Phonograph Monthly Review, Vol. 3, No. 6 (1929-03)

206 The Phonograph Monthly Review March, 1929 companies could never hope to issue otherwise. Mr. Newton has the right idea: the manufacture of records is a business and must be looked at from a business-like point of view as well as from an artistic one. The manufacturers are not making records for the exercise or the fun of it. And who can blame them? But as Mr. Newton makes so clear, there is a market for good music, and a profitable one. It be- hooves all of us to help keep the demand for good music ever on the increase. And the mores practical we can be, the more rapid will be real phonographic and musical ad- vancement. New York City, N. Y. Edward C. Harrolds GOOSSENS—THE COMING CONDUCTOR Editor, Phonograph Monthly Review: I was delighted to read the warm praise that you awarded the Hollywood Bowl recordings by Eugene Goossens, but in- deed it was but what they fully deserved. There is so much for which to praise the men who accomplished this wonderful recording feat, that I am afraid Mr. Goossens himself will not be given the full credit he merits. Without his electri- fying performances all the skill of the recording engineers would be of little avail. Mr. Goossens is a phonographic veteran, but it is only now that he is beginning to come into his own. Now may he be given the opportunity to do some large works, par- ticularly those with which he excels. Besides his wonderful work with the Rochester Philharmonic and the Hollywood Bowl concerts, he is now appearing as guest with the Phila- delphia, St. Louis and other orchestras. An old musician of my acquaintance recently said, “The two coming con- ductors in America are Eugene Goossens and Fritz Reiner.” Reiner is of the older and more conservative school, and as yet has done no recording. But Goossens represents the best modern type. He is fitted to perform works of almost every school; unlike many conductors, he has few or none “blind sides.” I trust that the time is not far distant when we may see him at the helm of one of the very first rank American orchestras and recording regularly for one of the leading companies. His incomparable talents as a record- ing “repertory” conductor have as yet never been taken advantage of. The company wise enough to do so will profit thereby, and recorded literature no less! Schenectady, N. Y. G. A. THE MAT ALWAYS SAYS “WELCOME” Editor, Phonograph Monthly Review: “Where are our wandering old timers tonight?” asked F. M. and others. And now the Editor assures us that they’re not lost; they just come and go via the back door of the magazine. But the light of welcome is burning in the Cor- respondence Column, too. The old stalwarts, Messrs. Walsh and Benedict and Harrolds are right on deck as always, and now our supposedly long-lost friend Mr. Volkmann comes to rejoin them. Mr. Harrolds asked after Dr. Vojan, and lo! there was the doctor in the very same issue with another of his invaluable articles on Bohemian music and music makers. They can’t Czech him! Jean-Louis was silent for a long time, but the February issue brings back him and his recol- lections of a mellow musical past. I do not dare ask after Dr. Britzius, for I know that he can’t resist the siren call of Weingartner’s new recording of Brahms’ First to bring his “Stokowski vs. Weingartner” up to date. But where is our old Japanese friend, Mr. Fukaya? Or the author of “Musical Spain via Phonograph?” Or Dr. Mead who started all the excitement over “Recorded Symphonies?” Or those mines of musical information: Miss Kinsolving and Mr. Gable? And haven’t Messrs. Gerstle, Oman, and Brainerd been rather silent of late? I am sure the mat always says “Welcome!” for all of them. But who can the one “black sheep” be, the one “backslider” of whom the Editor speaks? One might hazard a couple of guesses . . . perhaps one would be sufficient: all is calm in the Windy City these days! Kansas City, Mo. Bystander THE ELEMENTS OF MUSIC Editor, Phonograph Monthly Review: I am surprised there has been no comment on the excellent new Columbia Masterworks catalogue, and in particular its brief introduction to the fundamental musical principles. In six pages the author has concentrated a readable, non- technical, and readily understandable outline of the very elements of music, or as the title puts it. “What to look for in a masterwork.” Every one who has read many ar- ticles on music appreciation or tried to write them himself knows the difficulties of being intelligent and yet non- technical. This little article has conquered all these diffi- culties in a way I have never seen equalled. Chicago, Illinois Columbus SOME UNRECORDED BRAHMS WORKS Editor, Phonograph Monthly Review: Mr. Benedict is to be congratulated for his advocacy of an early release of Brahms’ Second Piano Concerto in re- corded form. In the same issue (February) it also pleased me to read the suggestion that the Brahms Requiem be recorded, preferably by Koussevitzky. I have just learned of the German release of Part IV of the Requiem, “Wie lieblich sind deine Wohnungen, Herr Zebaoth” (one record), by the Chorus of the Berlin “Singackademie”, under the direction of Professor Georg Schumann. Perhaps this will be followed by recorded versions of the other sections of the Requiem. The larger Brahms piano works have received scant justice from the phonograph. Not only the Second Concerto, but the first, and a number of solo works should be made avail- able. The orchestral works have been given most com- mendable attention of late, but the “Tragic” Overture still remains unrecorded. The cycle of symphonies is complete, but perhaps one may still express the hope that the Second will soon be available in a more effective version.- I might also suggest the chorale preludes for organ, Brahms last com- positions; the magnificent Rhapsody with contralto solo, and the “Schicksallied.” Manchester-by-the-Sea, Mass. 0. G. E.‘ ATTENTION “COLLECTOR”, R.J.B., et al Editor, Phonograph Monthly Review: Relative to the letter signed “Collector,” dated at Los Angeles and printed in your February issue, I should like to let this gentleman know that there is at least one store in Los Angeles where an effort is made to become familiar with foreign listings. Further, that we carry some of the most notable in stock and are glad to take the trouble to order others which may not be on hand. This department is in the store of the Southern California Music Company at 806-808 South Broadway, Los Angeles, and if “Collector” will ask for the undersigned she will be very glad to assist him in his search for the unusual in records. If you care to pass on this information, it will be appre- ciated by, Los Angeles, Calif. Miss Rosa L. Horn. TWO MINUTE RECORDS Editor, Phonograph Monthly Review: Mr. Ulysses J. Walsh wonders if there were two kinds of instruments on which two different kinds of cylinder records were played. Yes, there were two different kinds. Edison’s first instru- ment played what were termed “two minute” records. These were black and were something like the present cylinders used on the Dictaphone. Then the famous Edison Blue Amberol Record—a “four-minute” record was invented. This was in- destructible, also and we used to get a great kick out of dashing a blue amberol record on the floor in the presence of a country customer! Owners of the old type instrument could buy an attach- ment for their machines on which they could then play the Blue Amberol Records. I suspect the reference Mr. Walsh makes to a notation in a Sears and Roebuck catalog is to differentiate between the two-minute and four-minute records. Chicago, 111. W. J. Duncan. THE PHONOGRAPH PARKING PROBLEM Editor, Phonograph Monthly Review: Why couldn’t the correspondents who are obliged to dis- pose of their collections, thro change of residence, “park” them with less fortunate “Fans”. This would be of mutual benefit, allow access and keep collection intact when settled permanently. Rowley, Mass.