Phonograph Monthly Review, Vol. 2, No. 5 (1928-02)

170 The Phonograph Monthly Review February, 1928 Chromics and my Odeon Choruses such as the Easter Hymn from “Cavalleria Rusticana” are startling to say the least. The “Electric” Chromic needles are in* in length or l /$ in. longer than the “Loud Tone” Chromics. I believe they are the same thickness, though the proper measuring instrument might find some difference. This “Electric” needle was made primarily for records electrically made, hence their name, but to be perfectly candid, I prefer the “Loud Tone” Chromic, even for Elec- trical Records. The Tone of the “Electric” is not as brilliant as the regular Chromic and to me at least there is the lack of that clear definition, that all-important background of inner accom- paniment being merged into a meaningless series of sounds. I must confess, however, that I have had trouble right along with these “Electrics”. It is impossible for me to keep them tightly in the needle box. Adjustment after adjustment was made with the screw to try and obtain the desired result, but without any success. This is hard to understand, doubly so, after I tell you I have been using the Medium Tone Columbia steel needle right along and these being the same length, % in., the fault cannot lie with the length. But even on occasions where the “Electric” did hold, there was that lack of real tone, and that jumble of inner tone coming from the want of clear defi- nition. When I play my Mendelssohn Violin Con- certo with Kreisler, using the “Electric” Chromic there surely is missing those overtones and that rich timbre so noted in Kreisler's playing, but, put on a “Loud Tone” Chromic and play the same set—what a vast difference! Everything is there, as though you were being played to by Kreisler himself in his living room. Can we ask for more? The surface noise of the “Electric” needles is about the same as the “Loud Tone”. Very little choice between the two on that score, but for the real life-like rendition of any record, and the word “any” in this case is a mighty big word, I would humbly ask you to try out the “Loud Tone” Chromic needle. The question of needles is natur- ally a disputable one, but I take courage while writing my experiences with these needles, in as much as my first article was the means of a num- ber of enthusiasts finding out about the Euphonic and Sympathetic sets, to their great delight. Opin- ions will differ, which is also natural, but once again I live in hope of the majority agreeing with me after testing these two Chromic needles. They come in a box of one hundred (100) and one hundred needles allow one thousand repro- ductions. There are dealers who now carry the Euphonic and Sympathetic sets—surely they will also carry these two other Chromic needles when they hear the call. And they will hear it in the very near future, for I can safely add that once you use the “Loud Tone” Chromic, and are look- ing for the really true life-like rendition without a bit of blast and with no wear on your records surely you too will use them altogether as I am and look forward to procuring them in this coun- try. Recorded Symphony Programs By Robert Donaldson Darrell O N glancing through the programs of the leading symphony orchestras, one is often struck by the appearance of peculiar waves of popularity for a certain work or a certain com- poser. Sometimes these are easily explained: a composers centennial or other anniversary is to be celebrated, a certain work is awarded a prize or achieves sudden prominence, or a com- poser visits these shores. But in other instances there would seem to be no cause beyond pure chance underlying the almost simultaneous ap- pearance of long-neglected works on the pro- grams of several orchestras. This month one notes the strange revival of several Berlioz over- tures. The popular Roman Carnival appears on the program of a Los Angeles popular concert (January 1) ; Frederick Stock plays King Lear in Chicago (December 21) ; Fritz Reiner plays Buenvento Cellini in Philadelpha (December 2 —Koussevitzky gave it earlier in the season in Boston, and Sir Hamilton Harty placed it on his February 9 program in Manchester, England) ; finally, Fritz Busch played Le Corsair with the New York Symphony (December 29). Waver- ley f Les Francs Jugues , and Rob Roy remain undisturbed, but the others are resurrected. The Roman Carnival and Cellini are the only ones to be recorded; here is a fertile field for some recording conductor in quest of the original. Berlioz has fared well in the recording world so far, as the Symphonie fantastique with one electrical and two acoustical sets has been given rather more attention than its actual concert hall popularity might seem to indicate. The ex- cerpts from The Damnation of Faust are old favorites in the phonograph world, and the re- cent excerpts from Romeo and Juliet , recorded by Sir Hamilton Harty may serve to focus re- cording directors' attention on this great, but neglected choral symphony. Under the classification of works stimulated by the visit of their composers to this country come pieces by Bartok and Ravel. The former played his Rhapsody for Piano and Orchestra with the Philadelphia Symphony on December 30. Ravel made his first American appearance with the Boston Symphony as Guest Conduc- tor in a program of his own works on January 12, 18, and 14. La Valse (listed in these columns last month) is the only one of the program to be recorded. From among the other works, Le Tombeau de Couperin , the Spanish Rhapsody , Scheherazade (Lisa Roma, soprano soloist), and the Debussy Sarabande and Danse in Ravel's or- chestration, the Spanish Rhapsody deserves per- haps first consideration for recording. It was played at Rochester by Goossens on January 12 and figures frequently on symphony programs. The lovely poems for voice and orchestra Sche-