Phonograph Monthly Review, Vol. 3, No. 7 (1929-04)

232 The Phonograph Monthly Review April, 1929 Phonographic Echoes LATEST VICTOR NEWS Camden, N. J., March—Officials of the Ibero-American Exposition, opening in Seville, Spain, in May, are enthusias- tic over the performance of the Auditorium Victrola Radiola which has been installed in the United States build- ings at the request of the government, according to a cablegram just received by the Victor Company from Dr. C. D. Haigis, who went to Spain to supervise the installa- tion. The instrument and its amplification system con- stitute one of the most elaborate installations yet made by Victor and will provide programs from records or by radio to the three United States buildings as well as to the park on which the buildings front. It is a development of the installation made by Victor at the Sesqui-centennial in 1926, and it was the successful performance of this Phildelphia instrument that prompted Washington to invite Victor to place the more complete equipment at the Spanish fair. SEIDEL PLAYS “MASTERWORKS” SONATA IN NEW YORK Toscha Seidel, Columbia virtuoso of the violin, gave his first New York recital in several seasons, at Carnegie Hall, February 24th, and was heard with Arthur Loesser, pianist, in the Brahms Sonata in A Major, which both these ar- tists record for Columbia as Masterworks Set No. 36. Said Olin Downes, of the N. Y. Times: “The performance was admirably conceived, warm and vigorous in feeling, clear in exposition. This sonata is one of the works which grows younger with the years, and Mr. Seidel performed it with a tonal beauty and a feeling for its details which held his audience with him every moment.” TED LEWIS AND CLIFF EDWARDS MAKE TALKING FILMS Ted “Is Everybody Happy” Lewis, and His Musical Klowns— Columbia’s, “Big Time” exclusive artists, recently left the Hotel Floridian at Miami, and headed for the Warner Brothers studios. These internationally popular jazzologists will make their first Vitaphone film which is to be entitled “Is Everybody Happy.” Undoubtedly, every- body will be after seeing and hearing these masters of dansapation. Cliff Edwards, also known as “Ukulele Ike,” who records exclusively for Columbia, and who also has a tremendous following, recently came into the “talkie” picture with Metro-Goldwyn, which organization is now featuring him in its long reels. His public cannot only hear his crooning and dextrous strumming, but see him and enjoy both. COLUMBIA EXCLUSIVE ARTIST HISTORY MARTHA ATTWOOD Martha Attwood, Metropolitan Opera soprano, was born on Cape Cod, Massachusetts, a descendant of the first settlers of that pioneer sea-faring region. After an early success as soloist with American symphony orchestras and choral societies, she made her operatic de- but in Europe, singing with great acclaim in Italy, France, and Belgium for five'years. Miss Attwood returned to America as a member of the Metropolitan Opera Company, creating the role of Liu in Puccini’s “Turandot” at its premiere in this country in 1926. She is now in her third year as an established favorite with the Metropolitan. Besides these activities, Miss Attwood has found time for concert appearances in the East, and she has twice been soloist for conventions of The American Legion, first in Paris in 1927, and again in San Antonio in 1928. Miss Attwood’s personality is of unusual charm. Frank and simple in manner, she has the friendliness yet poise of a woman of marked culture, one whose established success requires no pose. Blonde, blue-eyed, and charming, with fine carriage and musical speaking-voice, she continues the great traditions of our most celebrated American divas. Press Notices: “A lovely voice she has at her command, warm in color, refreshingly free from sharp edges.” —Boston Herald—Nov. 27, 1928 “In ‘Ye Banks and Braes’ her admirable tone is wholly delightful.” —Phonograph Monthly Review—Feb., 1929 reviewing Record 173-M NEW ROYER SMITH CATALOGUE Imported Recordings 1929 H. ROYER SMITH CO. “The World's Record Shop” PHILADELPHIA Priest Fifteen Cent* Most of our readers are undoubtedly familiar with the re- markable bulletins of Imported Records published by the H, Royer Smith Company of Philadelphia. Now, Mr. Smith issues a General Catalogue for 1929, which represents a further advance even on the merits of the bulletins. The accompanying reproduction of the cover of this catalogue, the most ambitious publication yet to be issued by an Ameri- can importer, gives a good indication of the way in which this admirable little booklet is gotten up. Not only is it a beautiful piece of printing but the arrangement of records by composers, further classified under orchestral, choral, cham- ber music, etc., is extremely convenient. The principal feature of the work is the giving of brief biographical and informational notes on each of the ninety composers who are represented by recorded works in this catalogue. These brief and pointed notes are particularly valuable in providing information on modern and less well- known composers. The records have only two things in common: they are all electrically recorded and are all im- ported. Apart from that they represent almost all phases of musical literature. Every music lover can find something to his taste, and those interested in that which is new, rare, and yet of sterling worth, will find this catalogue a treasure mine. In view of the elaborate nature of the catalogue a charge of 15c is made for it, for which sum it will be sent postpaid to any address. Every gramophile will find it an invaluable addition to his phonographic library. It is a pleasure to commend it most heartily to all our readers.