2046-M—D10 $1.00 Ah, Moon of My Delight and Beloved, It Is Morn (Richard Crooks—tenor) Victor 9014—D10 1.50 Strauss: Morgen and Schumann: Mondnacht (Claire Dux—soprano) Brunswick 10248—D10 1.50 At Dawning and At Parting (Mary Garden—soprano) Victor 1216—D10 i 50 812 50 $5.50