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

270 The Phonograph Monthly Review Mr. Axel B. Johnson, editor of the Phonograph Monthly Review, and Mr. R. D. Darrell, secretary of the Boston Phonograph Society, spoke of the advantages to be derived from an organized society for the enjoyment and promotion of good recorded music, the membership to be open to all interested in the purposes of the society. Their suggestions were accepted, and the following officers were elected for the new Providence Phonograph Society: President, Mr. J. Harvey Barber Vice-President, Mrs. Caesar Misch Secretary, Mr. A. P. DeWeese Treasurer, Mr. Walter Briggs Seventeen of those present enrolled as members. Repre- sentatives of three of the largest phonograph companies off- ered to help in any way, and gave the Society permission to hear the new records each month before they are released for sale. Mrs. Misch has kindly proffered the use of her large music- room to the Society. The meetings are to be held at eight e’clock in the evening on the third Monday of each month. The second one will be on February 21, with a program con- sisting chiefly of the new March records. A. P. DeWeese, Secretary. Mrs. Marion L. Misch M rs. MARION L. MISCH, President of the Rhode Island Federation of Music Clubs, was at one time a “scoffer” when the merits of “canned music” were spoken of. Able to play the piano, organ, 'cello, and harp, she could hardly see the advantages of having her music “served up in canned form” to her by others. But gradually, upon hearing some of the modern reproducing instruments, she became an ardent convert and now is one of the leaders in the phonograph movement in this country. Mrs. Misch’s library of over 4000 phonograph records is devoted largely to Operatic music, in- cluding over 300 operas from which she has at least a few selections. In conjunction with the record library, she has also built up a library of — iisv scores so that the music may be followed on paper as it is heard. Symphonic and chamber music and national and folk music have also re- ceived considerable attention and for them, too, she has procured the scores for her library. In the large music room in her home in Prov- idence Mrs. Misch began to give Operalogues more than three years ago. The opera would be detailed and discussed and illustrated by selec- tions on the phonograph, piano, organ, or oc- casional singers. The Operalogues were very suc- cessful and from the tuneful operas taken up the first season progress was made to the Wagnerian and modern operas. Widely known as a phonograph enthusiast, Mrs. Misch was characteristically in the forefront of the work of establishing a phonograph society for Providence, generously offering the use of her music room for its monthly meetings. Mrs. Misch was elected Vice-President of the new So- ciety and is further largely shouldering its mone- tary burdens. The Phonograph Monthly Review which was proud to number Mrs. Misch among its earli- est supporters and her kind words of encourage- ment and helpful suggestion have been deeply appreciated by us. Chicago Gramophone Society The regular monthly meeting of the Chicago Gramophone Society was held on Tuesday evening, January 18th at Lyon & Healy Concert Hall. The meeting was called to order by the President, Mr. Vories Fisher, who told the Society about the private recording of the Caesar Franck “Prelude, Choral and Fugue” by Miss Marion Roberts which he and Mr. Robert Poliak are underwriting. Mr. Fisher announced that only a few more subscriptions would be accepted, as the edition will be limited, and that the subscription list would then be closed. Upon motion duly made, seconded and carried it was resolved that Messrs. Fisher and Poliak be authorized to have this new recording issued under the label of The Chicago Gramophone Society. There being no other business to come before the Society, attention was given to the program for the evening which program consisted of a talk by Mr. Vories Fisher on the life and work of Modeste Mossourgsky (from an article by Mr. Fisher, which will appear in The Phonograph Monthly Re- view) followed by recorded examples from the opera, “Boris Godounov” illustrating his music. L. F. Harris, QAPPpfo r*\r BORIS GODOUNOFF. It will be my object this evening to try to point out three things: First the early training, the environment and ex- ternal causes that give Moussorgski the position of one of the most interesting and important composers in the history of modern music: Second, as we preceed I will try to show you just what these various qualifications are, and lastly, I will try to indicate to you how these qualities are best brought out in the culmination of his genius, the opera, “Boris Godounoff”. It will, therefore, be necessary for us to review in some detail the history of his development up to 1871. Modest Moussorgski was born in 1839 in the small village of Karevo, into a family of small landholders. It is evident that, while neither his mother nor liis father were profes- sional musicians, they were much in sympathy with, and charmed by their sons early interest in the piano. His mother gave him his first music lessons at a very early age, but what appears to me as being the most important force in his early country training was the work done by a nurse whose name has been lost. She brought him up and trained him upon almost the entire history of Russian folk lore. To further his musical education a German governess was en- gaged and, if we may believe the accounts, his progress was