Phonograph Monthly Review, Vol. 5, No. 1 (1930-10)

October, 1930, Vol. V. No. I 35 Dr. Ricardo M. Aleman (from an auto-caricature ) to something that has an unmistakable touch of genius. Dr. Aleman has cultivated a variety of styles, giving his work a surprising freedom from monotony. His experiments with typewriter caricatures are highly interesting (the ones of Coolidge, Hoover, Wilson, and the be-whiskered Arbos are really little masterpieces). The wash drawings, however, particularly those of D'Annunzio, Clemenceau, Paderewski, Alfonso XIII, Galli-Curci, and MacDonald, are the best of the entire book, comparable indeed with those of Covar- rubias, yet highly individual. The book is divided into four sections, a series of auto- caricatures, caricatures of Dr. Aleman by other artists, a very amusing group of “types” (“Russian Opera” is the prize of the set), and a long section of caricatured celebri- ties. Musical figures are prominent, particularly Toscanini who is pictured in an almost infinite variety of poses and styles, and invariabfy with surprising forcefulness and orig- inality. The book is really a first-rate one. No information on its price accompanies it, but I presume that it is on sale to the public, and I recommend every dyed-in-the-wool phonophile to secure it. The address of the publishers is “La Prueba,” Obrapia 97, Havana, Cuba. The Musical Pilgrim The Musical Pilgrim Series. Edited by Sir Arthur Som- ervell. New Issues: Schumann's Concerted Chamber Mu- sic, by J. A. Fuller-Maitland. Bach's “Brandenburg Con- certos,” by J. A. Fuller-Maitland. Strauss—The Rose Bear- er, by Eric Blom. Berlioz—Four Works, by Tom S. Wotten. London and New York, The Oxford University Press. Paper covers. 50c each. The Musical Pilgrim series of musical booklets, as attrac- tively designed and printed as they are informatively writ- ten, grows apace. Intended to serve as more extended and de- tailed annotations that available in ordinary program notes or biographical studies, they serve a particularly useful pur- pose for the phonophile. The four new additions to the series maintain its high standards. The Fuller-Maitland books are strictly analytical studies, one of Schumann’s writ- ings for combiniations of two, three, four, and five instru- ments (about which there is very little material otherwise conveniently available), and the other of the six Branden- burg Concertos of Bach, two of which are now available on records. (In addition there is the English Brunswick record- ing of the complete set, referred to in this booklet, which technical troubles have so far held back from general re- lease.) The Blom and Wotten books are likewise annotatory studies, but they are rather more elaborate and make good reading as well as convenient informative sources. The ac- tion of Der Rosenkavalier in the stage is vastly confusing, even to those who are quite familiar with the music, and Mr. Blom’s highly detailed yet sprightly analysis is really in- valuable for a proper understanding of both story and music. Mr. Wotten’s booklet is of perhaps less general interest, but it supplies information hitherto difficult to come by on some of the less familiar Berlioz works as well as a very complete annotation on the Fantastic Symphony. There are many illustrations in notation. The convenient format, low price, and specialized nature of the booklets makes them a desirable addition to every library of music books. Concert Goer's Notes The Concert Goer's Library of Descriptive Notes, Vol. II. By Rosa Newmarch. London and New York, The Ox- ford University Press. Miss Newmarch’s notes for concerts of the New Queen’s Hall Orchestra of London, written over a period of many years, have recently been collected for publication in more permanent form. The books are pocket-sized, but well printed and bound, and are designed too for concert goers, phono- philes, and radio listeners. The present volume covers the Wagnerian overtures and excerpts most frequently played in concert, a series of tone poems, and some of the best known concert marches. Miss Newmarch is somewhat overly ser- ious in her comments. The information is there, but the notes seldom sparkle or arouse very lively enthusiasm for the music they discuss. The book is a convenient source of material, but the fact that it is less specialized than the Musical Pilgrim series, and that most of the information it contains is generally available, makes it of less unique value than the paper-bound booklets. Like them, however, it is a model of good taste in book making, a characteristic ex- ample of the Oxford University Press’ steadfast maintenance of high printing standards. F. F. A Survey of the Viol Family Music Instruments and T'heir Music 1500-1750, by Ger- ald R. Hayes. II Viols, and Other Bowed Instruments, with an intro- duction by Arnold Dolmetsch. London, Oxford University Ftess. 265 pages. The second in a series of five books dealing with the older musical instruments. The present volume deals exhaustively and authoritatively with the Viols and other bowed instru- ments, and is divided into four books, the first of which is devoted to the Viols, the second to the Lyra family, the third to the Rebec—the Violin family and the fourth to In- dependent forms. A prologue states the historical value of the instruments and shows that the violin as an evolutionary result of the older instruments has completely superceded them. An epilogue demonstrates that in spite of this that the present day had brought a new interest in the less famil- iar instruments and in the music of the past. The author has succeeded surprisingly well in making a book filled with so many technical details interesting, as well as an invaluable compendium of details concerning little- known factors in present-day instrumental development. As mentioned above, the interest evinced at the present time in the musical instruments of the past is remarkable. Perform- ers such as Wanda Landowska, the Casadesus family, and many others do much to create this interest, and the author of this book is to be congratulated on making available in- formation of this kind—which should form part of one’s mu- sical background. Not only are the instruments themselves discussed but the details of their fashioning, the reason for the designs, the origin of their names and music written for them. The au- thor has also delightfully stressed social contribution and employment by composers. Interesting plates in-the back of the book illustrate vividly the forms and styles mentioned in the work, which is on every serious music-lover will want to own. IL B.