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

234 The Phonograph Monthly Review April, 1930. worst, since he has perfect faith in the wife he leaves behind. The evil one now plots with his wife, Fiamina, and by magic arts lures Alain to the garden where Griselidis is sitting alone. In the following song, the Devil tells of his malicious plans, and how he intends to work the young wife’s ruin. “Loin de sa femme,” sung by Willy Tubiana (F. G. Co., P. 701). This aria, full of sardonic humor, is given with exceptional skill and appreciation of its particu- lar style. The fine voice of Tubiana—a basso- chantante of the Opera-Comique—is heard to great advantage in this music. The air of Alain, “Je suis l’oiseau,” a great favorite in the concert-room, begins the fine love- duett of act 2. It is admirably sung by the tenor, Cazette. (F. G. Co., P. 436). In this wan and stained-glass romanticism there frequently crops out a spirit of rough buf- foonery. When the opera was produced at the Comique, in 1901, the part of the Devil was “created” by that admirable basso, Lucien Fugere, thus “fixing the tradition.” He was cos- tumed as the real horned Prince of Darkness of the old miracle-plays, wearing an ox-hide so cut as to give the semblance of a tail. His singing was superb, but his antics were, to many, ex- tremely distasteful. Indeed, much of the stage business of “Griselidis” is abominably foolish, but it is tradition; and in revolutonary France it is easier to overthrow a government than to uproot an error sanctioned by custom. (To be continued) 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 Phonograph Monthly Review, 47 Hampstead Road, Jamaica Plain, Boston, Mass. THE PHONOGRAPH’S PERMANENCE Editor, Phonograph Monthly Review: “Observer’s” assurance that the phonograph is here to stay is given convincing endorsement by Dr. Leopold Stokowski in a recent magazine article, which I enclose, and trust that you may be able to quote from it for the benefit of “doubt- ing Thomases.” Jamaica Plain, Mass. B.A. Note: We take pleasure in quoting Dr. Stokowski’s remarks under “Phonographic Echoes, page 228 of this issue. LOUD NEEDLES Editor, Phonograph Monthly Review: Mr. Olsen’s letter in your March issue moves me to em- phatic protest. I have been told by others besides him that the only needles one should use are the full tone steel needles which alone fit the groove perfectly. Neither my own experience nor that of other experimenters bears out the wisdom of this view. I agree with Mr. Olsen that Victor needles should be used for Victor records, Columbia needles for Columbia records, etc., but minimum wear and true reproduction can only be obtained through the use of half tone or medium needles. Nothing I know of wears a record more quickly than the heavy “full tone” needles. I have some heavily amplified records that quickly develop- ed a tendency toward groove-jumping, and I have found that these disks are playable only by the use of the fine gauge grip needles, about which there was so much hull- abaloo a few years ago. These needles give excellent re-pro- duction, and unquestionably increased record wear, but as they are more bothersome to use than the ordinary variety, I use them only on thin-grooved and badly worn disks. Cincinnati, Ohio G. A. THE PHONOGRAPH IN THE PRESS Editor, Phonograph Monthly Review: I have noted considerable correspondence on the subject of the phonograph in literature. The recent appearances of the phonograph in the newspapers is of less artistic inter- est perhaps, but it certainly is very much more important from a commercial point of view. Mr. Gilman on the Herald- Tribune and Mr. Pakenham on the Sunday Times have in- augurated regular record review columns, and also Dr. Gold- berg in the American Mercury magazine. The New York Telegram of February 20th contain a fine little “puff” for The Gramophone Shop, written by Alice Hughes. This sort of publicity is the best thing the phonograph could possibly get, for it is showing the world that the phono- graph and recorded music are flourishing as never before. I strongly advise every earnest collector of fine records to write his own newspaper asking that notice be given to cur- rent record releases, as notice is given to current movies, plays, books, etc. Records play just as significant a part in our artistic life, but until lately it has fallen badly behind the others in its propaganda efforts. Phonograph publicity means more and better record releases. Each one of us can help. Yonkers, N. Y. “Vox Populi” SOME SUGGESTED PIANO RECORDINGS Editor, Phonograph Monthly Review: I have followed with intense interest the letters published from time to time in The Phonograph by piano enthusiasts. May I supplement their suggestions with a representative list of works which every music lover would like to see recorded by the leading gramophone companies? No doubt judicious care should be exercised when selecting the right pianists to interpret the works which are best given to show off their talents and genius. I append the list as below:— Ireland, John. The Island Spell, Sonata. Liszt. The Lorelei, Valse Impromptu in A flat, Etude in F. Minor NO. 10 (Transcendente). Etude in A Flat. MacDowell. Sonata No. 4 Op. 59 ‘Keltic.’ Dohnanyi. Aria Op. 23. No. 1., Rhapsodie Op. 11 No. 2. Scharenmusik (Music of the Spheres), Tolle Gesellschaft (Boisterous Party). Valse Amiable, Konzertetuden Op. 28. No. 5., The Veil of Pierrette Op. 18., Valse Impromptu Op. 23, No. 2, Suite Wintereigen Op. 13 Rachmaninoff. Bacarolle, Melodie, Polichinelle. Smetana. Concert Etude Op. 17 (By the Seashore). Stojowski.. Melodie Op. 1 (Musical Thoughts).. Polish Idylls Op. 24, Miniatures. Levitzki. Valse de Concert, Valse in A Flat, Danse Humor- esque, Gavotte. Copland. Scherzo Humoristique, (Le Chat et la Souris). Leschetizky. Arabesque in etude form. Padarewski. Gracovienne Fantastique Op. 14. No. 6., Noc- turne Op. 16., No. 4., Song of the Traveller, Op. 8. Scriabin. Etudes, Nocturne for the left hand, Prelude for the left hand. Saint-Saens. Bouree for the left hand. Moszkowski. Etude de Concert Op. 64. No. 3., Bacarolle Op. 27. No. 1., En Automme Op. 36 No. 4., Etude de Concert Op. 64. No. 1., Liebeswajzer Op. 57. No. 5., Melodie Italienne, Monologue Op. 31. No. 1., Serenata Op. 15. No. 1., Spanish Dance Op. 12. No. 2., Valse Op. 34. No. 1., Valse Brilliante in A flat, Waltz Coquette, Etude Op. 24. No. 1.