Phonograph Monthly Review, Vol. 5, No. 12 (1931-09)

828 in the Edison people when they withdrew from the phonographic field. The makers and sellers of phonograph records should have something of the spirit of publishers and booksellers. The latter, no more than the former, can survive without some degree of financial success, but they do not worship the dollar sign to the com- plete exclusion of artistic and aesthetic considerations, but find part of their reward in these latter. Whether the phonograph divisions of the present large com- mercialized corporations can maintain the degree of independence necessary to a similar attitude begins to seem doubtful. No one, however, would yet claim that the phono- graph has become obsolete, but it must realize what its proper field is and devote all its attention to cul- tivating it. In this connection is the broadcasting of popular records really so serious a matter? Does- n’t the real trouble lie in the fact that all the na- tionally known dance orchestras broadcast in the flesh and can be heard, some of them, at most any hour of the day and night ? Since they all play the hits of the day, the desire to own these on records is effectually filled. The same is true to a less extent of popular vocal entertainers. If the financial success of the record companies depends on this type of rec- ord then the prospects are gloomy indeed, because here the radio is pre-eminent and is likely to re- main so. To talk of applying a Lambert Listerine adver- tising campaign to the selling of records is to ignore completely the difference between the two commodi- ties. Any one who, after buying Listerine, is free from a sore throat and fails to see his friends whis- pering behind his back and eyeing him askance, may assume its efficacy and become a permanent user of the product. Not so with records, especially if we must leave the popular type out of consideration. Only those customers will come back for more (grant- ing the first sale) who are able to appreciate what the record contains. Consider also how many people attend opera, con certs and recitals, not for the musical worth, but for the glamour, the personalities, the social aspect. The phonograph on the other hand can and should reach a large audience who lack either the means or the opportunity to attend flesh and blood musical events, but who find their chief pleasure in hearing good music competently performed. The true phono- phile, actual or potential, is ipso facto , a genuine music lover. Every effort should be put forth to reach this individual. He is the salt of the phono- graphic earth. At the same time the record com- panies should—as Mr. Lewison suggests—resume their national advertising and take advantage of the public craving for personalities by featuring the fact that the favorites of the concert stage can be heard at pleasure in one’s own home via the phono- graph. The physical alliance between the radio and the phonograph also has some grave perils as should now be clear. In May 1930 “Observer” confidently asserted that “the instrument of today is conclusively accepted to be the electrical radio-phonograph com- bination.” But where is that instrument today? Do the manufacturers advertise it? Does the public buy it? On the contrary, it has been a failure com- mercially. Even without the depression the price The Phonograph Monthly Review would have been too high to give it general distribu- tion. I pointed this out a year ago in a letter to the Correspondence Column (unpublished) and urged the marketing of a good acoustical phonograph at reasonable price as a means of increasing record sales. The validity of my stand seems to be just now penetrating the general consciousness and de- mands are being made for cheap electrical phono- graphs and pick-ups. But would either fully solve the problem? As to the pick-up, every one does not want a radio and to be forced to buy one in order to play records would be as absurd as to be obligated to attend the movie places for a week in order to see a play on the legitimate stage. A cheap electrical phonograph would fill a need. However a group of radio manu- facturers recently estimated that there are about four million potential buyers living in homes not wired for electricity. Are there no possibilities here for the phonograph ? Certainly not unless a reasonably priced acoustical phonograph is available for those who want no radio. The anomalous situation of recording companies expending huge sums in monthly record releases with- out having standard, reasonably priced and generally available media for their reproduction needs to be promptly corrected. Denver, Colorado H. E. Kleist Piano Recording Suggestions Editor, Phonograph Monthly Review: With the great advances which have recently been made in the recording of the piano, has come the recording of many of the world’s great masterpieces of piano literature. In spite of the present wealth of recorded material, there remain several outstanding compositions which are not yet to be found in any record catalogue. I would therefore like to suggest some material which, if recorded by capable artists, would add greatly to the educational importance of the modern phono- graph. The suggestions follows Bach : Chromatic Fantasie and Fugue; Fantasie and Fugue in A Minor (two pianos). Bach-Liszt: Fantasie and Fugue in G Minor. Beethoven: Sonata, Op. 31, No. 3. Brahms: Sonata in C Major; Intermezzi (com- plete). Chopin: Polonaise in C Minor, Op. 40, No. 2; Scherzo in E Major, Op. 54; Rondo, Op. 72 (two pianos). Cesar Franck: Prelude, Aria, and Finale. Grieg: Sonata in E Minor, Op. 7. Handel: Suite in D Minor. Mendelssohn : Variations serieuses, Op. 54. Schubert-Liszt : Hark! Hark! the Lark! Schumann : Toccata, Op. 7; Kreisleriana, Op. 16. Wagner-Liszt : Spinning Song from “The Fly- ing Dutchman.” Recordings of these compositions I am sure would appeal to serious musicians and students, and it is hoped that the recording concerns will make use of this list to a more or less degree in planning their future programs. Wilkinsburg, Penna. Donald F. Rohrer