Phonograph Monthly Review, Vol. 2, No. 6 (1928-03)

March, 1928 The Phonograph Monthly Review 205 The New Colossus By John C. W. Chapman N EW to the gramophone; centuries old to the realm of music: the King of Instru- ments! Hats off to His Titanic Majesty, the New Colossus of the gramophone; his in- spired composers, his wonderful interpreters— and the recording genii who have imprisoned his mighty powers within the limitations of a tiny, sinuous groove! The electrical process has no finer achievement to its credit. In no branch of recorded music does a greater diversity of opinion appear to exist than is made manifest by the reception of organ records. Let the pundits wrangle! It is not for me to discuss the matter from the musical or technical stand- points; let me endeavor to indicate how the ad- vent of the New Colossus affects the Ordinary Individual—that uninspiring entity whose musi- cal complex pays admiring tribute both to His Titanic Majesty and to the Miraculous Means which enable him to realize the glories of organ music in the sanctity of his own home—and who, incidentally, foots the bill! Nearly three years ago I was visiting Chi- chester Cathedral, when suddenly the organ pealed forth. I do not know what was played, but it was master-music—and no one was better aware of that than the Organist. Everybody sat down and rejoiced. And, being a gramo- phonist; my pleasure was tempered with regret. For, thought I, we shall never hear such heaven- ly sounds emanate from our beloved instruments; the idea is unbelievable. Which proves how much in error one can be, for just about then the Means were to hand, and the Way was about to open. The following year a serious and protracted illness prevented me from hearing many ex- amples of recording achievement; and it was not until October, 1926 that I heard my first real grand organ disc, “Piece Heroique,” played by Dupre, which—in my opinion now, as then—is one of the finest extant recordings. In place of the feeble, fconcertina-like bleatings and hoot- ings of the scanty number of old-process organ records, I listened to a convincingly-realistic sound-picture of His Titanic Majesty’s varied tonal properties and mighty volume of sound, profoundly impressed by the fulfilment of what I had till them regarded as impossible of achieve- ment. “Piece Heroique” is the doyen of my organ records. I value it for the loftiness of concep- tion, mysticism, and sheer majestic beauty en- shrined in its composition by the genius of Cesar Franck; because it is played by that most em- inent of recording organists Marcel Dupre; be- cause the great Queen’s Hall organ is a worthy vehicle for its interpretation; and because the recording engineers proved more than equal to their task. For me this marvelous record has opened up a fresh and deeply impressive gramo- phonic vista. Consider briefly the immense scope of this new avenue of superb music now adding to our delectation. A hitherto untapped source of wealth, emanating from the genius of such com- posers as Bach, Handel, Mendelssohn, Franck, Widor—to name but a few—is at our disposition. The finest organs of Great Britain—nay, of the world—are available for interpretations by such master-organists as Marcel Dupre, Guy Weitz, Stanley Roper, the Goss-Custards, Herbert Daw- son, G. D. Cunningham, Dr. Harold Darke, Ar- thur Meale (who has a huge host of admirers), and others too numerous to mention. The recording of organ music is of such re- cent date that it may still be said to be in its infancy. Its possibilities are enormous; so, too, is its popularity—make no mistake about that, whatever His Titanic Majesty’s detractors may say. One important factor is the affection and veneration the instruments themselves command, not only on account of their particular tonal capabilities, but also by reason of their associa- tions with the edifices within which they stand. The choice of organ is a strong and definite in- fluence in the selection of records, likely to make itself increasingly felt if, in the course of time, duplication of existing works (at present, com- paratively rare) provides matter for controversy. One gentleman of my acquaintance, whose recol- lections of St. Margaret’s, Westminster, extend over many years, has a prodigious enthusiasm for records made on the exceptionally fine organ of that Church; whilst another has a flair for the Kingsway Hall and Queen’s Hall instru- ments, which he often goes to hear. I must con- fess to a sentimental pleasure on hearing the first disc made in Canterbury Cathedral; and Mr. Weitz’s wonderful records have given me a desire to visit Westminster Cathedral in order to hear what is evidently a remarkably fine instru- ment. The Crystal Palace monster has yet to join the fold; when it does so, its tremendous popularity, both with Londoners and Provincials, will doubtless react favourably on the sale of the records made on it. Without wishing to draw invidious compari- sons, I cannot help thinking that the Gramo- phone Company has solved the problem of or- gan-recording much more satisfactorily than its competitors. The “His Master’s Voice” catalogue, in the last few months particularly, has been enriched by some very beautiful or- gan music, Mr. Weitz’s recording of the Franck “Chorale in A Minor” being probably the most notable example. Much as I admire the achievements of the Columbia Company, I am afraid that its organ records do not arouse me to quite the same en-