Phonograph Monthly Review, Vol. 6, No. 6 (1932-03)

March 1932, Vol. VI, No. 6 109 De Luca's Broadcast Mr. Giuseppe de Luca’s talk on the “Music Treasure Box” broadcast of February 10, from Station WJZ, New York. By Courtesy Musical Publications Co. Ladies and Gentlemen. I am glad to be here tonight, to say how do you do, and to greet my friends of the phonograph, which has helped make so many friends for me. I believe I am one of those who first made records—when the Victor Company began to make the Red Seal known to many people. My old friend Enrico Caruso and I sang in those days in the Victor studios. We wanted very much to have every song, every aria, go out to our public on the records as we sang. So we would sometimes sing one number many times, before we were satisfied. They did not have electrical record- ing then. We were, as you say, in the pioneer stage. And because that was so we artists all tried to give a little extra something, to make the records as fine as we could. Caruso and I used to speak about it, a long time afterward when the way of recording had improved so much. As I listen to the records of my colleagues, I am glad for everybody who likes fine singing. I am glad because it brings the great singers before them in a nice way. Quite as though they had dropped into each home for a small recital, so to speak. From the time I first came to this country, to appear with the Metropolitan Opera Company, I have learned how much the American people like the singing artist. That has made me happy, and has made me want to come back each new season to be in the casts of that famous company managed by Mr. Gatti-Casazza. From what some people have said to me, and what has been said to others, I think the phonograph record is doing something to please. And if you don’t like what you hear on the phonograph you do not have to applaud. Your country—the one in which I have spent more than half of each year since 1915—is very musical. Not only in New York, but in the other cities where I have sung in both opera and concert, I have noticed the quick understanding of what is good. Also what is not so good. The American people make up their minds quickly I believe the phonograph has helped to give many the chance to hear good music. Many who lived far away from where they could get to the opera and to the concert performance. It has been the friend also of the student, who could sit listening to how the great ar- tists make music. A gentleman I know, who likes sometimes to make a joke, said to me once: “Ah De Luca, I heard you sing .last night.” “But,” I say, “I did not sing last night.” He laughed and said, “Excuse, but you did—you sang for me, privately, on my phonograph.” So I say to you, ladies and gentlemen: I am happy to sing for you whenever you like—on your phonograph. Good night. A Much Needed Survey A survey to determine exactly how much time of every radio program in the United States is devoted to advertising, how much time on the air is sold, and what percentage of programs are educational is being conducted by the Federal Radio Commission, according to a questionnaire received by Music Corporation of America. It is understood that similar questionnaires have been mailed to every radio station and radio ad- vertising agency in the United States. Some New Polydor Records Brahms’ Second Symphony in F-major was recorded by W. Damrosch on Columbia and by Stockowski on Victor. Now comes That fiedler with The Berlm Sym- phony Orchestra , and plays his version of The Second Symphony on 9 sides of Polydor 12-inch-records (Nos. 95453-5x). This performance differs from both previous versions. There is a lack of the brilliancy which is so typical to Stockowski’s version, but on the contrary there are some passages which have a greater power, and when the beautiful phrasing is more evi- dent. On the tenth side you can hear The Scherzo from The Trio for Piano in C-major also by Zrchus and played by the same orchestra as the symphony. The recording is good. There will be perhaps different aspects, but for my- self there is a real discovery in Pfitzner’s music. We can be thankful to the Polydor for the beautiful and perfect recording of The Introductions to the three acts of the Opera “Palestrina” by Pfitzner played by The Berlin State Opera Orchestra under Pfitzner’s own time beater on three Polydor discs (Nos. 95459-6i). Pfitzner is not a modern composer, but his music has such a wonderful force, such a noble severity and great “ethos,” that it will be recognised as classical. This is my own viewpoint, but I think that there will be a great majority which will agree with me. These three fine records deserves the place, which is reserved to great musical works in a library of records of everybody who takes his passion seriously. Czechoslovakia H. B. Zirak “Quintet for wood-wind instruments*’ Op. 34. (Allegro marcato; Andante con intimita; Alle- gro leggiero). Played by “Prazske dechove kvinteto” (Prague wood-wind quintet). Three Parlophone records. (B. 84.609, B. 84.634, B. 84.612). 10-inch. Prof. K. B. Zirak, composer, conductor, musical pedagogue and author of books on music is one of the greatest personalities of the modern Czech musical life. This saison he has conducted in Prague some concerts and everytime his performance was a great event.. With all his wonderful force of imagination he revives all chef d’oeuvres of Czech composers. He goes back to Bach and brings this great clearness also into such works, as Smetana’s “My Country,” Dvorak’s Sym- phony, etc. Prof. Zirak is trying to put this music on the clear, pure lines. He shows the architecture, the wonderful spirit and the absolute value of music. He shows us the pure music without any romantical ac- cumulation. He made the music cooler, but more in- ternational, more absolute. His efforts are a matter of discussion between Czech connoisseurs of music. Prof. Zirak goes his own ways. Also his quintet has this tendency to the pure music. It is a fresh, fine work, which has received the first prize for the year 1930 on the international music festival at Liittich (Belgium). I recommend this quintet to all friends of music, who are interested in the modem trends and developments in the creative art. The performance and the recording are excellent. Prof. Zaroslav Kricka: “Babiuciu marrovsky valcik” (Grandmother’s waltz-er) of Marsov and Estadrata- Polka.” Played by The Radio journal Orchestra of Prague under the composer. Ultraphone (Czech) A. 10102 (10-inch). Prof. Kricka, the composer and musical pedagogue, is a good lover of folk tunes and popular music. He likes the simplest song if it is well-done, but he re- fuses everything that seems to be half-done or a super- ficial musical industry without respect and without inner right. Prof. Kricka knows that the inner sources