Phonograph Monthly Review, Vol. 2, No. 9 (1928-06)

342 The Phonograph Monthly Review June, 1928 I agree absolutely with Mr. Anderson in his suggestions about Gabrilowitsch doing the second Brahms’ Concerto, Bauer the First, and Myra Hess some Bach, Scarlatti and Mozart. The remarks about the necessity of preserving the Liszt tradition are very significant to my mind. The Editor’s remarks about Rosenthal recording were an appropriate com- plement to Mr. Anderson’s mention of him. I hope that if he does any large works that one at least of the two Chopin Concertos may be done by him. Turning to some other leading pianists living in or touring this country, how about John Powell, Mieczyslaw Munz, Ernest Hutcheson, Leo Ornstein, Shattuck, Alexander Barov- sky, Mirovitch, Brailowsky, Gitta Gradova, Alfredo Casella, Carl Friedberg, George Copland, for example, none of whom has recorded for the phonograph, but who all have made piano rolls? A number of modern composers play for the reproducing companies: Bela Bartok, Maurice Ravel, Serge Prokofieff, John Ireland, Nicholas Medtner, Scharwenka, Stravinsky, and Cyril Scott. I have heard Bartok, Stravin- sky and Prokofieff; they are all excellent pianists. On going through a list of pianists who make rolls for a leading com- pany, I notice several artists who have some slight phono- graphic representation: Ralph Leopold is heard on Grainger’s arrangement of a Danish iolksong (Columbia); Eugene Goossens played the piano part in his own violin sonata for the National Gramophonic Society in England; John Alden Carpenter played the accompaniments to his own “Water- colors” for the Chicago Gramophone Society. In England I see that Harriet Cohen is recording again, and Leff Pouishnoff has begun to make records. What has become of Maier and Pattison; are they to make no more records for Victor? And are we to get no more de Pachmann records? I hope that I haven’t taken up too much space, but the topic of pianists and piano records is an endlessly stimulating one to me. Detroit, Michigan. H. M. MR. HARROLDS SUMS UP Editor, Phonograph Monthly Review: I wonder if all readers of The Phonogaph Monthly Review realize the significance of the progress made by the phonograph in the last few months and the dazzling outlook for the future? I noted in last month’s issue a statement that the Victor Company did a bigger business last year than ever before, but do you know the exact figures? Last year their sales amounted to slightly under forty-six million dollars with the best previous total the forty-four million dollars of 1923. The bad year, 1925, had brought* about a slump to less than twenty-one million dollars, but the phonograph literally “came back stronger than ever.” That is one angle of the case. Now for another, the addi- tions to the libraries of alubm works of great masterpieces. Last month the Victor Company issued only one album set (in contrast to the two of all the previous months this season), but Columbia, abandoning its old practice of releasing five sets or so every three months, announced that Masterworks would be released monthly, at least two album sets and several single disks in addition at a time. I need hardly emphasize the wisdom of this improvement or the benefit to record buyers, who often expressed themselves in your pages on the subject of the disadvantages of the old method of block release. Add to all this the news that Schubert Centennial recordings will be represented in each month’s releases! May I call these last-named facts to your correspondent “Columbus”? They certainly should cheer him up. Both he and “Collector” should also be informed that their remarks on the slowness of English Columbia works to appear in American Columbia pressings will soon be past history. There are no official statements as yet, but it is generally known that Mr. George C. Jell, Supervisor of the Masterworks Series, is at present away on a business trip to the British and European Columbia affiliated companies. It is not my place to disclose any secrets, but I can safely assure some interesting, not to say startling, developments as a result in the very near future! While on the subject of Columbia I might also add that they have ready for early release one of the finest recorded piano sonatas I ever heard. Perhaps by the time this appears in print, it will already be released. Summing up just a few of the outstanding developments in recorded music, as I have done, makes me more astonished than ever over the attitude of mind expressed by “Vories” in his last instalment of “Remnants.” The last time I saw Mr. Fisher I should have sworn that his enthusiasm would never cool, but apparently it is cooling. If I remember correctly, in the old days his was the loudest voice of all to cry for major musical recordings. Now that he is getting them, is he surfeited already? In contrast to this example of slackening interest it is a pleasure to follow the ascending curve of progress traced by our old friendly enemy, S. K. I began cheering for him last December and his letter to the May issue assures me that I wasn’t mistaken. What I like most of all is Mr. S. K.’s sound common sense in not biting off more than he can chew, but resting content to make gradual but steady progress. A lot of people in his shoes would try to go ahead too fast, get disgusted, and give up in despair. Play your Rosamunde Overture, Carnival of the Animals, and Herbert Album, S. K., and don’t worry about the Fire Bird. It will come in good time! Meanwhile, you are right in going to the Stadium concerts as often as possible. You will pick up some good points there. Perhaps we may meet each other there some fine night, for I certainly shall attend as frequently as pos- sible myself. (I seem to be touching a variety of different topics this time, but I am writing in haste, and there is a great deal I should like to say. Again I must thank The Editor for the generous space he always provides to serve as the rostrum from which I preach my little sermons! I hope that some at least readers find them of value.) I cannot close without adding my own tribute to that of Mrs. Talbot regarding the Gramophone Shop’s service. I ordered the new Kreisler Brahms Concerto both from them and my London dealers at the same time. I received a set in perfect condition from them over four days ago, and haven’t heard a word from London yet! “Edwin C. Harrolds” New York City, N. Y. FOUR QUESTIONS FOR OUR HISTORICAL EXPERT Editor, Phonograph Monthly Review: 1. Although I have heard from various sources that the Adelina Patti records made in 1906 by H.M.V. are very poor, I should like to have advice about purchasing one of her recordings for my historical collection. Which do you think is the best all around? 2. I understand that Claude Debussy, the French com- poser, made some records for some company. Could you advise me if this is so, the company, selections, and if they are now obtainable, where I might locate one? 3. Do you know of any other composer of great note who has made records (other than those mentioned in the green section of the English H.M.V.) that would be of unusuai interest? (I have already noted the letter in your columns for April concerning the Lilli Lehmann records and have written the Parlophone Company about them.) 4. Do you happen to know at what date the first disc records were made? I cannot seem to find any discs made previous to 1900 (Dan Leno records in green section of English H.M.V.) in England nor previous to October, 1901, in this country (this latter is a special 7 inch pressing the Victor is making for me of one of Dan Quinn’s records made at that date). Bridgeport, Conn. Enquirer The following answers to “Enquirer’s” questions have been kindly supplied by Mr. George W. Oman of Chicago, our Historical Expert. 1. Musically speaking, with the exception of “La Serenata” and “Voi che sapete,” (H.M.V.) the Patti records are not worth having. To the collector who wants only to have a mere shadow of Patti’s voice they are worth a great deal. I understand that the Tosti number, “La Serenata,” is the only authentic version. Sir Landon Ronald accompanies Patti on all her records. 2. Debussy did make a number of records as accompanist only for Mary Garden in her early Paris days (1904—French H.M.V.). One selection was from Pelleas and Melisande; the others were called “Annette Nos. 1, 2, 3, and 4. The