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

336 The Phonograph Monthly Review July, 1929 the excessive reverberation, and lack of genuine p’s and pp’s in some recent records. There can be no question but that the type of recording has done inestimable harm in discrediting the phono- graph in musicians’ eyes. But we should beware against painting the villain to too dark hues; there are extenuating circumstances and more than a word to be said in his defense. Such rec- ords have caught and held the attention of a vast group hitherto musically anaesthetic. In other words, this type of recording has “sold” the phonograph to a great many indifferent or an- tagonistic people. It seems best to close our eyes to the methods of high-pressure salesmanship in- volved. Let us win the novice’s attention by this means if necessary, and then begin the educative process so that in time he will come to recognize himself the serious defects in the works that first caught his ear. Thankfully there are a few rare works that combine immediate appeal and intense powers of conviction with genuine artistic virtues. Such super-records are exemplified by Stokowski’s Bach Toccata and Fugue in D minor and Russian Easter Overture, Coates’ versions of the Siegfried Death Music and Journey to the Rhine, Blech’s performance of the Roman Carnival overtures, Harty’s Rosamunde and Carneval overtures, or in a lighter type of composition, Blech’s perform- ance of Johann Strauss’ Radetzky March. Ob- viously such works must be the exception rather than the rule. It is to the phonograph’s lasting honor that their number increases so rapidly. The ordinary performance expressly designed to catch the ear of the “People” cannot be too squeamish. Some concessions must be made. But (and here is the significant point) such con- cessions should not entail “playing down” alto- gether to the people’s level. They should mean an over-emphasis of the ordinary musical quali- ties rather than an abandonment of them. Just as children’s books are printed in large bold type, so performances and recordings for educative purposes must be unmistakably clear even to the point of exaggeration. Naturally the interpreta- tions will seldom be truly “authentic,” nor will they possess the merits of subtley or delicacy. It is a dangerous business, this work of music ap- preciation, not incomparable to the blasting out of new roads and highways. Dynamite has to be used; the noise is unpleasant and the danger often serious. But in the end the result usually justi- fies the means. There are two opposing camps of mjusical edu- cators, one of which insists that the beginner should hear nothing but the best from the very beginning. The other is convinced that conces- sions have to be made in order to reach down to the beginner’s level. Personally I am heart and soul with the first group in the belief that if a child is raised on folk music and the simpler songs and pieces of the great composers he will never need the soothing syrup of the multitudin- ous series of “Tinny Tunes for Tiny Tots.” But in the work of musical education with the phono- graph we are seldom given the opportunity of surrounding a child with the best music from the beginning, unless it happens to be in our own homes. The beginners are usually adults of all varieties of general education. Except in rare cases they must be won over against their own opposition. In consequence one has first to attract their attention, and with a person of average or low intelligence the methods may have to be pretty crude to be effective. The educator owes it to his artistic conscience to see that the best, is always available even to the novice, and that willy-nilly the latter hears genuine masterworks as often as possible. But if the subject does not possess innate sensibilities and refinement of taste, then let us call Mr. Ketel- bey to our assistance, or the various “salon ar- tists,” or the “hill-billy” singers,—anyone persua- sive enough to convince the novice that the hear- ing of music is pleasurable rather than painful. And if, in spite of all the educator’s efforts to lift his pupils to higher levels, they remain unbudfee- able at one or another stratum, he can solace him- self with the thought that he has done all within his power and that he has given them the best that they were capable of appreciating. After all, there are all kinds of minds. Shakespeare and Beethoven are not for everyone. If a man has a Ketelbey type of mind, Ketelbey will be his Beethoven, and who is to say that he derives pleasure less keen from his god than the rest of us derive from ours? “When educational music is too austere it does not appeal. When it is too superficial it does not educate.” Dr. George Dyson’s words should be kept in mind. Between the Scylla of austerity and the Charybdis of superficiality there is a pas- sable channel, but the educator must pilot his way with the utmost circumspection. (To be continued) H, ROYER SMITH CO, “The World’s Record Shop” New Importations Almost Every Day Have you written yet for our new general catalogue? (15c postpaid to any address) (See Advertisement on Page 353)