Phonograph Monthly Review, Vol. 2, No. 4 (1928-01)

124 The Phonograph Monthly Review January, 1928 - 1 1 ■■■■■ = The permanency of this Reproducing Piano Sup- plement depends entirely upon the interest shown in it by our readers. Expressions of their opinion will of course be welcomed. If the interest shown warrants it, the supplement will be continued and expanded; otherwise the innovation will be dis- continued. A further chance will also be noted this month in the type of paper used. A number of com- plaints have been received, especially from among the more elderly of our readers, regarding the glossy surfaced paper used up until this issue. The glossy surface is admittedly difficult on the eyesight and consequently I have decided to try out another type, perhaps more suitable to a journal of this character. It will be noticed that cuts do not reproduce quite as well, but the im- proved appearance of the text more than balances that disadvantage. This is not a measure of ec- onomy; as a matter of fact the new paper is a little more expensive, but the lessened strain on the eyes of our readers is surely worth the extra cost. The New York Philharmonic Orchestra by vir- tue of its history and standing rightfully deserved an earlier place in our Recording Orchestra ser- ies, but no photograph was available until a month or so ago. It is a great pleasure to be able to publish its picture and an account of its history and recordings at last. The rest of the American orchestras which have not yet appeared in this series will be included in early issues. Thanks are due to the Rev. John W. Norris of Philadelphia for the opportunity of printing the picture and article on the Monahan Post Am- erican Legion prize-winning band. We have had considerable correspondence regarding this or- ganization's records with our English colleague W. A. C. of the Gramophone and others, and we are now happy to be able to enlighten these in- quirers with the full details of this band. (And while speaking of band records, I should mention Brunswick No. 3266, in which Sousa's El Capitan March is played for the first time on records in the true vein in which Sousa plays it as an en- core in his concerts. Walter Rogers deserves the credit for succeeding, even with a comparatively small band, where even Pryor and others have failed.) Another Philadelphia clergyman also deserves editorial thanks. Rev. Herbert B. Satcher was the first American clergyman to organize a Phonograph Society and the result of his untir- ing labors is shown elsewhere in this issue where the current report of the Cheltenham Society re- veals the remarkable progress he has succeeded in making. Where the first meeting was attend- ed by only a few friends, this last one drew an audience of seventy-five. The Reverend Satcher has been one of our most valued supporters from the very first and his interest and co-operation have been of inestimable help and encouragement to us. It is a real pleasure to have the privilege of printing his beautiful little article on the close link between Christmas and music. - = -- 1 M V While the record releases of last month arous- ed thoughts on the subject of “interpretations" and music critics, those of this month give rise to a consideration of realistic recordings and the cultivation of a “phonographic ear." It is well known that of late there have been releases of such intense realism that even those who scoff most at the phonograph are silenced. Yet it can- not be expected that every work can possess such illusion of reality as some of the outstanding or- chestral and band records of recent issues. The seasoned phonograph enthusiast is much easier to please than the novice in this respect, for he realizes that the phonograph is after all a me- chanical instrument, and he overlooks oc- casional limitations in the pleasure of so many musical delights. The novice, however, demands absolute realism in every record, until he becomes more and more familiar with phonographs and records and gradually cultivates what well may be called the “phonographic ear." The excessive demands of the phonographic novice accounts for the scoffing of so many pro- fessional musicians. Again my father provides a case in point. When I first sent him an in- strument, several years ago, he was of course glad to receive it inasmuch as he was no longer able to go out for his music as much as he had previously done, but he was implacably severe in his criticisms: surface noise, recording, even interpretations that differed from his own con- ception of the works played, all aroused his con- demnation. But now after some years he is not only an enthusiast himself, but has converted many leading Danish musicians into enthusi- astic record fans. On his eighthieth birth- day recently he was able to give for his friends a phonograph concert consisting of works for which no excuses or criticisms were necessary. Most musicians who scoff at recorded music today do so only because they have not given the phonograph a fair chance. Their prejudice could hardly be blamed in the past, for they couldn't get the things on records they cared to listen to. But now conditions are revolutionized. The phonograph enthusiast can still learn much in the concert hall, but the concert goer can learn fully as much from records. I have particularly in mind Beethoven's Seventh and Eighth Symphonies. Recordings of the latter work had given me no idea of true beauties, and it was a Mengelberg concert performance which gave me a true con- ception of the work. And with the Seventh, it was just the other way around. No concert per- formance ever made me feel I truly knew the work until I had heard Stokowski's records. All of which goes to prove that while every phono- graph enthusiast must necessarily be a music lover, no music lover can afford to scoff at the phonograph today. The disks of ultra realism are attracting the attention of those unfamiliar with recorded music, but realism is only a part of the merits of the modern instruments and records. There are musical beauties which out- shine all the technical brilliancies.