Phonograph Monthly Review, Vol. 4, No. 7 (1930-04)

April, 1930. The Phonograph Monthly Review 225 well as it always did, but thoroughly worthwhile writing also commands a large market, which was certainly not true in the past: The standard of the average reader may still be low, but it is very materially higher than it was a decade ago. The person of moderately good education reads more and better books than he ever did before and the increased demand has logically led to a marked increase in the production of good books and in the rising prosperity of both authors and publishers. The new phonography can profit very advantageously by a study of its sister art and industry. The course of its future progress must be closely similar. So much for generalities. How does all this directly affect the choice of one’s record purchases? It should be quite obvious, but even the obvious needs emphasis. I shall merely sketch an approach to the problem. Like the choice of an instrument it is an individual one and can easily be solved by a thoughtful consideration of the factors and principles involved. Taking Stock Let me suggest that first of all the earnest phonophile de- vote a day or two to talking stock, examining his collection of records and their present appeal for him. Setting aside the additions made during the last two or three months, he should go carefully over every record, playing as many of them as possible, and asking himself, Would I buy this same record today? How often have I played it after the first few months I had it? Is it really the kind of music I am interested in? Does it represent the types of recording and performance I most admire? What was my reason for pur- chasing it and has time established the truth or the falsity of that reason? In short, is this record a good or a bad in- vestment? i Unless he has long ago worked out these problems for himself and formed a well defined phono-musical philosophy (as many of our readers have obviously done), he is un- doubtedly going to discover that four-fifths or so of his record collection is devoted to works in which he has little or no interest today. I am not referring to popular and dances disks which soon become obsolete because of their very nature, but to the works which were regarded at the time of purchase as genuinely significant, and which were thought to be a permanent investment. If the percentage of outgrown records is still larger and the nucleus of works that can still be cherished correspondingly smaller, it is prima facie evidence that the owner is fast losing or has already lost his interest in phonography. The novelty of buying and discarding new disks is quickly exhausted, and when that is gone there is nothing left for him. Types and Suggestions Those who have followed me so far with more or less concurrence, will in all likelihood now turn on me with: “We admit a situation like this frequently exists, but what is the remedy?” The remedy as I said earlier is a more intelligent use of the phonograph (which involves the care- fully considered choice of an instrument on the principles outlined in my last month’s article) and a more intelligent choice of records for purchase. It is difficult to make very specific recommendations : as in the selection of an instru- ment individual tastes and requirements largely condition the proper choice of disks. Some collectors cannot con- done technical sins, and if the recording is not of the best or if the record develops flaws, on repeated playing, it is decisively spoiled for them, regardless of the attractiveness of the actual performance or the music itself. Others feel that this is losing sight of the forest for the trees. While they realize that perfection is the goal and that one should never weary striving for it, human fraility and imperfect mechanistic processes are still far from the ideal. They are willing to make allowances. They dislike surface noise, blasts, excessive shrillness, and other faults as much as any- one, but for them the musical content of the disk comes first. They have old and cherished records that exhibit many of these flaws, but unless they can afford to get a new copy or a better version, they suffer the defects for the sake of the music—consciously exercising their wills to shut out the extraneous sounds, just as the veteran phono- phile’s mind quickly passes oyer and discounts the pauses between record sides. Those who cannot exercise this mental filtration will obviously have to choose their records on a basis of very high technical standards, while those in the other group will never be satisfied by technical ex- cellence alone. Another group (one that is rapidly growing and one that cannot grow too fast) consists of the musically sensitive who are always supremely conscious of lapses in correct intonation, raggedness of attack, muddy or harsh tone coloring, sloppy phrasing and the like. Unless they take pains to avoid performances by second-rate musicians their records are going to cause them more discomfort than pleasure. Their rigid refusal to approve of works that do not measure up to the best standards of musicianship is steadily working to raise phonography to higher artistic planes. Many collectors are cranks on certain types of records only. Their horizon is limited to orchestral recordings, or piano disks, or operatic arias to the exclusion of every- thing else. This singular attitude has its negative as well •as its positive side; one man abhors songs, another could not be persuaded to listen to chamber music, and so on and so on. Moderate specialization is an excellent prac- tice, but it is easily carried to excess and becomes one of the greatest dangers to phonography. The focus of in- terest is thrown away from purely musical qualities, and again faddism and unreasoned eccentricity rear their ugly heads. Lowbrows and Highbrows One type of record buyer selects only disks that he “can understand,” that are light or frankly sentimentalized. No highbrow stuff for him! He wants to be entertained, not bored to death! Yet if he possesses any inherent intelligence and musical sensibility at all he quickly discovers that he can understand his records only too well, and that nothing can be more boring than music which lacks substance and vitality. Active musical experience—the hearing of many works—is a profoundly vigorous educative influence. The person who uses a phonograph to any considerable extent will quickly develop a discriminating taste, or else he is utterly incapable of mental development. The normal per- son will quickly outgrow most of the works which once represented the utmost in musical entertainment for him. If he keeps on buying the same kind of disks, he will naturally grow disgusted with his phonograph. It is better to aim high than low. By gradually introducing new works from a higher musical level the sincere person will quickly become dissatisfied with the less significant works and turn toward the indubitable masterpieces of music. Their purchase is always safe. They may baffle, perhaps even repel, at first, but if they are given a fair trial they reveal a new world of musical pleasure. It is the fourth and fifth- rate works that cannot endure re-playing and study. Of course there are also those who through affectation or an over-ambitious desire for self-improvement in musical appreciation go to the extreme of choosing works that are altogether beyond their powers to assimilate. The man who is nourished on light overtures and Haydn’s “Surprise” Symphony is not likely to derive a great deal of joy out of Strawinski’s “Sacre du Printemps.” I must confess, however, that the danger of phonography losing followers in this way is a slight one. It is quite possible that the over-ambitious person and even the out and out poseur will grow to endure and then to like the advanced work. (This subject was touched upon in more detail in Mr. Dar- rell’s “Musical Ladder” articles last year.) The Spice of Variety Many overly serious collectors forget to season their musical fare with a little pepper and spice in the way of jazz or novelty disks. Altogether apart from the fact that there are jazz records of genuine artistic worth, there is an abundance of entertaining musical nonsense that can be relished by even the wisest of men. The most sophisticate often find intense delight in the naive and rude hill billy ballads. Others relax into smiles at the repartee of the Two Black Crows or other recording comedians. Manv follow the blues records with great interest. Music hall patrons like to renew their acquaintance with their favorite stars, and almost everyone enjoys some dance music now and again. The connoisseur who rigorously confines him- self only to the most serious and highly respectable record-