Phonograph Monthly Review, Vol. 4, No. 8 (1930-05)

May, 1930 The Phonograph Monthly Review 261 performance more minutely and authoritatively.. But the point is that the phonograph is being taken seriously, and beginning to receive its due meed of attention. “It Pays to Advertise.” With the animation of a phono-musical press added to the admirable practice of the phonograph companies to advertise their current celebrity releases in the program books of leading orchestras, it has become impossible for the concert-goer to take refuge in the old defence: “But I didn’t know music like that could be had on records!” In this day and age inherent value is no assurance of popular success. The phonograph is not unique in this re- spect ; it—like everything else—must advertise. Phono- graphic propaganda is just getting into its stride and upon its spirited development the progress of phonography very largely depends. The two previous articles in this series were designed to help the readers of the magazine cultivate the art of pho- nography to their own better profit. My present objective is the stressing of the fact that they owe something to phonography as well as to themselves,;—or to put it an- other way, they can best benefit themselves by promoting the best interests of the art. That implies the support of courageous issues of fine music not sufficiently rich in pop- ular appeal to be ensured of financial success unless it re- ceived the united support of those who do appreciate and admire such music. And it also implies a helpful hand and voice in the work of phonograph propagandism. The average person does not realize how powerful a tool individual advertising may be. Word of mouth recom- mendations, personal letters to manufacturers and the press, etc., can work wonders. The Phonograph Monthly Review can testify to this, for its growth has been the result al- most exclusively of friendly press notices and the word of mouth advertising of its readers. Every day new subscrip- tions come in from music lovers in distant states and foreign countries who have just discovered that there, 1 is such a magazine—one they have long been looking for. Where did they hear about it? Nine times out of ten it is impos- sible to discover. But somehow or other they have learned of its existence and they hasten to lend their support. It is extremely mystifying and more than a little uncanny, but it is the most convincing testimony in the world that a public—and a more extensive public than any of us have ever dreamed—exists for recorded music and for reviews and articles dealing with the art of phonography. The field can be further cultivated by the continued ef- forts of those already aware of its significance. By play- ing the best recorded works to one’s friends, it goes with- out saying, but also by getting them interested in the prob- lems and ideals of phonography and the publication deal- ing with it. Nothing arouses interest and enthusiasm more powerfully than by coming in contact either in person or via the printed page with others who are animated and ex- perienced in the subject. And this work can be speeded by ensuring the success of phonographic publications and newspaper and magazine record review columns through active support, and especially by writing in to the editors expressing approval and interest if the column is already established, or requesting the inauguration of such a col- umn if there is none. Phonography and the Press The time is fast coming when the better class newspapers or magazines will no more think of ignoring major record- ings that they would of ignoring a symphony concert, a new play, or an important book. It is preposterous that a newspaper should devote a quarter or half column of its movie page to a review of “Lurid Laughtergive a column or more in the book section to a discussion of J. Wilber- force Snozzleberry’s autobiography; even a couple of para- graphs by the second assistant music critic concerning Sadie Offkeyski’s debut recital;—while during the same month that these wonders appeared to an admiring world, not so much as a line was printed regarding the release of a Beethoven Mass, a complete opera, or a Mozart sym- phony—on records. This has been the phonograph’s plight in the public prints, a state of affairs that would be absurd if it were not so deplorably serious. But already the inevitable improvement has been begun. The beginning has been made and if every sincere music lover and phonophile (I hope that in time the words will become synonomous) lends his support, the work of re- form will be soon accomplished. And in the end it is very much to one’s personal benefit that he speed the move- ment along, for an increased and appreciative record buy- ing public means more and better records, and eventually lessened costs. Put in a good word for phonography! Representative French Records By ROBERT DONALDSON DARRELL Conclusion M assenet (1842-1912) and his music have been thoroughly examined in Mr. Hadley’s article. A number of new re- cordings have appeared since Mr. Hadley’s ar- ticle was written, so unless one is purchasing one of the disks he mentions to secure a particu- lar artist’s performance, it will be well to check up with the current catalogues and importers’ bulletins to make sure that there is not a newer and perhaps more satisfactory version available. The only Massenet opera to be recorded in its entirety is Man on (French Columbia), but it is likely that others will follow before long. Gabriel Faure (1845-1924) is not to be con- fused with Jean-Baptiste Faure (without the ac- cented “e”). The former is not the actor and singer—composer of the Eastertide anthem. The Palms,—nor is the latter the composer of the al- most equally popular Apres un Reve. Most phonograph catalogues fall into the error of con- sidering the two men as one. Faure has written many of the finest works in modern song litera- ture, among which the favorite Apres un Reve and Berceuse are by no mieans the most charac- teristic. They are available in a multitude of versions, both in their original form and in tran- scriptions. The other songs, Lamento, La Par- fum imperissable, Clair de Lune, Soir, etc., etc., are mostly confined to the French catalogues. Panzera’s records (French H. M. V.) are par- ticularly recommended. There are at least two choral works: a Noel—II est ne (Pathe-Art, two parts) and Maria Mater Gratiae (French Par- lophone). Two part ’cello versions of an Elegie are played by Bouline for Pathe-Art and Marcel- li for French H. M. V. One of the best examples of Faure’s writing is the beautifully recorded version of the violin sonata played by Thibaud