Phonograph Monthly Review, Vol. 4, No. 4 (1930-01)

132 The Phonograph Monthly Review January, 1930 Stassevitch in Boston, Massachusetts. Undoubtedly it will be given by many of the leading symphony and chamber orchestras throughout the country. Here is excellent material for the phonograph, for it combines permanent artistic worth of the finest sort, with an element of novelty. There is also the very important con- sideration that music of this sort, which is perhaps intend- ed to be read almost as much as to be heard, is in- finitely too complex to reveal more than a glimpse of its depths at first hearing. Most of us are not skilful enough to unravel it on our pianos, but through repeated hearings on the phonograph—followed of course with the score in hand—we could gradually derive a true knowledge and ap- preciation. The work is so extensive that a complete re- cording would probably not be very practicable at the present, but the fugue transcribed for oboe, English Horn, and two bassoons, and the canons for piano or organ solo would make excellent recording material. Also the impres- sive fugue No. 11 for chamber orchestra and organ. Washington, D. C. Historian RAVEL’S BOLERO Editor, Phonograph Monthly Review : The latest concert hall success is that scored by Ravel’s astoundingly clever Bolero. A stunt, of course, but a diabolically ingenious one. Despite oneself, it is impossible not to receive a genuine thrill from the piece as it grows more and more unbearably intense. The final explosive climax brings such relief from the tension that it is no wonder the concert audiences break into frenzied applause and even hoarse bravos and energetic stamping. It has the sensations of recent seasons, such as Pacific 231, The Pines of Rome, etc., beaten by a generous margin. I imagine some enterprising conductor will lose no time in recording it, and beyond a doubt the records would have a brilliant success also. The only drawback to a phonograph version would be the breaks between the record sides, as they would probably destroy a good deal of the cumulative, monotonous effect which is so essential to the Bolero’s impressiveness. Mt. Vernon, N. Y. E.E. LABELS AGAIN Editor, Phonograph Monthly Review: Perhaps some of your readers are weary of the subject of record labels, and are saying why not stick to the music and not the label, but most of them surely realize the im- portance of having good labels. After all, no matter how good an album set may be, if you get all balled up playing it, you can’t enjoy the music as much as if the labels were so clear that you couldn’t go wrong. Not only your critics should give praise to Columbia for its new labels, the eye doctors should have a word of commendation too. I’m not so concerned about them being logically correct and all that, 1 but I do know that they look well, they’re easy to read, and they’re unmistakably clear. Odeon should take a tip from Columbia. I tried to play the Klemperer records of Brahms first at a dealers the other day and had a terrible struggle finding which part was which. With the Columbia scheme you can’t go wrong and you don’t have to injure your eyesight either. Chicago, 111. T. T. W. DELIUS ON THE PIANO Editor, Phonograph Monthly Review: The article on Delius in your December issue will be of inestimable value to many of your readers who are anxious to know more of this great composer’s work. Unfortunately, a large proportion of his recorded works are available only on imported disks, but presumably many of these will ap- pear eventually in American re-pressings. Perhaps other readers besides myself like to augment their records by piano arrangements of the works of their favorite composers. Mr. Darrell’s article mentions Delius’ piano works rather briefly as one would naturally expect in a study of the Delius records. However ,perhaps I may be permitted to augment this material a little for the benefit of the pianists among the readers of the magazine. Beside the two-hand arrangment of On Hearing the First Cuckoo in Spring and Summer Night on the River there is a two-hand arrangement of In a Summer Garden. For piano solo Delius has written the Harpsichord Dance, three little preludes, and a set of in- teresting little pieces published in the Universal Edition. Some of this last set have just been recorded in England by Ho ward-Jones for the Columbia Company. The piano and vocal score of Sea Drift was mentioned in the article; I might recommend also similar scores of Appalachia, Songs of Sunset, and Arabesques. The Mass of Life, Song of the High Hills, and the Requiem are rather too difficult for amateurs to make m,uch out of. Brigg Fair, the North Country Sketches, the Second Dance Rhapsody, Paris, and some other orchestral pieces are available in four-hand transcriptions. The first and best known Dance Rhapsody has been transcribed very effectively for tw r o pianos by Percy Grainger. And finally, the piano parts of the Eliza- bethan and Nietzsche songs are so interesting that the amateur pianist will find them wholly delightful even if he is unable to supply more than a mental approximation of the vocal line. Montreal, Canada Piano e Forte SPEEDING UP IN D. C. MOTORS Editor, Phonograph Monthly Review: Have you or any of your readers experienced the trouble which I am having with by D. C. motor? Set at 78, it gradually increases in speed until at the end of a half hour or so it is running at above 90, although the position of the speed regulator has not been changed during the interval. Nobody whom I have consulted has been able to suggest the cause or the remedy. There is no lost motion between the speed indicator and the friction pad, otherwise this would suggest itself as the cause. It appears to be properly lubri- cated. There is no belt used. This condition has existed from the beginning, but I have hesitated to return the motor as otherwise it is exceptionally quiet and smooth running. The make of this motor is unknown to me. Is this defect common to all D. C. motors? Perhaps you can help me out in this matter. New York City, N. Y. Henry S. Gerstle Note: The instruments in the Studio are all equipped with A. C. motors, none of which ever evidence such speeding up as described. Perhaps some technician among our readers can furnish Mr. Gerstle with the reason for his motor’s behavior. A TYPICAL SUBSCRIBER’S LETTER Editor, Phonograph Monthly Review: With great pleasure I enclose a check for $4.00 as my subscription to the u Music Lovers’ Phonograph Monthly Review"’, for one year, commencing with the December num- ber. Your publication fills a long felt want. I have always hesitated about going into a dealer’s store, to hear records, many of which I did not care for; and have frequently bought records that had no particular interest, in order to buy something, to compensate the dealer for the trouble I had caused him. With your Review I can now hear only those that have been commented on favorably, and that will be a great help. I want to thank you for recommending the Victor record 7112, Die Zauberflote and Cosi fan tutte, both sung by Lotte Schoene. It is a gem, and I should never have found it, but for your November issue. Wishing your valuable magazine much success. Beverly Hills, Calif. Ernest H. Gardner EDWARD GOLL Editor, Phonograph Monthly Review: Stimulated by the enthusiastic review of Edward Goll’s Brunswick recording of the great Beethoven A flat Sonata, Op. 110, I made an effort to hear these discs and liked them so well I purchased them. Also the little Bach disc reviewed in your December issue. I am very grateful to your maga- zine for enabling me to make the acquaintance (via records) of this very fine pianist. I certainly should never have thought of getting his records (not knowing anything about him previously), unless I had read the P. M. R. reviews. But who is this Edward Goll? Your reviewer does not