Phonograph Monthly Review, Vol. 2, No. 2 (1927-11)

November, 1927 The Phonograph Monthly Review 45 that the Edison Company will enter the field of classical recording within a few months, with a series similar to the Masterworks, New Hall of Fame, Music Arts, and other libraries of major musical works. For some time we at the Studio have felt the need for more adequate quarters. The consolida- tion of the business office with the Studio, a more efficient arrangement, has severely taxed our space limitations, and our continuous growth is further making it imperative that we seek larger quarters. Obviously, we cannot locate in the business section and in choosing our new location the advantage of a quiet street played a large part, for even at the present address we have been bothered by traffic noises while testing rec- ords and instruments. Our new quarters are more modern and have been specially fitted up for our needs. They are only a short distance from the present location, but in a more quiet district. We move on November 5th, so after that date please address all communications to 47 Hampstead Road Jamaica Plain Boston, Mass. The Minneapolis Symphony Orchestra (Exclusive Brunswick Artists) O N November 4th, 1927, the Minneapolis Symphony Orchestra will hold a gala con- cert in the Lyceum Theatre, Minneapolis, celebrating the twenty-fifth anniversary of the first concert given in 1903 by the then newly formed organization. Before 1903, the leading musical organization in Minneapolis was the Philharmonic Club, a large mixed chorus, which gave four concerts every year, under the direc- tion of Emil Oberhoffer. In spite of the merits of the chorus itself and the talents of the conduc- tor, it was found difficult to give finished per- formances on account of the inability to recruit an adequate accompanying orchestra. The desire was strong for a permanent orchestra, both to play with the Philharmonic Club and to give regular symphony concerts, and under the leader- ship of a group of Minneapolis business men and musicians a campaign was inaugurated to raise funds for such an orchestra. The first concert of the new organization was given in November 1903, and it is the identical program of this first concert that will be given again in this present 25th anniversary season. Mr. Oberhoffer, whose efforts had accomplished so much musical good in Minneapolis, was natur- ally chosen as the Conductor of the new orches- tra, and he remained in that post until 1922, when he was succeeded by the present conductor, Henri Verbrugghen, a distinguished Belgian mu- sician. From the very beginning, the Minneapolis Symphony Orchestra was a decided success, and its activities were soon expanded to cover regular series of concerts in St. Paul, and visiting con- certs throughout the North and Middle West. From a personnel of fifty musicians at the first, the organization is now of full modern symphonic proportions. The financial affairs of the orches- tra have been exceptionally well managed and complete stability is insured by a regular guar- antee fund. The North West seems particularly whole-hearted and energetic in supporting their musical organizations; untiring co-operation has always been given the orchestra by the members of its community. Indeed, it would be hard to find a single music lover in Minneapolis or St. Paul who would not defend with his life his faith in the Minneapolis Symphony as the finest or- chestra in the country—if not the world! So overwhelming enthusiasm may seem a trifle ex- aggerated to more cold-blooded Easterners, but it is this very enthusiasm that has enabled the orchestra to make such regular and unfaltering progress. During Mr. Oberhoffer’s time as conductor, some of the most interesting "first performances in America” were: Delius—Dance Rhapsody; Strauss—Festival Prelude; Skilton—I n d i a n Dances (first performance anywhere) ; Sibelius —Suite, Scenes historiques, and First Violin Serenade; Alfven—Third Symphony and other works; Stenhammer—Midvinter; also several of Oberhoffer’s own compositions. American music was well represented in works by Carpenter (Per- ambulator Suite); Chadwick (Symphonic Sketches, Tam O’ Shanter, etc.) ; Converse (Endymion’s Narrative) ; Hadley (Third and Fourth Symphonies, etc.) ; Edgar Stillman Kelly (Aladdin) ; MacDowell (Indian Suites, etc.) ; and many others. B ORN in Brussels, Belgium, the only son of a well-to-do manufacturer, Henri Verbrugghen was apparently destined for a professional career, preferably that of a doctor. But his early violin studies revealed a remarkable talent that at- tracted the attention of Ysaye, the great violinist, who took him as a pupil. His first public appear- ance was in his native city and proved so success- ful that he was taken to London when he was fourteen, and where he created a positive sensa-