Phonograph Monthly Review, Vol. 4, No. 2 (1929-11)

52 The Phonograph Monthly Review November, 1929 In my career as an arranger and director, I have had experience in all branches of music, from jazz to opera and I have always found much pleasure and love for any type of music, as long as it is music. My reason for being so fond of the Phonograph Monthly Review is that it has always represented all branches of music. I never fail to recommend your magazine to all my friends who are interested in music. Keep up the good work. In the name of the Brunswick Recording Laboratories and myself, I wish you continued success in' your successful enterprise. Very cordially yours BRUNSWICK RECORDING LABORATORIES (Signed) LOUIS KATZMAN, Manager. COLUMBIA’S DELIUS FESTIVAL The Columbia Gramophone Company of London, under its exclusive recording artist, Sir Thomas Beecham, is giving a series of six concerts covering the entire works of Frederick Delius, England’s chief living composer, dur- ing October in London. Press interest in America has been caught by the human appeal of the composer’s story, to which the New York Times of October 12th devoted considerable space. Delius, now 68, blind and paralyzed, is in attendance at the concerts, having come from France, his present resi- dence, to be the guest of Sir Thomas for the tribute. Long neglected, Delius’ high rank is now generally recognized, and his works are finding increasing favor in symphoic programs everywhere. He once raised oranges in Florida. Sir Thomas Beecham is recognized as the outstanding authority on Delius, and Columbia’s recordings of Delius works by Beecham are enjoying an increasing popularity. Those already on sale in America are “The Walk to the Paradise Garden,” “On Hearing the First Cuckoo in Spring,” and “Summer Night on the River.” The latter composi- tion has just been released by Columbia, and others are expected to follow. Correspondence The Editor does not accept any responsibility jor opinions expressed by correspondents. No notice will be taken of un- signed letters, but only initials or a pseudonym will be printed ij the writer so desires. Contributions of general interest to our readers are welcomed. They should be bnef and writ- ten on one side of the paper only. Address all letters, to CORRESPONDENCE COLUMN, Editorial Department The Phonograph Monthly Review, 47 Hampstead Road , Jamaica Plain , Boston Mass. BACH RECORDINGS Editor, Phonograph Monthly Review: “Sebastian’s” letter was the high point of the October cor- respondence for me, and I dare say many other readers. To learn that Stokowski recordings of the Bach Second Branden- burg Concerto, Passacaglia, and Wir Glauben All’ an Einem Gott are soon to be expected is exciting news indeed. May their release be speedy! But why stop with one Brandenburg Concerto? Why not let us have the entire set? They would set a fitting crown on Stokowski’s superb phonographic achieve- ments. In any case, I wish that the Victor Company would issue an album devoted to Stokowski’s masterly Bach or- chestrations. The Toccata and Fugue in D minor, the Pre- lude in E flat minor, and the chorale prelude Ich Ruf’ du Dir are already out; the Passacaglia and Wir Glauben All’ in Einem Gott are in preparation; but the Fantasia and Fugue in G minor, the Prelude in B minor, the choralepreludes Wachet auf and Aus der Tiefe remain. What a glorious legacy for the phonograph! At present I am reveling in the delightful Columbia records of the first nine preludes and fugues played by Harriet Cohen. This splendid artist deserves the opportunity of doing further sets from the Well-Tempered Clavier, also of re-recording her old performance of the first Bach piano concerto. Montclair, N. J. S. V. SECONDING THE NOMINATION Editor, Phonograph Monthly Review: The stupendous success of Stokowski’s Toccata and Fugue logically should lead to further records by this ideal combina- tion of composer and conductor. His orchestrations are without doubt the finest ever made and what other orchestra can hope to equal the Philadelphians’ performance? Following the re- lease of the Brandenburg Concerto No. 2 and the Passacaglia we should have the third and fifth Brandenburg Concertos, more chorale preludes, and more transcriptions of the big organ works. Such records could not fail to enjoy an ex- tensive sale all over the world. Mt. Airy, Philadelphia, Penna. B. A. A. MOUSSORGSKY Editor, Phonograph Monthly Review: Itl is gratifying to find an ever increasing amount of Moussorgsky music made available for the phonograph. Re- cently, w r e have had the great vocal records from “Boris,” now the unique and interesting “Night Upon the Bald Mountain,” and soon Koshetz in the cherished “Songs.” I find no words of description that adequately convey the greatness of this music. It is not beauty in the accepted sense of the word. There is a vastness, a sweep of virile strength, —enchantingly beautiful in its own weird manner. When one wishes to know Russia,—to feel the throb of its soul, turn to the music of Moussorgsky as to the pages of Tolstoy and Dostoyevsky. In his music the inherent greatness of a people is revealed. The musical world has been tardy in the appre- ciation of this great tone painter. However, I have observed a growing tendency to properly value the true genius of Moussorgsky. True greatness need not be sanctioned—no praise can add to the beauty and power of the scores that he bequeathed to mankind—yet there are many who have yet to learn of the riches that exist in those works. Few musical biographies can be found that are of greater interest than von Riesemann’s recent volume entitled “Mous- sorgsky.” It is a book that may be read with profit and pleasure. Recently I noted a reference to a novel with a theme song. May I venture to suggest the glowing Ponselle recording as the “theme records” for Pitts Sanborn’s entertaining novel “Prima Donna”? Philadelphia, Penn. E. H. Wannemacher Note: As Mr. Wannemacher points out, Moussorgsky is being given deservedly increased attention and appreciation. During the last year or two the musical world has displayed lively interest in the original score of Boris, unearthed from Russian archives and recently given publication for the first time. A concert performance of this great work—now to be heard as its composer intended—is scheduled by Dr. Stokow- ski and the Philadelphia Orchestra, aided by Richard Crooks and other soloists, for November 29, 30, and December 2 at the Academy of Music Philadelphia. This is stated to be the first concert performance anywhere, but has not the work been given recently—perhaps in stage form—on the con- tinent? A valuable little book on the original version of Boris has been written by Victor Balaiev and translated into English by S. W. Pring. As no article on Moussorgsky or list of his recorded works has been published recently in these pages, it might be well to mention here some of the best electrical records of his music. Khowantchina: Prelude played by Verbrugghen and the Minneapolis Symphony (Brunswick 50153); Entr’acte played