Phonograph Monthly Review, Vol. 5, No. 4 (1931-01)

112 The Phonograph Monthly Review ous but of greater beauty, greater art, more pro- found in conception. And not only Farrar’s art had gone through a metamorphosis: that domina- tion of operatic character which had obscured her own personality was now unchained and she could carry out her dream “to live so that those who come in contact with me find encouragement and en- richment.” The bizarre and sensational having vanished, there emerged a woman of sweetness, simplicity and deep sincerity. One who attends her concerts, now confined al- most entirely to lovely lieder, comes away with the feeling of sweet content. Farrar proved that she can be even a greater artist in the lieder con- cert than in opera. But does she want to be a great artist? These are her words: “Far more important to me than being a great artist, will be, when the final curtain is drawn, to have succeeded in being a great human being.” When Miss Farrar’s first lieder concert was announced the musical world raised its eyebrows. It was impossible for them to have prophesied the new Farrar after knowing her almost exclusively as the diva. The points she strives for in her new type of concert art: quality, sweetness, mastery and perfection of diction. Her costumes, settings, jewels, even her encores, and all chosen to fit the picture. She has one program for the season which she sings everywhere. Monotony is avoided by the variation of personality at each rendition. With the change in Farrar the question has often arisen as to whether or not she would record in the future. The majority of her old records (all acoustical, and very fine indeed) were opera- tic. When questioned regarding this matter she replied thoughtfully: “I shall not record any more. I feel the present svstem not suitable to the delicate nuances of those lieder I should present, and for which we all know there is no market from a commercial and jazz-loving public, and no interest from the company bent on supplying such listeners.” “But,” I protested. “Lieder are on the market and being sold successfully. For instance, the lovely Polydor-Brunswick Schlusnus’ discs. Your many admirers among phonophiles will be intensely dis- appointed if you continue to be heedless to our pleadings. But, there is always the chance of change of mind. . . .” “I think I shall not be inclined to change my mind, as my ideas as to tonal values in the lieder I would like to present, do not coincide with the present-day laboratory processes.” “However, Miss Farrar, let us just suppose, like Maeterlinck’s Tyltyl and Mytyl, that you should change your mind. Just what type of composition would you want to record? “My preference would be only classical lieder: Schubert, Schumann, Franz, Brahms, Hugo Wolf: lyric selections where the poem value adds to tonal nuances as in a dramatic reading.” “Is there no possibility of your ever re-recording some of your famous operatic arias under the electrical system for the help and enjoyment of future generations?” “The best operatic airs have been made by the finest voices; we shall have to await another Caruso, Melba, Amato, to equal their imperishable impressions.” “Would you recommend, for my own benefit and the benefit of other admirers of your operatic interpretations, which of your records you con- sider your best?” “I shouldn’t dare recommend any of my records, for pre- ference, as I never listen to myself but to others. You will choose best, I am sure, for your own taste.” “Who are your favorite recording artists?” “Caruso, McCormack, Alma Gluck, as almost record proof voices. Kreisler for violin and Muck and Toscanini for instrumental music.” “Any particular discs that you most enjoy hear- ing?” “Several earlier Galli-Curci, Melba, and Calve discs as examples of perfect vocal art. Lehmann for superb style, likewise Schumann-Heink.” “You own and admire Lilli Lehmann’s early records?” “A treasure I would not relinquish for words! While in Berlin I went to the Odeon Company to get some for others likewise interested. Imagine my distress to find that even the matrixes had been destroyed as having no value to present-day purchasers! It seemed criminal to me, even though the earlier process was far from the present fluid offerings and easy tone. While the mechanical improvements are constantly being improved upon, alas! of what avail to record the indifferent talent that overruns the studios. We shall not hear in our century such Titans as have gone before.” “And Calve?” “Ah! that superb and never-to-be-forgotten Calve! She was among my early adorations, together with our splendid Nordica (alas, no fond record of her achievements) and great Lehmann.” “And finally. Patti?” “I have a poor disc of Patti and wish I had not heard her thus, but a friend who knows, says it was a most luscious, easy organ not unlike that ‘pansy quality’ I found in Galli-Curci.” “Are not records exceptionally fine educational material ?” “I wish we had had mechanical perfection in earlier times; we could have learned so much from great ones whose name is but legend. I’ve always wondered what Malibran and Sontag (sweet rivals!) had as endowments. Jenny Lind never interested me.” Since we regret Farrar’s decision about re- recording, and disagree with her view concerning the successful recording of lieder, we earnestly hope that she will change her mind. The phono- graph has made tremendous strides in the past five years, and, although we dislike predictions, we are not backward in saying that we believe that lovely music, the type that is dear to the heart of “our Gerry,” will find a larger market than at the present time. Now that our Phoenix, the new Farrar, has arisen, we hope that she will enjoy health and happiness so as to continue being, not only, the great artist that she is, but also the “great human being” of her desire.