Phonograph Monthly Review, Vol. 3, No. 9 (1929-06)

304 The Phonograph Monthly Review June, 1929 Aida” by Caruso would be worth today! The Victor Com- pany series of limited autographed record editions will un- questionably be of the greatest historic interest and sig- nificance. Future releases may w r ell be anticipated. NEW ITALIAN CONDUCTOR FOR VICTOR The Mid-June International list of the Victor Company announces the first recording by Federico del Cupolo, dis- tinguished Italian conductor who has recently visited this country for the first time to conduct a series of Italian opera. Sr. del Cupolo’s success w r as so immediate that the Victor Company lost no time in engaging him for a series of recordings, the first of which, the overture to Rossini’s Gazza Ladra (Victor 9382); reviewed elsewhere in this issue), gives striking testimony to the conductor’s great talent and to the high standards of musical and technical excellence set for his series. COLUMBIA RACE ARTISTS BECOME EYE AND EAR FAVORITES Ethel Waters, nationally popular vaudeville and Columbia record artist, will appear as a feature player in Warner Brothers’ new talking and singing film “On with the Show.” This film will open at the Winter Garden, New York City, on May 23d. Bessie Smith, Columbia’s “Empress of Blues,” is being starred in a legitimate all-colored musical, “Pansy,” at the Belmont Theatre, New York City. There’s no doubt that the White Way is paying homage to this well-known “blues” warbler. George Dewey Washington, whose Columbia records have met with great success, is a featured entertainer on M. G. M. talking shorts. He sings many of his recorded numbers. His latest record is the stirring “Step by Step, Mile by Mile” and “The Sun Is at My Window.” Correspondence The Editor does not accept any responsibility for opinions expressed by correspondents. No notice will be taken of un- signed letters, but only initials or a pseudonym will be printed if the writer so desires. Contributions of general interest to our readers are welcomed. They should be brief and writ- ten on one side of the paper only. Address all letters, to CORRESPONDENCE COLUMN, Editorial Department The Phonooraph Monthly Review, 47 Hampstead Road, Jamaica Plain, Boston, Mass. LABELLING AGAIN Editor, Phonograph Monthly Review: May I add my thanks to those of your other readers on the Victor Company’s commendable return to the normal method of pressing records in album sets. The voice of the public has in this case received a speedy and most wel- come answer. Now, however, our Columbia friends can perform an equally welcome service to their public by adopting readable type for the numbering of the various parts of their album sets. In the current Masterworks sets the part numbers are printed in the most infinitesimal type. My eyesight is reasonably good, but I find great difficulty in picking out the proper records by the part number. Mistakes in the rotation of parts are very annoying, and the strain of reading labels printed in ultra-small type is severe on even the best eyes. The two best methods of giving the part numbers are to my mind those adopted by the Gramophone Company in England and the Polydor Company in Germany. The former prints a good-sized part number at the very top of the label, above the trade-mark, where it can' be seen and read without the slightest difficulty. The Polydor Company has recently adopted a similar system (in its excellent Missa Solemnis set and other works, but which the part numbers are printed in large roman figures on the left-hand side of the label, at a good distance from the title and other printed matter. It may seem like unnecessary fussiness to ask for larger print and more conspicuous position for the part numbers, Izmt I assure the phonograph companies that the extra ex- pense would be small (if anjO and that the change would repay itself a thousandfold in the added part in the public’s willingness to buy album sets; it is very unwise to ignore them. I am sure that the Columbia Company will not be long in making this most desirable improvement in their otherwise excellent Masterworks. Brooklyn, N. Y. S. R. H. MME. DE PASQUALI Editor, Phonograph Monthly Review: In Mr. Oman’s article, “Adventures in Collecting,” appear- ing in the “Review” for May 1929 he speaks of Mme. Bernice De Pasquali as one “whom I heard in vaudeville a week before she died, a pitiful figure, her voice gone.” This is a very presumptuous statement for Mr. Oman to make as he obviously heard Mme. De Pasquali when she was indisposed. “Variety” the foremost American vaudeville paper, re- viewed the De Pasquali act especially for this tour, and referred 4o her as the “finest prima donna to ever appear in vaudeville.” I heard her on tour that season in New York and in Los Angeles, and not only was her voice in magnificent condition, but her numbers were subtly chosen to suit the psychology of her audience. She received tremendous ovations in both cities. Mr. Oman must have heard her under very different conditions. May I also call to Mr. Oman’s attention the recording released by English Columbia of Sir Johnston Forbes-Robert- son’s recitation of the “Hamlet” soliloquy, “Now I am Alone.” This is genuine Shakespeare, and makes the Barrymore re- cording of the same thing seem melodramatic, slow-paced, and inaccurate. The English actor’s version is complete also, and possesses a rhythm, buoyant, and naturalness that Barrymore completely misses. Your splendid magazine is a continual source of pleasure and valuable information to me. With the tremendous number of releases each month, it serves as an indispensable guide to the collector. Every record store should carry it, as I’m sure a community of any size at all contains at least a few “gramophiles” who would be delighted to buy it. New York City, N. Y. Edward B. Wisely SOME PARLOPHONE' GREGORIAN RECORDS Editor, Phonograph Monthly Review: Robert Phillips inquires as to the recording of Gregorian music in the April correspondence column. The Parlophone catalogue has a number of ten-inch acoustic records sung by the Westminster Cathedral Choir: E 3185 contains the O Salutaris of Palestrina; E 3183, E 3184, E 3211, E’ 3212, and E 3213 are other records listed, the titles of which are too numerous to mention. A note says that “the melodies for Mass are all transcribed from the official Vatican Edition of the Gregorian Chant, making it seem likely that the rendi- tions would be authentic. A Prof. Emil Prill recorded a flute concerto of Frederick the Great, accompanied by String Orchestra on Parlophone E 10167. Mr. B. P. R. ta.ke note! Philadelphia, Penna. W. C. H. WALTZ RECORDS Editor, Phonograph Monthly Review: As a specialist in waltz recordings may I be allowed the freedom of your columns to plea for adequate recorded versions of some hitherto neglected waltzes? There have been many splendid waltz performances on records of late, particularly those by large symphonic organizations, but so far a few works have been given attention at the expense of their less familiar and oftentimes more interesting com- panions. First of all we need a really adequate record of the Kaiser or Emperor Waltz, one of Strauss’ very best. Marek Weber has a two-part acoustic version on Parlophone E 10381, and Dajos Bela has an electric one-side version on American Odeon 3225, but this work calls for a large symphony or- chestra and an unabridged version. I have a number of records of Tales from the Vienna Woods, including those by Stokowski and Mengelberg. Of