Phonograph Monthly Review, Vol. 1, No. 8 (1927-05)

332 The Phonograph Monthly Review article was written in the first part of March, 1894, because in the seventh paragraph of the essay we read: “Since the days of Palestrina, the three-hundredth anniversary of whose death was celebrated in Rome a few weeks ago,” and that anniversary was on February 2, 1894. It was the second year of Dvorak’s directorship in New York. I will quote here only two last paragraphs of the valuable article: “My own duty as a teacher, I conceive, is not so much to interpret Beethoven, Wagner, or other masters of the past, but to give what encouragement I can to the young musi- cians of America. I must give full expression to my firm conviction, and to the hope that just as this nation has already surpassed so many others in marvellous inventions and feats of engineering and commerce, and has made an honorable place for itself in literature in one short century, so it must assert itself in the other arts, and especially in the art of music. Already there are enough public-spirited lovers of music striving for the advancement of this their chosen art to give rise to the hope that the United States of America will soon emulate the older countries in smooth- ing the thorny path of the artist and musician. When that beginning has been made, when no large city is without its public opera-house and concert-hall, and without its school of music and endowed orchestra, where native musicians can be heard and judged, then those who hitherto have had no opportunity to reveal their talent will come forth and compete with one another, till a real genius emerges from their number, who will be as thoroughly representative of his coun- try as Wagner and Weber are of Germany, or Chopin of Poland. To bring about this result we must trust to the ever-youthful enthusiasm and patriotism of this country. When it is accom- plished, and when music has been established as one of the reigning arts of the land, another wreath of fame and glory will be added to the country which earned its name, the “Land of Freedom,” by unshackling her slaves at the price of her own blood.” SYMPHONY NO. 5 “FROM THE NEW WORLD,” E MINOR Complete: Victor 6565-6589 — The Philadelphia Orchestra. Leopold Stokowski, Conductor (electrically recorded). Columbia Master works, Set No. 3 — The Halle Orchestra in Manchester. Sir Hamilton Harty. Excerpts: Largo, Victor 6236 — Philadelphia Orchestra. “Going Home,” a theme from Largo, paraphrased by Fisher: Brunswick 30113, Mario Chamlee, and 3127, Brunswick Concert Orchestra Victor 6472 — Werrenrath. Kreisler, Negro Spiritual Melody (also a theme from Dvorak’s Symphony), Victor 1122 — Kreisler. CARNEVAL OUVERTURE Victor 6560—Chicago Symphony Orchestra. Fred Stock. SLAVONIC DANCES (Originally as Piano Duets, Op. 46, Nos. 1-8, Op. 72, Nos. 9-16. Orchestrated by Dvorak himself, but the publisher changed two numbers, making the original No. 6 now No. 3 and vice versa). No. 1. Victor 35715—Victor Concert Orchestra. Victor 35507—Vessella’s Italian Band. No. 2. Victor 35715—Victor Concert Orchestra. No. 3. (Orchestrated No. 6) Odeon 5011—German Opera House Orchestra, Berlin, Eduard Moericke. No. 6. (Orchestrated No. 3) Brunswick 15091—Cleveland Orchestra. Nikolai Sokoloff. No. 7. Victor 16202—Prague Military Band. No. 8. Odeon 5011—German Opera House Orchestra. Moer- icke. (The same Ncs. 3 and 8 also Parlophone, P 1152.) Arrangements for Violin and Piano: No. 2. Kreisler’s No. 1, G minor (only one-half is Dvorak, the other half is Kreisler). Victor 723—Kreisler. Victor 675—Heifetz. Victor 976—Thibaud. Polydor 14785—Jenny Skolnik. Nos. 6 and 7. Polydor 65979—Adolf Busch. No. 10. Kreisler’s No. 2, E minor. Victor 6183—Kreisler. Victor 6376—Heifetz. Columbia 9001-M—Seidel. Polydor 6598^-Prihoda. No. 15. Polydor 65994—Prihoda. No. 16. Kreisler’s No. 3, G major. Victor 6376—Heifetz. ROMANTIC PIECES Adagio. Polydor 62469—Adolf Busch. WALTZES No. 1, A major. Polydor 66219—Prihoda. DUMKY TRIO Polydor 66194, 66195, and 66196—Pozniak Trio. Columbia 67090-D—Catterall, Murdoch and Squire. (Just the only part which was omitted by Pozniak Trio, therefore these four records make the Trio complete). HUMORESQUE (No. 7 from Humoreskv, Op. 101, Nos. 1-8, written for piano solo.) Arrangements, Violin and Piano: Victor 6181—Kreisler. Victor 6095—Elman. Columbia 9028-M and 9003-M—Seidel. Polydor 66187—Prihoda. Polydor 65979—Busch. Brunswick 20019—Fradkin. Brunswick 50005—Rosen. Other arrangements: Victor 45165—Victor Herbert Orchestra. Victor 20130—Venetian Trio. Columbia 846-D—Squire’s Octette. Parlophone P 1253—Marek Weber. INDIAN LAMENT (Second movement of the Sonatina G major, Op. 100, for Violin and Piano; Simrock called this movement “Canzonetta,” Kreisler baptized it “Indian Lament”.) Victor 6186—Kreisler. Polydor 66058—Prihoda. Homokord 8142—Fuchs. TYROLEAN DANCE (An entirely false and nonsensical name for Scherzo of the same Sonatina, Op. 100.) Victor 17934—Natalie and Victoria Boshko. QUARTET F MAJOR, OP. 96 Lento. Victor 6449—Flonzaley Quartet. Lento and Scherzo. Brunswick 25015—New York String Quartet. Finale. Polydor 66421—Amar Quartet. QUARTET E FLAT MAJOR, OP. 51 Dumka and Romanza—Polydor 19020—Post Quartet. GYPSY SONGS, OP. 55, NO. 1. No. 1. I chant a hymn of love—Gramophone Company, Ltd. 2-72228 Vand 67-F—Otokar Marak, in Bohemian. No. 4. Songs my mother taught me. Victor 622—Geraldine Farrar, in English. Victor 73360—Milo Luka, in Bohemian. Columbia 41185 and 67-F—Otokar Marak, in Bohemian. Columbia 103-M—Barbara Maurel, in English. Brunswick 10116—Florence Easton. Kreisler’s violin arrangement: Victor 727—Kreisler. Brunswick 10175—Elshuco Trio.