Phonograph Monthly Review, Vol. 3, No. 5 (1929-02)

148 The Phonograph Monthly Review February, 1929 ords of scenes from Faust and Boris Godounow sung by principals of the Paris Opera. From the French H. M. V. comes a complete set of Debussy’s three Nocturnes by Coppola and Symphony Orchestra; this is the first time the third, Sirenes, has been recorded. Coppola also conducts Golestan’s Roumanian Rhapsody, Davi- co’s Sonatina Rustica for violin and piano is re- corded by Francescati and Zurfiuh-Teuroc, and Mme de Lestang is heard in harpsichord solos of Daquin’s and Pasquini’s Cuckoos, and Rameau’s Rappel des Oiseaux. Our readers will be pleased to learn that ar- rangements have been made with Mr. W. A. Chislett, a prominent member of the staff of our British cousin “The Gramophone,” and author of the series of articles on Score Reading pub- lished in this magazine last summer, to furnish us with a quarterly article dealing with phono- graphic developments abroad. His first article will appear in an early issue. Various contributors to our Correspondence Columns have time and again remarked that the so-called old timers are losing interest in the phonograph movement. I am happy to say that this is far from being correct. We of the maga- zine are in regular personal correspondence with these “old timers” and in only one instance has a real veteran given up interest in the phono- graph. And his “backsliding” was due, as we took the trouble to discover, only to unavoidable business demands on his time and interests. Some enthusiasts will lose interest for two, three, or even six months, but invariably they come back into the fold more enthusiastic than ever. We have not devoted much attention to the Phonograph Societies this season as we have found it necessary to devote our entire time and efforts to the development of the magazine. And also because, as we have stated before, we be- lieve the societies cannot exist on a permanent basis until they learn to stand on their own feet without artificial stimulation. This, we are happy to say, many of them have learned to do and we continue to follow their progress with the closest attention and the best wishes for their further success. In connection with our efforts for further de- velopment of the magazine negotiations are now under way for an expansion of the magazine both in quality and circulation for the betterment of its all-around usefulness. I have received many letters asking for infor- mation about possible new inventions that are likely to supplant the phonograph as we know it at present. For all such enquirers I know of no better answer than the excellent one given by Mr. Compton Mackenzie in the January issue of “The Gramophone” to readers who besieged him with similar questions. I understand that there is a generally diffused idea among the public that all sorts of new inventions are coming along in the gramophone world, which will soon make the exist- ing disc and machine out of date. Let me take this oppor- tunity of assuring our readers that any kind of really dras- tic alteration in present methods of reproduction is com- pletely remote. By this I do not mean to suggest that the immediate future will not see a widely extended use of electrical re- producers, though such a method can no longer be called revolutionary. I do not intend to rush in at present with my ideas about electrical reproduction, because I require time in which to put those ideas in order and arrive at what I do think about it. The point, however, I wish to make now is that no reader of this paper need hesitate for a moment to purchase the magnificent albums of major works which are being issued all the time. I should like to be able to take readers into my confidence and tell them about some of the recording projects for the future, but I will content myself with saying that 1 they are going to get all they want of the music they want. No, the discs with which we have so long been familiar will not be supplanted by anything else for a very long time to come. There may, of course, be some plot to bring out some new kind of recording medium of which I am ignorant, but I do not think so, nor do I think that, if any such new type of reproducing med- ium appeared, it would have any chance in the hands of a new company. Our readers may* rest assured that I shall be the first to warn them of any impending revolution that is likely to make any undue extravagance in the purchase of new records rash. As our readers will note this issue is devoted largely to the educational aspects of the phono- graph. In the preparation of this “Educational Number” we have enjoyed the invaluable co- operation of Mr. Elbridge W. Newton, who is in charge of the Music Department of the world famous educational publishers, Ginn & Company. (Mr. Newton’s picture is published on our front cover this month and a brief account of his life and activities will be found on page 149.) No one today can deny the significance of the phono- graph in educational work and in bringing about a new appreciation of the best music. “The Music Education Series”, of which Mr. Newton is the guiding genius, has played a large part in this work through its systematic music training course for use in the schools. Its use- fulness is not limited to children, however; adults will profit likewise by it. Here is the answer to the question we are asked so often: “How and where can I learn to truly enjoy what the musi- cally cultivated term the “classics?” Every Day is a Record Day at H. ROYER SMITH CO. “The World’s Record Shop” 10th and Walnut Streets PHILADELPHIA Always Something New! (See advertisement on page 171)