Phonograph Monthly Review, Vol. 5, No. 5 (1931-02)

February, 1931, Vol. V* No. 5 149 portionate importance, and each piece is suffused with the feeling and expressiveness with which the composer so richly endowed it. Few musicians could measure up to such ideal- istic standards, but those who have had the rare privilege of playing Bach’s works for the phono- graph have stretched every nerve to meet the loftiest demands. Of course they often fail, but even the failures are glorious; and the successes are far from infrequent. Stokowski, Hess, and Samuel have already been mentioned. The two pianists who have begun Columbia’s work of re- cording the first book of the Well-Tempered Clav- ier in its entirety—Harriet Cohen and Evlyn Howard-Jones—are less highly bruited names than those of the others, but they similarly com- bine sound attainments with a spiritual vivac- ity, the poetical with the mathematical sense (no incongruity in music) that we ask in thoroughly adequant performance of the preludes and fugues. Miss Cohen has recorded the first nine (Colum- bia Masterworks Album 120) and Mr. Howard- Jones the next eight (Columbia Masterworks Al- bum 147). The similarity in their technical and interpretative development is seasoned by the contrasts in their personalities. Both may lack something of the animation one seeks, and that one finds in Myra Hess, but the gracious woman- liness of Miss Cohen’s performances and the straightforward masculinity of Mr. Howard- Jones’ are equally sympathetic to the music, each revealing in it qualities that the other (and others) lose. Learning various qualities from each gives one greater perspective, and rounds out the almost inconceivable endowment of the composer. There is no blunting of musicianly acuteness or blurring of poetical feeling to be found in going on from our experience of the first three preludes and fugues as played by Sam- uel and Hess, to Miss Cohen’s performance of the great prelude and triple fugue in C sharp minor (No. 4) or the equally impressive and moving poetic prelude and fugue in E flat minor (No. 8) ; and to Mr. Howard-Jones’ playing of the dashing two-voiced fugue in E minor (No. 10), the ver- nally fresh prelude and fugue in F sharp major (No. 18 — an idyll of peaceful blithesomeness with enchanting episodical figure that is one of the most haunting things in all music), and the poignantly introspective prelude and fugue in G minor (No. 16)—to single out only a few. It is not necessary to know the technical names and analyses of these works and their parts to thrive on their food for the mind and soul. Techni- cal knowledge, however, does further stimulate one’s appetite and increase the nourishment re- ceived. J. Fuller Maitland’s simple, intelligent notes on the pieces (in booklets accompanying the albums, or in more extended form in two volumes in the “Musical Pilgrim” series) are an admirable introduction to some of the technical aspects in- volved. But he is wise in emphasizing the fact that these aspects are but a few of the facets NEW 1931 EDITION Encyclopedia Of THE WORLD'S BEST RECORDED MUSIC Have You Your Copy? 272 Pages of solid information about all im- portant records issued by every record manu- facturer in the world. THOUSANDS ARE BEING MAILED! Not only every state in America, but England, France, China and Japan are receiving them in hundreds. PRICE 25c POSTPAID from your dealer or dramopljotte INCORPORATED 18 East 48th Street New York City presented by the work as a whole. The music it- self is to be heard and experienced, made a part of oneself—one of the most profound and joyous of “adventures of the soul.” It must be a small mentality that has the tem- erity to minimize the significance of a mech- anical instrument and process that makes such an artistic adventure possible to thousands to whom it would be denied if they had to depend alone upon the opportunities of hearing the Well-Tem- pered Clavier adequately played in concert or by themselves. Phonography is again the Open Sesame , and the musicians, engineers, and manu- facturers who have contributed to make it so have added mightily to their own stature in indicating at least a measure of that of Bach—the true Bach, divested of the wig of icy erudition and un- approachable sanctity. The forbiding mask that tradition and the scholars have set up to frighten the timid has been torn off, and Bach may be known by any one who possesses the sincere and burning desire to know him. And the only in- troduction is his music. Words can never con- vey its world of feeling. “It is stupid to attempt, in words, to suggest its meaning; but it is still more stupid to suppose that it has none.” The music itself suffices unto itself and the music is available to all who will give ear to it.