Phonograph Monthly Review, Vol. 3, No. 10 (1929-07)

July, 1929 The Phonograph Monthly Review 331 tant Choral, heard at intervals by the passer-by.” This allegretto Pastorale is of a most engaging freshness, heard, for the most part, on the wood- winds. 2. “And the Tavern, in the principal street,” continues the composer, “with its little leaded windows, garlanded with hops and roses—Oho there! Schmidt,—something to drink! And the song of the foresters as they lay aside their guns.” This number is based upon two themes in alterna- tion; a sturdy waltz-tune of a rustic character, and a vigorous chorus-like passage—a veritable hunting-song—which is very plainly intended to be identified with the band of foresters who have stopped to rest in the Tavern. 3. “Under the Lindens.” “Again, farther on,” says Massenet, “t’was always the same village, but with the great calm of a summer afternoon ... at the edge of the country, a long avenue of linden-trees, in whose shadow a loving pair walk quietly, hand in hand; she leaning toward him gently and murmuring softly:— “Wilt thou love me always?” This charming “adagietto” is a love-scene, where, over a lace-like and ethereal figuration heard on the violins, the violoncello and clarinet exchange vows of eternal devotion. It is an exquisite in- spiration, and the entire movement is scored with an almost feminine tenderness. The finale is entitled “Sunday evening,” and is based upon native Alsatian airs, with which is blended the strains of the vigorous peasant waltz previously heard in the second section. The roll <>f drums, and the distant echo of trumpets sound- ing the retreat, form an effect at once novel and dramatic. Symphonic in form, this is neverthe- less true music of the theatre, highly colored, and with strongly etched outlines of its incidents. The few unavoidable cuts have been arranged with great skill by Eduard Morike, who leads the grand orchestra of the Charlottenburg Opera House in recording the Suite. The “Scenes Al- saciennes,” on 2 12-inch disks, Nos. P.1155 and P1156, are issued by the Parlophon Company. (To be continued) The Musical Ladder By ROBERT DONALDSON DARRELL Continuation: The Selection of Records The graded lists in the Victor Educational Catalogue and the Music Education Series of the Ginn Company are invaluable in selecting records both for children and adults. For the latter a choice necessarily depends largely upon their general education and the state of their present musical tastes and prejudices. I must risk repe- tition and emphasize again that the points to be kept in mind are, first, that everyone possesses some innate musical equipment, something to build on. Second, that the essentials of music, the common denominators of all music, rhythm and melody, must be present in their simplest and most obvious forms. Given them as a foun- dation, pieces should be chosen that make a definite impression or effect upon the listener through their sentimental appeal, their stimula- tion to rhythmic activity or participation, or through the interest of their story or program. New elements should invariably be introduced through association with a familiar element. The symphony orchestra will utterly bewilder the person who has never heard it before unless it is first presented in the performance of music which he knows well. If the manner of per- formance or arrangement is new, the material must be familiar, and of course the converse is equally true. Insofar as the performances by celebrity artists capture the authentic flavor of a work, they should be preferred. The playing of two or more recorded performances of the same piece is to be recommended most heartily, for once the distinction between a good perfor- mance and that which is mediocre or poor be- comes apparent, the listener has learned one of the first and most important lessons in music, that of comparative interpretative values. Like- wise, the playing of recordings of the same piece in different forms is to be endorsed. That is, the novice should become accustomed to hearing various types of instruments, voices, and en- sembles, always of course in music with which he it well acquainted. Otherwise prejudices are encouraged which often persist far into one’s musical education, so that vocal music is pre- ferred to instrumental, or orchestral to piano, or the like. Take a current example of a popular hit, I Can’t Give You Anything But Love, available on records as a violin solo (Harold Leonard, Colum- bia), a song in “intimate” syle (Grace Hayes, Victor), played by a white dance orchestra (Venuti’s New Yorkers, Okeh), a Negro dance orchestra (Ellington’s, Victor), and a “novelty” ensemble (Shilkret’s Rhyth-Melodists, Victor). The hearing of several records of a song like this, hummed and played everywhere during the height of its popularity, is a pleasant but none the less effective little lesson in the rudiments of music appreciation. I should hasten to add, lest I give a false im-