Phonograph Monthly Review, Vol. 6, No. 1 (1931-10)

8 The Phonograph Monthly Review Correspondence The Editor does not accept any responsibility for opinions expressed by correspondents. No notice mil be taken of unsigned letters, but only initials or a pseu- donym will be printed if the writer so desires. Contri- butors of general interest to our readers are welcomed. They should be brief and written on one side of the paper only. Address all letters to CORRESPON- DENCE COLUMN, THE PHONOGRAPH MONTH- LY REVIEW, Box 138, Cambridge, Massachusetts. Accountant vs♦ Dealer Editor, Phonograph Monthly Review: This is in answer to Mr. Kleist whose eminently just interpretation of my writings in earlier issues struck but one sour note. He differentiates between Franck, the dealer, and Franck, the accounting specialist, pointing out that the exhortation to “ex- travagance” which I made to the record collecting brotherhood, would not be in my repertoire of advice to business. “Unsound,” is the comment. Well, passing over the fact that accountants,—un- like lawyers—do make mistakes, I would say just this: that to any corporation under my direction, whose own existence depended upon the prosperity of another industry, I would say, “Back up this con- cern to the limit of your treasury.” To the record collectors I say, “Buy records for all you are worth, or in time you won’t get any to buy.” As I am making no money out of my avoca- tion, I don’t care so awfully much whether they buy them from International Records Agency, Royer Smith, Mai, The N. Y. Band Instrument Co., Gramo- phone Shop, or whoever else makes a serious effort to develop this field in a dignified manner. Of course, I care some, but, in the main, I want to see the industry, as a whole, flourish. I’ll be con- tent with my fair cut of the cake. Richmond Hill, N. Y. A. J. Franck More Odd Sides Editor, Phonograph Monthly Review: Mr. Wendell’s interesting article on “Odd Sides” prompts me to call attention to a few from Colum- bia European lists which are outstanding. In the first place, the British set of the Franck Symphony contains an exquisite orchestral miniature by his most talented pupil, next to D’Indy, namely “Aux etoiles” by Duparc. The next two, in addition to being compositions of much charm and beauty, are of 'particular interest inasmuch as the composers take part in the performance. On the odd side of the Ireland Cello Sonata the composer plays his piano piece, “April,” (British), and the odd side of Pizzetti’s “Tre canti ad una giovine fidanzata” is an Aria in D. Both pieces are well worth examining, even though they must be imported. Speaking of D’Indy, the gramophone has made a most inauspicious start in acquainting its devotees with his music, the Prelude to Fervaal being in- consequential, the Wallenstein excerpt being an early and weak work, and the Finale of the Symphony on a Mountain Air not at all characteristic of the composer, who is a real modern master in some half dozen works, the most important of which are per- haps the Second Symphony, the Second String Quartet, the Istar Variations, the “Jour d’ete a la Montagne” and the Souvenirs. Here is music to be set by the side of the best of Sibelius, Bax, Elgar, Delius and Loeffler. I am with you when you say that the Bach G minor organ fugue deserves to rank with his noblest creations in this form, nevertheless I still maintain that it is of less interest than the preceding Fantasia, which is an entirely unique composition, both for Bach and for the period in which it was written. This is not true of the fugue, masterly as it is. H. M. V. issues the work complete on one record, and those who are annoyed by the excessive use of the reeds in the French recordings will surely pre- fer this version by Cunningham. New York City Henry S. Gerstle Foreign Prices Editor, Phonograph Monthly Review: I found the July issue of your magazine very in- teresting. Something of the original spirit of the publication seems to have been recaptured and I note much controversial matter in the Correspondence Col- umns. As record prices seem to be up for discus- sion, perhaps other readers will find the following of interest:— “From a reliable source the Talking Machine and Wireless Trade News learns that on September 1st, the Gramophone Co., Ltd. (H. M. V.), will announce the following reductions in the prices of their records to the public: 10-inch plum from 3s. to 2s. 6d.; 12- inch plum from 4s. 6d. to 4s.; 10-inch black from 4s. 6d. to 4s.; 12-inch black from 6s. 6d. to 6s.; 10-inch red from 6s. to 4s.; 12-inch red from 8s. 6d. to 6s.” While a good electric reproducer at a price of one hundred fifty dollars is needed, readers who possess a thoroughly good, acoustic machine would be better off with this sum invested in records, I believe. Haydn’s Quartet in B Major, Opus 49, as played by the Buxbaum Quartet on Polydors 29234-5; 29236- 7; 29238-9 is a set that no one interested in chamber- music should overlook, and one of the finest examples of Quartet recording that I have heard. Houston, Texas D. E. Dancy Old Time Songs Editor, Phonograph Monthly Review: I have not noticed any comment in your pages on the recent publication of a book' on the most celebrated songs of the past, and I am sure that many old-time record collectors would be highly interested in James J. Geller’s collection of anec- dotes, facts, and legends. “Oh, Promise Me,” for instance was an early ballad de Koven was forced to interpolate into the score of “Robin Hood” in order to please the whim of a temperamental prima donna. Harvard students, sit- ting in the first ten rows of the Columbia Theatre,