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

September, 1929 The Phonograph Monthly Review 413 of their own works as played or conducted by themselves, is of the greatest historic and musical significance. Contemporary music particular demands authoritative performance. Not until we hear it as the composer really wishes it to sound can we fairly judge it. I hope that soon we may have records of original works by such composer-pianists as Medtner, Proko- fieff, and Bartok, and from composer-conductors as Sibelius, Goossens, Casella, Ravel, Schelling, Bloch, etc. Also Rach- maninoff conducting his own Island of the Dead,—a striking work and one that no other conductor does full justice to. Chicago, 111. T. E. E. THEME RECORDS Editor, Phonograph Monthly Review: So at last a novel has been issued with one of those satellites of every movie—a theme song. “The Light in the Sky”, theme-song of Messrs. Clock and Boetzel’s like-named book, is unquestionably the first of its kind, but it is not likely to be the last. I understand that the idea—in slightly different form—has aroused attention in France, and that certain records are recommended as containing the musical equivalent of the general theme or feeling of various books. Edna Thomas’ “Mamselle Zizi”, for example, is recommended by one of the editors of “Disques” as a “theme record” for a novelette, “La croix du Sud,” in Marius and Ary Leblond’s new book, “Etoiles.” The idea is not as insignificant as it may seem at first thought. Works of literature have long served as inspiration for great musical works, and in many cases the latter are “open sesames” to the emotional mood for the former. In its simplest form such music is that of the “incidental music” for plays. Then it is the continuous musical flow accompany- ing the flow of dramatic action (opera or symphonic poem). At its best it sums up in itself the very spirit of the literary work—expressed in purely musical terms. What better preparation to the reading of “Egmont” or “Coriolanus” than Beethoven’s mighty overtures? Or how could the merry legends of Till Eulenspiegel be more pleasur- ably read than to Strauss’ lusty music? It is not necessary, however, that the music be written directly for a certain folk. Oftentimes an entirely non-programmatic work by the classic or modern masters provides the fitting musical translation. I remember that in one of Mr. K. Robdon’s remarkable letters (appearing in these pages a year or more ago) he confessed that one of the keenest aesthetic pleasures he had ever known was derived from playing records of the slow movement of Franck’s violin sonata while he read Masefield’s poem, “August 1914.” And did he not also say that for him Delius is in music what Proust is in words? Indeed it is not inconceivable that the day may soon come when new books contain a list of appropriate records to which the book may most effectively be read, or that on the other hand, new records may be accompanied by lists of well-known books to which they are akin in spirit. Has anyone yet compiled lists of this sort, I wonder? They would make interesting reading, and while they would un- doubtedly provoke much debate, the discussion would be a stimulatingly valuable one. New York City, N. Y. R. W. RECORDS FOR THE CHILDREN Editor, Phonograph Monthly Review: In the kingdom of music age seems to be no impediment to equal franchise! Mr. Davis’ ten-year old son is not the only youngster who is already something of a phonographic connoisseur. I hope that some day Master Davis or one of his contemporaries will be persuaded to set pen to paper and give their elders an idea of what records and the phono- graph really means to the “younger generation.” Such a revelation would be a rich pearl for your Correspondence Columns, and I imagine that a good many of us older gramo- philes will be taken considerably aback when we learn more about the* tastes and knowledge of these youngsters. As a matter of fact there are two young men under eighteen whose contributions to either this or other columns of The Phono- graph Monthly Review have contained much authoritative information ably presented and widely admired by experi- enced gramophiles. But in regard to music for children of tender years, I am in lively agreement with Mr. Darrell’s words in his “Musical Ladder”: “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 multitudinous series of ‘Tinny Tunes for Tiny Tots.’” It is astonishing what sup- posedly “high-brow” “advanced” music. (O nauseous terms) will be relished, and actually loved by the youngest children. The scoffers may ask, “Do they understand it?” In return 1 shall ask them, “WTat is the understanding of music?” An eight-year-old child may not be able to tell us whether a piece is in sonata or song form, in major or in minor key, (although often they can), but the inner significance and beauty of the music may strike more surely to him than to many of his elders. A friend of mine who lives where there are a number of children reports some surprising facts in regard to their musical tastes, observed from their expressions and words of pleasure on hearing records she was playing casually for herself. There was no “Now listen to this, children!” She merely played what she wanted to hear, and was interested to observe the children’s reactions. What were their favorites? Two Scarlatti sonatas played by Myra Hess; Bach’s Jesu, Joy of Man’s Desiring played by Harold Bauer; and Delius’ “Brigg Fair” played by the London Symphony Orchestra un- der Geoffry Toye. And yet these were children between six and ten years of age, and of only the ordinary musical ex- perience, if indeed any at all. I was intensely interested to read about the latest Victor Educational records, particularly the chamber-music arrange- ments of music by Bach, Mozart, Loeillet, etc. I hastened to procure some of these disks and it is easy to add further praise to that of the reviewer. This type of record is ex- cellent indeed, for all ages. Anyone who has both phonograph and children in the house should not fail to purchase works of this kind. I am looking forward to recordings of Schumann’s children’s pieces, and also the delightful easy pieces by Bartok, based on Hungarian and Roumanian folksongs. Baltimore, Md. J- EARLY VICTOR RECORDS Editor, Phonograph Monthly Review: Mr. Oman’s article, “Adventures in Collecting”, was not only readable, but interesting, and the matter well chosen. I would like to give some information as a supplement. Be- sides Eduardo de Reszke’s two Columbia records that he mentions, there is another one, “Ernani—Infelice,” which is also an early Columbia Recording. Edward Grieg, besides making “Au Printemps (35510), for the Gramophone Com- pany, also made two other records, his “Norwegian Bridal Procession”, and “Papillons” (Butterflies), an exquisite little piece. Mr. Gerstle in his letter, stated that the first ten inch Victor Record appeared in 1901. He is wrong. I have seen many copies of Victor Records, marked 1900, although they did not have the Nipper Trademark, but were “VICTOR Records”, “Issued to Elridge R. Johnson.” The 1st Victor Record with the Dog Trademark, made its appearance in 1901, the year of the foundation of the Victor Talking Machine Company. Previous to this they were made under the’ Berliner Patents, as I have said before. The Complete Opera “Pagliacci” (Recorded in Europe by the Victor Talking Machine Company, in 1907) were made under the direction of Signor Leoncavallo, so that they are of special interest, and authentic interpretations. Many people are not aware that Signor Leoncavallo was very much interested in the Gra- mophone Co., in Milan, where he often used to visit their Studio, and specially composed “Mattinata” for the Company. Many are unaware that 4 the Caruso record was accompanied by the composer, and is a very fine recording, being pure in tone. Thanking you for your valuable space, Shanghai, China S. E Levy