The Edison phonograph monthly (Dec 1914-Dec 1915)

EDISON PHONOGRAPH MONTHLY, APRIL, 1915 CHRISTINE MILLER, CONTRALTO STANDING before her audience, whether few or many, in unaffected simplicity, with the ease and confidence of one thoroughly at home in her art, and with a personality so charming and winsome that you are led to anticipate a treat long before a note is heard, Christine Miller is one of the most delightful contraltos now before the public. Her voice, exquisite in quality, clear, sweet and sympathetic in tone, and with an accuracy that disguises all effort to be accurate, (beside a joyous abandon that reminds one of the oriole on the tree top) shows a culture and flexibility that wins instant approval. For her to sing is to breathe, and the conscious enjoyment of the effort, if such it can be called, is reflected in her face and in her personality. You listen just the same as she sings — without any apparent effort, and yet you are as absorbed a listener as she is a songster. She is wrapped up in her song — the embodiment of it. Like a message from another world — the voice reaches your innerconsciousness. You are inspired; you are satisfied; you are delighted! It is hard to define an accomplishment that so completely hides its own art, for the perfection of art is to hide art. Miss Miller comes of Scotch ancestry, but her whole career has been spent in America since early childhood. Practically her entire training has been in America. To William L. Whitney, Boston, she owes her voice placement and early training. She has coached in repertoire with German, French, English and American masters, among whom are Sir Henry Wood, and William Shakespeare of London, and Austin Mees and Oscar Saenger of New York. She has appeared with many different symphony orchestras in New York, Chicago, St. Louis, Cincinnati, Pittsburg and elsewhere, besides singing in oratorios and concert recitals. She is a thorough musician, a violinist of ability. Her home is in Pittsburg. EDISON RECORDS BY MISS MILLER DIAMOND DISC 80103 Ah, My Son (Ah, Mon Fils)— Le Prophete, Meyerbeer, in English. {Reverse: Valse — Juliet's Waltz Song — Romeo et Juliette, Gounod, Marie Kaiser, Soprano, in English.) 80117 Bonnie Doon (Ye Banks and Braes), Burns, with Chorus. {Reverse: Heart Bow'd Down — Bohemian Girl, Balfe, Thomas Chalmers, Baritone, in English.) 80099 Good-Bye, Sweet Day, Vannah, with Chorus. {Reverse: In Old Madrid, Trotere, Reed Miller, Tenor.) 80129 Love's Lottery — Sweet Thoughts of Home, Edwards. {Reverse: The Firefly — Something, Friml, Elizabeth Spencer and Walter Van Brunt, Mezzo-soprano and Tenor.) 80156 Nightingale's Song, The, Nevin. {Reverse: O Happy Day, O Day so Dear, Gotze, Emory B. Randolph, Tenor.) 50060 80100 80129 28178 28128 28166 28111 28172 28202 28194 28107 28157 Old Folks at Home, Foster with Chorus. {Reverse: Massa's in de Cold, Cold Ground, Foster, Mixed Quartet.) Rosary, The, Nevin, with Chorus. {Reverse: When the Robins Nest Again, Howard, Charlotte Kirwan, Soprano, and Chorus.) Sweet Thoughts of Home — Love's Lottery, Edwards, Contralto. {Reverse: Something — The Firefly, Friml, Elizabeth Spencer and Walter Van Brunt, Mezzo-soprano and Tenor.) BLUE AMBEROL Abide with Me, Liddle. Afton Water, Burns and Hume. Annie Laurie, Scott. Day is Done, The, Balfe. Good-Bye, Sweet Day, Vannah. Just for Today, BinghamAbbott. Lawn Swing, Tolman, with Chorus. Love's Old Sweet Song, Molloy. O, Rest in the Lord — Elijah, Mendelssohn. GO AFTER UNUSED MACHINES NEXT to selling a new Edison, a Dealer cannot do a better thing for himself or his trade than to find Phonograph owners who are not using their machines, because they are out of order, or because they have never had the four-minute attachment put on so they can play Blue Amberol Records. Here is a good field to brush up; it means steady customers for the Blue Amberol Records now being issued. Where a Phonograph has not been used for several months, and the Dealer has induced the owner to have it cleaned and repaired, a new interest is awakened and the owner has as much enthusiasm as he had when he first bought it. As a result there are more Records sold. "EDISON RECORDS ARE PLAYED BY A DIAMOND POINT" The trade cannot dwell upon this fact too forcibly. When a customer buys a record to be played by a needle, he not only runs a risk of damaging it by forgetting to change the needle each time it is played (or by using needles which eventually prove defective) but is certain of record depreciation even if he uses a new needle each time. It stands to reason that a needle too worn to be used again has been deteriorating the record while it plays. How superior the Edison Diamond Disc record ! It is harder — much harder — than any record on the market. It is played by a permanent diamond point. Every reproducer is personally inspected and tested by experts before it is shipped from the factory. The life of every Edison record is thus insured to its enthusiastic owner. A mistake in observing a lot of precautions and rules is obviated. You can't make a needle mistake because no needles are used and the diamond point is never changed. The changing of records is1 simplicity itself.