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

412 The Phonograph Monthly Review vs ii . corded operas now available on records. In the old acousti- cal days I know there were a number of collectors who possessed enormous operatic record libraries, incuding the not inconsiderable number of sets out in those days. But to keep up with the current issue of large and expensive opera album sets must require the expenditure of great efforts and sums. Is there anyone among your readers who possesses all of the many electrical sets? Out here on the west coast one must look to the brief tours of the Chicago and other opera companies for our con- cert operas, and the new complete sets are a real godsend to us and to the music lovers who live in districts where even the small touring companies never reach. The thought has oc- curred to me that an enterprising impressario, awake to the potentialities of the phonograph, could do a great deal of good and probably make a very fair thing by touring the small cities and outlying districts here, and elsewhere throughout the country, with an opera company consisting of a large electri- cal phonograph and a library of the recorded operas now available. If one of the “theatrephone” instruments with two turntables could be used and two sets of the records taken along, the pauses between record sides would be prac- tically eliminated and the concerts would be still more likely to succeed. The admission prices could be low and a profit still be made. Moreover, the concerts could be given in halls too small for regular concerts, to say nothing of actual opera performances. A few years ago this project might have been foolhardy, but the radio has spread the taste for operatic music among those who never knew it before, and of course people of musical tastes who are forced to live in the smaller com- munities will be overjoyed at the chance of hearing the great operas again, especially when they are performed by artists of the calibre of those recording today. For my own information I have compiled a list of recorded opera sets, which may be of interest to other operatic fans. Carmen: Columbia—artists of the Paris Opera and Opera- Comique under Elie Cohen; French Victor—Opera-Comique artists under Piero Coppola. Aida: Victor—Giannini and La Scala artists under Sabajno; British Columbia—La Scala artists under Molajoli. Traviata: British Columbia: La Scala artists under Mo- lajoli; Italian Victor—La Scala artists under Sabajno. Rigoletto: Victor—La Scala artists under Sabajno. La Boheme: Victor—La Scala artists under Sabajno. Pagliacci: British Columbia—British National Opera Com- pany under Eugene Goossens, Sr. Cavalleria Rusticana: British Columbia—British National Opera Company under Buesst. Tristan and Isolde: British Columbia—Bayreuth Festival Company under Elmendorf. Act III: Victor—conducted by Coates and Blech. GOtterdammerung (fairly complete): H. M. V.—conducted by Coates, Muck, Blech, and Collingwood. Die Walkiire (fairly complete) Victor: conducted by Coates and Blech. Rheingold, Siegfried, and Parsival (selections): H. M. V.— conducted by Coates, Blech, and Muck. Die Meistersinger (selections): German H. M. V.—con- ducted by Blech. Boris Godounow (selections): H. M. V.—with Chaliapin. Pelleas and Melisande (selections): French Columbia and French Victor—conducted by True and Coppola. Der Freischiitz (selections): Polydor: Berlin State Opera Company. Then, among the oratorios and masses The Messiah: British Columbia—B. B. C. Company under Sir Thomas Beecham. Beethoven’s Missa Solemnis: Victor—Barcelona Chorus and Orchestra under Millet; Polydor—Bruno Kittel Choir and Berlin Philharmonic Orchestra under Bruno Kittel. Bach’s Mass in B minor (selections): H. M. V.—Royal Choral Society under Bairstow. Schubert’s Mass in G: H. M. V.—Philharmonic Choir under Scott. September, 1929 “ isv Stainers The Crucifixion: British Columbia—B. B. C. Com- pany under Robinson. Palestrina’s Missa Papae Marcelli (excerpts) Victor—West- minster Cathedral Choir. Elgar’s Dream of Gerontius: H. M. V.—Royal Choral Society under Elgar. Finally, the series of Gilbert and Sullivan operettas by the D’Oyly Carte Company. The Mikado and Trial By Jury are out under the Victor label; and Gondoliers out only under the H. M. V. label as yet. Only electrical recordings are listed; there are a number of other operas available in acoustical sets, which of course are rapidly being remade. Undoubtedly, there are further additions that might be made to the above lists. Berkley, Calif. Aria da Capo MR. HAROLD’S ON “CUT-THROAT ADVERTISING” Editor, Phonograph Monthly Review: I was very much surprised to see in your August issue that one of the importing firms advertising in your pages had fallen from the fine standard that has been invariably maintained up to date, and gone in for what may be termed “cut-throat advertising”, suitable enough for second-hand shops perhaps, but very ill befitting a reputable, first-class dealer. That kind of cut-rate business, made still more dis- tasteful by implied and entirely false aspersions on their competitors’ rates, is not going to do the company that em- ploys such methods any good. It not only harms them, but it harms the entire industry. My seventeen years in the phonograph trade, much of that time spent in travelling abroad and this country, have given me a pretty sound grasp on phonographic conditions. The importing business is a difficult one, consuming much time and effort and money. How difficult it is no one can realize until he has had an actual taste of it. Breakages, difficulties with the customs, long delays, etc., are only a part of the story. Large sums have to be invested with no possibility of a return for months. Anyone who has imported records him- self, as so many collectors did in the old days, will know exactly how expensive and bothersome process it is. They will agree with me in believing that the rates set by the leading American importers are eminently fair. As a matter of fact the margin of profit is considerably less than on domestic records, in spite of the fact that a great deal more clerical work, longer time for turnover, etc., is involved. I hate to see any Baxter Street methods introduced into this importing business which has been conducted so far with such commendable fairness and always lived up to such admirable standards of business ethics. Enough for such an unpleasant subject. I must praise your policy—as indicated in the Editor’s Note to Mr. Kleist’s let- ter last month—in regard to expression of opinion on instru- ments. Records may be judged according to certain musical and technical standards, but who is to judge instruments? Or rather, how is one to judge them? So many things enter into the matter—the type of records one plays most, the room in which the machine is placed, the tone qualities desired, etc., etc.—that there is no single standard by which to judge. As you say, among eight persons, there will be eight different opinions. No, the magazine’s reviews and advice on records is of inestimable value to its readers, but prospective instru- ment-buyers must judge for themselves and on the basis of their own tastes and needs; no one else can help them. I trust that your efforts in agitating for alterations in the present immigration law, insofar as they affect worthy foreign artists in the American orchestras, are merely suspended during the mid-season months, and that they will be resumed in the fall. I have discussed this matter with a great many people both in and out of the music trade and there is a very strong feeling that the present laws are very unfair and badly in need of amendment. New York City, N. Y. Edwin C. Harrolds COMPOSERS’ VERSIONS Editor, Phonograph Monthly Review: The current appearance of composers like Stravinsky, Witkowski, Pierne, Honegger, Rabaud, Poulenc, etc., in records