Phonograph Monthly Review, Vol. 5, No. 2 (1930-11)

November, 1930, Vol. V. No. 2 41 When I first assumed the music-critic’s burden I was assigned to cover the local appearance of a world renowned English violoncellist. He played a transcription of the Franck violin sonta, so dear to the great preponderance of distinguished violon- cellists. The program said simply and inade- quately, “Sonata in A Major (Franck).” I naively assumed that the illustrious Belgian had com- posed the sonata for the baritone fiddle. My re- view reflected my naivete. Only partial solace was obtained from a chapter of Newman’s “Music Critic’s Holiday” wherein the excellent Ernest on- fesses that he once revealed his own monumental ignorance following an experience indentical with mine. Now, Cortot and Thibaud dispense this music in my company as frequently as my whims may dictate. Thanks, of course, to the faithful phonograph. And so the colossal deficiencies were by degrees ironed out. When our symphony society at length was able to give the Beethoven ninth symphony its sadly belated local premiere, I could anticipate every stroke of the conductor’s arm, was prepared to squirm at very false note uttered by the soloists. Thanks, again, to the phonograph. The phono- graph then, enabled the floundering critic to make the intimate acquaintance of nearly every item of the standard symphonic repertoire. No need to enumerate the recordings which have aided in ef- fecting the transformation. And opera? Only when providence brings us an itinerant troupe of Italians, or a substantial guarantee brings the Chicagoans westward, do the galleries of our public auditorium echo the strains of grand opera. The last time (and prob- ably the first) that Tristan was disclosed to local opera consumers, I was too young to know how Wagner’s motives differed from honorable motives, or what motives were anyway. True, I heard Tristan not long since in Munich, but real intimacy with the music-drama came from possessing the Bayreuth Festival discs. I have never heard the Ring operas in the flesh, but if the German Opera Company ever makes good its threat to visit our city, I shall go prepared to distinguish between the Rhine maidens and the valkyries. Fervent thanks, again, to the phonograph. And the more flamboyant operas of the Latins. I know every succulent strain of La Traviata, every oriental improvisation of Aida, every sugary phrase of the recorded Puccini repertoire, all the fiery bombast of Carmen. Last come the reserve battalions. Provincial gramophiles eventually enter into commune with masterworks no local impresario could muster the courage to undertake. At least not for some few revolutions of the moon. I do not expect to attend an “all local talent” rendition of Beethoven’s Missa Solemnis for some years. I do not seriously sup- pose our orchestra soon will cope with the techni- cal intricacies of Le sacre du printemps and Ein Heldenleben. Nor is it likely to do more than par- tially poetic justice to L’oiseau de feu and the Symphonie fantastique. As far as the average concert-goer of my town is concerned, these are of the vast company of unborn masterpieces. They are ambitions rather than fruitions. Hence the phonograph has brought your wan- dering critic ahead of the game. And the journa- list has to be ahead of the game. I refer to my first record, Paderewski’s rendering of th ^‘But- terfly” etude in much the spirit the millionaire points to the first dollar he earned. And I do not grant the millionaire a greater thrill from his latest financial coup than I have been getting from the acquisition of the Brahms second symphony as played by the Philadelphians. Phonograph House Organs The Brunswick Radio Corporation is now bringing out a companion journal to the Brunswick Topics mentioned in our September issue. Mr. James E. O’Bryon, editor of the Top- ics, is also the editor of the Brunswick Dealer News, a month- ly devoted to the interests of Brunswick dealers. Although primarily a trade organ, many of its articles on Brunswick instruments and records are of interest to the layman as well as the dealer. The first issue (September) contains articles by various Brunswick officials on the Wamer-Brunswick Al- liance, the Brunswick advertising campaign, Unrecognized Profits in Records, Engineering Features of the new Bruns- wick Line, Merchandising talks, etc. The September issue of the RCA-Victor Company’s house organ, The Voice of the Victor, is a special number cele- brating the new Victor Phono-Radio line. Although it too is intended primarily for the dealer, it contains many photo- graphs, technical details, and information that are of keen interest to every thorough-going phonograph enthusiast. I- R. A. "Digests" Mr. A. J. Franck of the International Records Agency has recently inaugurated an interesting service for his clients, for whom it has been impossible to secure an adequate supply of catalogues of the many makes of European records carried by the I. R. A. A series of “digests” of foreign catalogues will be issued regularly to keep clients acquainted with all the most important and interesting items they contain, in addition the many works which the Agency has felt de- serving of immediate importation. Phonophiles searching for works well off the beaten track and those specializing in particular types, artists, or composers on records should find this service of unusual value. Mr. Fuhri on Record Business A current interview with Mr. W. C. Fuhri, Vice-President and General Sales Manager of the Columbia Phonograph Company, contained some stimulating pointers to the Radio dealer on the direct value of the record business: “If dealers will become as enthusiastic about the record business as all important radio manufacturers are, they surely can triple their sales this coming season . . . the combination radio- phonographs being turned out indicate a strong feeling on the part of the manufacturers that the public wants radio music and record music—and they are right . . . the combina- tion idea makes a strong appeal to the public, and means cash record business for those record dealers who follow through and sell the record idea to their customers who buy combinations. ... By the way, the “old style” phonograph is not dead. A supply Jobber told me the other day that he is selling 20,000 main springs a month—he also sells lots of records. It is apparent that these main springs mean rec- ord business too, because they are putting old phonographs back in service.”