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

February, 1931, Vol. V. No. 5 155 Farrar — Pro and Con Editor, Phonograph Monthly Review: In common with all other lovers of fine lieder singing I am very sorry to hear that Geraldine Farrar refuses to record again. Much as I prize her old operatic recordings, I would exchange many of them for onet or two recordings from her new repertory. Surely she cannot be familiar with the splen- did lieder records that have been made in the last two years or she would not make so thoughtless a statement that mod- ern recording is unable to capture the subtleties and inti- macy of lieder singing. I am sure that if she were to play only a few of the records that have been made by Elena Ger- hardt, Julia Culp, Leo Slezak, Elisabeth Schumann, Hein- rich Schlusnus, and other master lieder singers, she would have to abandon her position unreservedly. Kansas City, Mo. “Lieder” Editor, Phonograph Monthly Review: Kindly permit me to question the value of such an article as that dealing with Mme. Farrar in the January issue. It seems to me to be particularly inappropriate to publish such an article in a periodical supposedly devoted to the advance- ment of the phonographic art. Mme. Farrar, to quote her own words, “shall not record anymore,” and is therefore of no interest to record collectors. Her field is now strictly limited to concert appearances. It struck me as being ex- tremely “unmodern” for this former diva to speak as slight- ingly as she did of the “present system” of recording and to overlook the fact that the mailing list of the P. M. R. is a refutation of her assertion that there is “no market from a commercial and jazz-loving public” for discs of lieder. Fur- ther, the companies “bent on supplying such listeners” are enabled to push their plans for the recording of classics only through the profits derived from the sale of popular records. I would suggest that in the future your magazine devote three valuable pages to interviews and discographies of ar- tists who are making contributions to the art of the gramo- phone, now in its period of renaissance. One must bear in mind that the potentialities of the modern record are great, and that, if anything, it too well mirrors the performer and is performance. There are others beside Mme. Farrar who have seen fit to sing a highly-publicized dirge over grand opera. For them to refrain from the wax is an evidence of discretion in which Mme. Farrar points the way for those others who follow. Far Rockaway, N\ Y. Theodore B. Hanna Editor's Note: While I have strong sympathy with the point of view expressed by Mr. Hanna, I feel that phono- graphy is on too solid ground to fear the consequences of giving a hearing to its detracters. The Farrar article has in my mind too sound reasons for publication in a phonographic journal: first, by virtue of the historical importance of the old Farrar recordings; second, by virtue of its power to arouse phonophiles to put forward the convincing defence of their art that is apparent to all except those who are reso- lutely determined not to see. I have received many letters on this subject, of which Mr. Henna’s is the most forcibly and originally expressed and is so chosen for publication. The implied rebuke to Mme. Farrar is, I think a justifiable one. The failure of modern lieder recordings that do not capture “delicate nuances” and that do not command an eager—if still quite small—public, must be attributed to the singer and not the present system of recording. Singers who wilfully pass by the opportunity to record such works reveal either an ignorance of the present lieder recorded repertory or a fear of facing a fair test. I regret that Mme. Farrar does not see fit to follow the example set by other singers, some of whom are much older and whose voices are by no means as well preserved. Elena Gerhardt, for example, while a year younger than Mme. Farrar, no longer commands the freshness and early beauty of her voice. Yet her recordings are an invaluable legacy both to her contemporaries and to posterity, a mine of artistry that would have been an incal- culable loss to music if Mme Gerhardt had been moved by the silly prejudice that restrains Mme. Farrar from recording again. Julia Culp is a year older than Farrar; Leo Slezak is seven years older; Sir George Henschel is fully thirty-two years older! Yet each of these has given us lieder recordings that embody the finest qualities of nuance, tone color, and interpretative insight. As for the public, there will always be a “commercial and jazz-loving public,” but there will al- ways be an audience for the best in music as there is for the best in literature and art. The accusation that the manu- facturers are not interested in supplying the latter public as well as the former is ridiculous on its very face. Even in 1928 over ninety songs of Schubert alone had been recorded! But one needs only to glance back over the files of the P. M. R. or through the pages of the Gramophone Shop’s En- cyclopedia to glimpse the extent of the manufacturers’ her- culean achievements in the realm of the very best in music. R. B. in reply Editor, Phonograph Monthly Review: I am very much in the position these last two months of the singer who said “that I don’t care what you say about me as long as you talk.” I have just noticed that Mr. Reinthaler comments on the critique of the Melchior records and mentions that I stated that they were the first in this country. May I assure him that I said no such thing, if he will look closer. I am also very much afraid that Mr. Wight misunder- stands me. I stated, I believe, that the record of Adelaide was not on the list of records that Herr Schlusnus sent me some time ago. Neither was it! I did not mention that, having written the Polydor company about certain of their former acoustical recordings I was informed that they were not satisfactory in view of the late developments in record- ing etc., and that they were not in a position to supply them. The present recording is the only one that the phonophile can be cognizant of, unless he has much more success in buy- ing from the “enterprising Mr. Mai” than I did. Herr Raucheisen is, indeed, a fine pianist and now devotes most of his time in coaching celebrated singers in the Ger- man operatic and lieder repertory. Gina Pinnera is one of his present pupils. She has been preparing several new op- eratic roles to sing in Berlin after the first of the year. Auburndale, Mass. Richardson Brown Justin Elie Recordings Editor, Phonograph Monthly Review: In the second instalment on my article on recorded Latin American music, I made the statement (page 44, November number, 1930), speaking of the works of the distinguished Caribbean composer, Justin Elie, that “there are now no re- cordings (of his compositions) available.” Mr. Elie has very courteously informed me that Victor has recently recorded (two of his works. These are: Barbara—Danza No. 3, a charming little melody with an interesting syncopated accompaniment; and Angelico—Meringue Populaire, typical of his Haitian form, and very well arranged. Orquesta ‘In- ternacional, under the able direction of Eduardo Vigil Robles, Mexican composer and conductor, records these two compo- sitions very suavely on Victor 46558. Other representative Latin American recordings recently added to my library are: Capricho Tipico Panameno, by Alberto Galimany of Panama (Victor 46591). Sueno Oriental and Mi Ramon, by Luis Delgadillo of Nicaragua (Victor 46592). Despedida and Natividad de Alma, by Benigno Bal- lon Farfan, of Peru (Victor 46834). These are outstanding contemporary composers of these three countries. I pass this information on for the benefit of any who have discovered the delightful qualities of Latin American music. Providence, R. I. W. S. Marsh are you interested in FRENCH RECORDS? then read: MACHINES PARLANTES 1 & RADIO I which contains each month complete lists of the French recordings and interesting articles on Phonograph, Radio 6? Talkies. Annual subscription $1.50 - Demand for free specimen to 15 rue de Madrid, Paris (France)