Phonograph Monthly Review, Vol. 6, No. 4 (1932-01)

January 1932, Vol. VI, No. 4 69 not its form, determines whether or not it falls pleasurably upon modern ears. The waltzes that retain their former appeal do so not because, but in spite of, their waltz form. Johann Strauss had an extraordinary melodic afflatus that changes in fashion could do nothing to destroy. Otherwise his music would have long ago passed into ob- livion for having been so thoroughly identi- fied with the discarded fashion of its day.” The waltz—as a dance—may not be as popular as it once was, but a Strauss waltz will be a joy forever, whether it be played on a disk, or by the great Symphony Orches- tras. For Strauss had one of the rarest of all gifts—that of being able to create beautiful melodies, and original, individual melodies are the divine essence that makes musical compositions immortal. Since the world, and all in it, moves in cycles, it is not impossible that the waltz should once more become the fashion ... in- deed it is quite likely that the musical pen- dulum may swing back again into the sway- ing, intoxicating dance-measures of the ro- mantic and colorful sixties and seventies. And, in years to come, when the name of Strauss is heard, it may well be Johann— not Richard—who first comes to the minds and hearts of every true music-lover. Editor’s Note —A complete list of Johann Strauss’ re- cordings is under preparation and will appear in the next issue. An Interesting Experience By WALTER SMITH V ERY few pianists, who are the happy possessors not only of a good piano but also of a good gramo- phone, seem to be aware of the use they can make of both these instruments at the same time, and enjoy a first-class concert at home, in which they can take part either as accompanists or as soloists, as the case may be. I must confess that I discovered this most enjoy- able pastime by chance, the day on which I received— a coincidence—gifts of two vocal records of Puccini’s last and magnificent opera “Turandot” and of the vocal score of that very same opera. I was delighted with the records, enthusiastic about the work, and I thought I would like to accompany the singers, to get the melodies and harmonies well into my head. It also just happened that my gramophone was tuned exactly to the same pitch as my piano, and I was en- thralled by the result which opened up such wonder- ful possibilities to me. There and then, I selected several other songs, bal- lad and operatic, of which I happened to have the music as well as the records. I soon found out that in certain cases I had to alter slightly the speed of my gramophone to get the correct pitch—no doubt be- cause the singers sang in a different key to that of my music. But this was quite easily and quickly done, and I jotted down the speed required for each record, for future reference. A very stern gramo- phone expert has told me since that it was a mistake, that I should have secured the music in the key of my records, and not “fooled about with tho speed regula- tor.” But, then, we do do things like that, we impul- sive musicians! However, I spent a gorgeous evening, and, having secured more music from the library, a gorgeous week-end, revelling in the songs I liked best, accompanying the greatest singers of the world, stand- ing there, by my side, ready to sing over and over again for my delight and benefit. The next experiment was with the violin, and then with the ’cello, fairly short solo, with, of course, a piano accompaniment. I accompanied Fritz Kreisler in his “Liebesfreud” and “Liebesleid,” Renee Chemet in Drdla’s “Souvenir” and Poldini-Kreisler’s “Danc- ing Doll,” Pablo Casals in “Le Cygne,” by Saint- Saens, and Schubert’s “Moment Musical.” From this to bigger works, namely duet sonatas, there is only one step, and the “gramopianist” will enter the true promised-land of music when accompanying his own gramophone to such immortal works as Beethoven’s Kreutzer Sonata (violin), Greig’s C Minor Sonata (violin), Brahms’ E Minor Sonata (’cello) and simi- lar masterpieces. Then there are the gems of Cham- ber Music having a pianoforte part: trios by Schu- bert and by Mendelssohn, quintets by Schumann, Brahms, Cesar Franck. The list is ever increasing, and the enjoyment from playing these works with one’s gramophone cannot be adequately expressed in words: one must feel it to realize what it means and become a convert. Piano Concertos by Beethoven, Greig, Schumann, Tchaikovsky, can be treated in the same manner. Not only the value of following the Master Virtuosi in their interpretations of such great music is unique as practice for the student; but to have the full sym- phony orchestra at one’s shoulder, with the bestrplay- ers of the world in it gives no little/ thrill to the ama- teur “soloist.” As to Symphonies, these can be equally enjoyed either by playing them as piano duets at the same time as the gramophone, or by playing only the second part of the duet, which will then act as an ac- companiment. At a small concert given recently in Bridgeport I gave a demonstration of this, accom- panying the Minuet and Finale from Mozart’s G Minor Sonata, and the popular “Marche Militaire” of Schubert. It went fine, and got a great reception.