THE GRAMOPHONE London Office: 58, Frith Street, London, W.I Edited by COMPTON MACKENZIE

TELEPHONE' Regent 1383


Pa.rms.xto, Westoent, London.

Vol. V.



All communications should be addressed to the London Office. In the case of MSS. or of letters requiring an answer an addressed and stamped envelope must be encloied.

All cheque8, money order8 and postal order8 should be in favour of " Gramophone (Publications) Ltd.," and 8hould be crossed" Bank of Liverpool and Martins, Ltd."

For the convenience of readers the following are kept in stock :Red cloth spring-back Binding Case with gilt lettering (for the preservation of current number8), 38. 6d., postage 6d. Volumes II., III. and IV. unbound with Index (e.xcept Vol. I V., O'I.d of print), liis. each p08t free. Sep'Nate number8 of Vols.II., Ill., IV. and V., Is. each, postage 2d. A few copies of Vol. I . , 18. 2d. p08tfree. COLOURED PORTRAIT OF MOZART (Vol. Ill., No.7), WAGNER (Vol. IV., No.1), BEETHOVEN (Vol. IV., No.7), 18. 2d. each post free.

The Annual Subscription for THE GRAMOPH0NE is 14s., post free, from the London Office. U.S.A. annual subscription $3.50 post free. Cheqne.s on local banks to " Gramophone (Publications) Ltd."

MUSIC AND THE GRAMOPHONE, compiled by H. L. Wilson,

288 pp., 78. 6d ., postage 6d.

THOUGHTS ON MUSIC, compiled by Hervey Elwes, 216 pp.,

8vo, cloth, 38., p08tage 6d.


July, 1926 (N.G.S. booklet), 9d., p08tage Id.

GRAMOPHONE TIPS, by Capt. H. T. Barnett, M.I.E.E. 18.

post free. 1925 Edition, 9d. post J1·ee.

THE WILSON PROTRACTOR (for testing needle-track alignment),

Is., postage 2d.

W. S. A. WEiGHT AD,JUSTER Jar (Columbia) 8traight tone arms, lOs., postage 3d.


IHAVE been trying to persuade myself that the Fourth Symphony of Brahms is as remarkable recording as the First Symphony; but I am afraid that I must declare firmly for th e: First. I have sometimes wondered whether Aml.:rican recording i" better than English recording on account of the brighter and clearer air. Part of the long inferiority of English films to Americ'1n ,vas due to the lack of sunshine for the out-door scenes. At the same t ime we may as wen admit that we have no orchestra in England to touch Stokowski and the Philadelphia Symphony Orchestra, and until some of our profiteers spend their money (or I might say our money) on giving us as good an orchestra in England, we have no prospect of competing. Some while ago a distinguished foreign master came over to conduct one of our English orchestras, and his friends subscribed to present him with half-a-dozen extra rehearsals. Their anxiety to help was not as successful as i t deserved to be, because none of the players ever turned up to two consecutive rehearsals, but always sent a substitute. One of the double-basses, however, did turn up regularly; and the distingllished visitor, at the end of the last rehearsal, went up to the double-bass, shook him warmly by the hand, congratulating him on his devotion to his art and his courtesy toward himself. "That's all right, sir," said the doublebass, " but I'm afraid I won't be at the performance to-night." I regret to say that this is a true story, and though you may think i t funny at first i t is very serious really. You must not rUB away with the idea that the performance of the Fourth Symphony by the London Symphony Orchestra, under the baton of Hermann Abendroth, is not excellent. It is; but i t lacks the life (I don't mean liveliness) of the First Symphony, which was recorded, played, and conducted in America. I t lacks passion. Shall I put i t that way? "Give us more brains," cried Meredith, but I feel inclined to cry , " Give us more l ife." That really is what is the matter with contemporary art in England. There are no vitamins. Has anybody examined the effect of t inned foods on artists? I confess i t had never occurred to me before, but I believe that excess of t inned foods may be responsible for this lack of vitality. The gift of Paysandu tongues is one that all artists should look in the mouth.