Phonograph Monthly Review, Vol. 3, No. 12 (1929-09)

September, 1929 The Phonograph Monthly Review 403 The Musical Ladder By ROBERT DONALDSON DARRELL (Continued from the July issue) T THE list of “first” records given previously formed a nucleus of phonographic literature that might be safely used with persons of average intelligence and no musical training. The next lists will be classified, for already at this stage of the game the novice will begin to exhibit distinct preferences for some types of composi- tion and lively prejudices against others. The musician smiles at such prejudices and rightfully, but people do cling to them and in educational work they cannot be ignored. On the negative side they consist usually of a strong dislike of the solo voice, or solo piano or violin. A dislike of orchestral works is less often found; at most the novice remains comparatively indifferent to it. On the positive side, the beginner may show strong favoritism for operatic pieces, purely or- chestral music, or various solo instruments . . . in fact almost every type will have its earnest supporter. Of late the piano and violin seemed to have declined in favor. The band still has its devotees, but they are by no means as numerous as a decade or two ago. Operatic excerpts retain their popularity. The organ (played in both legitimate and movie style) is growing in favor, but it is orchestral music (and orchestra and chorus) that has grown most rapidly in popu- larity and with it the lion’s share of educative work must be done. One of the first types of composition of general appeal and educational value is none other than the tried and true march, surely one of the oldest and most familiar musical forms. A good march possesses the elemental requirements discussed in an earlier instalment: clear bright rhythm and tunefulness, both in their simplest forms. Well scored, it possessed abundant color in addition. March performances by no means should be con- fined to bands alone, incomparable as the effect may be of a fine march played by a first rate band. The editorial comment in the June issue of this magazine called due attention to the poten- tialities of march performances by full symphony orchestras. Beside the true march, of which Sousa is the supreme exponent, there is a variety of processional pieces and variants on the march form, many of which will well serve educative purposes. Advancement may gradually be made from the simjple military march to the highly developed cortege or march movements in sym- phonies. First a brief list of some of the best march records by bands: Stars and Stripes Forever and Fairest of the Fair Victor 20132 Sousa’s Band Iowa Corn Song and The Conqueror Victor 20269 Official American Legion Band On Wisconsin and Minnesota Columbia 1325-D Columbia Band Stars and Stripes Forever and National Emblem Brunswick 3515 Roger’s Band Thunderer and On Wisconsin Brunswick 4003 U. S. Military Academy Band West Point March and Football Songs Brunswick 4007 U. S. Military Academy Band Semper Fidelis and High School Cadets Victor 35848 Victor Band Hail Our Country and Memories of Lorraine Odeon 3512 Odeon Military Band Hail to the Flag and Friends Forever Columbia 1644-D Columbia Band El Capitan and Washington Post Brunswick 3622 Roger’s Band On the Mall and Pioneer Victor 20559 Pryor’s Band High School Cadets and Under the Double Eagle Victor 19871 Sousa’s Band Gathering of the Clans Columbia 37019-F Grenadier Guards El Capitan and National Game Victor 20191 Sousa’s Band Second Connecticut and Semper Fidelis Victor 20979 U. S. Marine Band Golden Jubilee and Riders of the Flag Victor 22020 Sousa’s Band. The “first” list contained several of the best known marches and processional pieces in or- chestral recordings: Norwegian Bridal Proces- sion, Parade of the Wooden Soldiers, Pomp and Circumstance March No. 1, Marche Slave, School of the Fauns, and Grand March from Aida. A second group of orchestral works in this form follows. (All records are electrical unless starred.) Radetzky Mafch (Johann Strauss) Victor 4127 Blech Berlin S. O. H. (see page 421); Columbia S0122-D Qf 11 c c* Orchectra Rakoczy March (Berlioz) Columbia 50086-D Harty—Halle Orchestra; Victor 6823 Stokowski—Philadelphia Sym- phony; Columbia 50155-D, Dohnanyi—Budapest Phil- harmonic; British Columbia L-1810 Mengelberg—Ams- terdam Concertgebouw. March of the Toys (Herbert) Victor, (in album C-l) Shil- kret—Victor Orchestra; Columbia 50060-D Bowers— Columbia Symphony. Funeral March of a Marionette (Gounod) Victor 6639 Hertz- San Francisco Orchestra. . Marche Miniature (Tchaikowsky) Victor 6835 Gabrilowitsch —Detroit Symphony; ’•'Victor 547 Muck—Boston Sym- March of the Little Lead Soldiers (Pierne), Victor 19730 Concert Orchestra March (Bizet Petit Suite) Victor 19730 Concert Orchestra Wedding March (Mendelssohn) Columbia 50051-D Bowers— Columbia Symphony; Odeon 5136 Weissmann—Grand Symphony; Victor 6678 (in album M-18) Hertz—San Francisco Orchestra . Bridal Chorus (Wagner: Lohengrin) Columbia 50051-D Bowers—Columbia Symphony; Victor 9005 Coates— Symphony Orchestra and Chorus.