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Mr. Silber 's first Ampico recording,the splendid " Prelude to Bach 's 29thCantata," is offered in this bulletin.
.P opular unusic'l<tady carly
Latest Hits " Hot f rom the Griddle"Ask Your Dealer About Them
t\ MPICO owners can get advance.n.. copies of recordings' of popularmusic about the middle of the
month before that in which they areto be bullet ined. For example, aboutJuly 15th 'your dealer will haveseveral of the new popular numberswhich are to be listed in August.They are sent to him as " Mid-monthSpecials " so as to give you the latesthit "hot from the griddle."
T ills Bull etia yith th e JaDuar)' 1023 Ca ta10l . " ppliea I COM P LETE LIST 01 all A..mplco Record..... to da le .
~'idney cJilber
SIDN EY SILBER, dist inguishedAmerican pianist and one of themost impressive figures in Ameri
can m usic, is the latest addition tothe imposing list of artists recordingexclusively for the Ampico.
Mr. Silber , an American by birth,has as a backgroun d a brilliant career inEuropean concert halls and is one ofthe foremost resident artists on theAmerican concert stage. He is at thepresent time the head of th e PianoDepar tment , and Dean of the Sherwood Music School, Chicago, butdevotes a part of each season to pub licappearances in recital and with theleading orchestras. These appearancesare the signal for a gathering of loversof the finest piano playing, for hehas personality, great musical feeling,intelligence and a superb technique.
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How to Find Pieces You Will J:jkeHelPful Similar Appeal Chart Compiled f or Ampico Owners
W H EN you hear one of the new August recordings that especially appealsto you, check it on this page and ask your dealer to play for you the
pieces, the numbers of which are given. You will find that they have inthem the same qualities which you like in the new recordings selected.OVERTURE, 29th Cantata . .Similar appeal as Bcurree 5038311
Italian Concerto, 1stMoveme nt 6272111Italian Concerto, ltdA1ovelnent 6274111
ANNIE LAURIE .Simi la r appeal as Deep Ri ver 1221FHome Swe et Home ,6002311
RO NDO CAPRICCIOSO, Op. 14 .Simila r appeal as Schena,Op. 16, No. 2 .6037111Spar ks (Etincelles) . . . .52404F
ME NUETTO, B Minor .Similar appeal as Gavott e, Op. 14, A FlatMiDor 62981HDan ces (Schubert ) 63343G
BARCAROLLE, Op. 26 . .Similar appeal as Mel ody in F S066SHETUDE from "Satyr an d Nymph s" .Similar appeal as En Route, Op. 107 63023G
March Wind 62711GTWO CUBAN DANCES .Similur appeal as Danse Espagnole 63371G
you : 574S2FMalaguena ,62231G
IN A GARDE N . .Simila r a ppeal as Conso latio n, E flat. 62S6IGLegen d of a Rose 63061F
TREES .Simila r appeal as Song of India S7473FKashmiri Song. . . 981F
I PASSED BY YOUR WINDOW .Similar appeal as Mother Machree 1371F
:JV:.!,w u'lmpico ~cordingsu'fugust, 1924
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" P relude." It is one of those flawless pageswhich seem to hav e come effortless fro m thepen of th e grea t composer. In it s intrinsicsplendor an d nobilit y and the completenesswith which it meets the mood of reverentrejoicing a nd th anksgiving- it stands all bu talone amongst known musical works.
TH E REHEARSALPai nte<l b y W. Sirlc
P layed by SIDNEY SILBERCi3423H Overture, 29th Ca nta ta-
BlUh- So.inl-Sai'n s 2.00
SUCH music as th is could havc beenwritten only by one who had in him
a perennial fountai n of joy. Here is joywith more of gravi ty than gaiety in it , thcsoul's calm sunshine, a heartfelt ut terance inwhich the great Bach gives voice to solemn Arrang ed and Played by M ISCHA LEVITZKIthanksgiving and pra ise in a Cantata writtento celebrate the election of the Council in 141lH Annie Lauri e, Ballad , E FlatL · . . 1731 AnonyllWus 2 .00e:t~lg m •'God. we thank t hee and sing in praise of N0ONE knows who wrote the lovely air
t hy wonders, Halleluiah ! Strength and of this old song. Its composer littlemight be to the All Hi ghest Name. Zion is thought he was giving to the world a pr eciousstill His city." work , the bea uty of which was destin ed to
So runs the tex t of this beautiful work , remain undi mmed by the passage of timc ;of which this recordi ng offers the inspired for such It IS and such it win remain, for
T bll Bulletin wltb tb e J alIua..,. 1923 c.talor sUPplies a CO MPLET E UST 01 all AlDpiCO Recordinca to da te ,
TII-ll Ilpl,l" tiu with tile 11l1uar, 1 92~ CaWo& auppli... l CQMP~ETE LIST of al l Amplco RecordiDl'I to dat".
Played by F RANCE S NASH
6J4(jJH Etude from " Satyr an dNymphs," Op. 18, No. I .Juon 2 00
A SYLVAN scene in which nymphs andsatyrs dance to the piping reeds, their
cries and shouts mingled with the myriadvoices of nature. There is wild energy intheir revel, increasi ng as the excitement andfervor gives impetus to the brea thless Saturnalia to which expression is given in the musicas it rushes to a brilliant and bewilderingconclusion.
minor strain of this beautiful boat song.There is the haunting fascination of a mood,t inged with soft sadness, which engages thevoyagers on the romantic journey, a pictureof which the composer would crea te forus .
The opalescent wa ter is motionless exceptwhen disturbed by the oars of the boatmen,the sweet evening air receives the song of thevoyagers, all of whom are under the spellof the beauty of the scene and hour. Alone voice seeks to change the mood inchanging the color of the song but thebrooding loveliness is hardly more disturbedthan the tranquil water, and in the goldentwilight the boat moves on to its journey'send.
Played by M I LTON SUS KI ND
1391F Trees, Ballad , 0 Flat . Rasbach 1.50
T HE poem by joyce Kilmer chosen forthis lovely song is of such beauty
that we print it en tire. That the musicseems a perfect setting for its exquisite linesis saying much:
"I think that I shall never seeA poem lmJdy as a tree;A tree wlwse hunfry mouth is prestA gainst the earth s sweet jWwing breast;A tree that looks at God all dayA tid lifts her leafy arms to pray;A tree thaJ m<ly ttl summer soearA nest of robins in her hair ,Upon WHOse Ixlsom snow is k in ,Who intimakly lives with rain,P oems are made by fools liJu ~,B ut only God can mak e a tree."
there are in its delicate phrases and cadencesan appeal to every human heart and an echoof the 90ng that is in us all.
And herein, all its beauty is set forth in theinterpretation of a great pianist who lovesand understands its simple and unforgettablemelody and who brings eloquence to eachline of its gentle and heartfelt words ofdevotion. This recording offers an idealplaying of one of the world's loveliest songs .
Played by PHILLIP GORDON
634J3H Rond o Capriccioso, Op. 14M endelssohn 2.00
T HE music of this beautiful work t ransports us to the realm of elves and
fairies . T here we walk in a forest gladeshrouded in the purple mists of even~.There th e elfin creatures emerge from thctTsecr et , shadowy fastnesses, and as the twilightdeepens begin thei r nocturnal dance tothe music of piping insects and the sound ofthe summer wind in the trees. N o w andagain from the depths of the wood therecomes the evening note of a bird or th edistant horn of a belated hunter wendinghomeward. As the darkness deepens thedance takes on a wilder energy and fantasyuntil the chill of the nigh t wind sweepsboisterously over the scene and the pictor esque revelry comes to an end.
It is in painting a musical picture sueh asthis that Mendelssohn is at his best. Init he employs the same delicate colors andfairy tints as in the .. Midsummer Night 'sDream," music which presents much of thesame fantastic and fragile beauty and thesame suggestion of leafy glades peopled withelves and sprites.
Played by CHARI.ES CoOPER
6J443G Menuetto , B Minor .. Schubert l . 75
A NOTE of high festival is struck in thefirst chords of this fine piece. T his
Minuet is danced on a festival occasion inthe lofty ballroom of a King 's palace. Thesplendid opening phrases seem to indicateparticipation in the dance by all the guests.About the middle of th e composit ion themusic becomes more delica te and assu mesthat thin antique quality that one associateswith this ancient dance. It is as if a smallgroup of special dancers st epped to its dai nty Playe4 by MORTIMER BROWNINGmeasures while the rest looked on. Presently 11348JG In II. Garden Browning 1. 75general dancing is resumed and the music T HEtide of summer is a t flood and undercloses as it began with its visioning of a the blue the garden lies like a vari-brilliant and crowded entertainment. colored jewel. This music surely takes us
Pla ""d by JULIUS C HALOFF along winding paths and would poin t to thisJ' and that gleaming mass of color, a sheaf
63453H Barcarolle, Op. 26 Faur~ 2. 00 of tender lilac orfale rose, and here and there
T HE strangely sensed melancholy that a blazing flare 0 scarlet . AU the air is fullcomes as evening descends upon the of fragrance and there is the sound of
water is suggested in the sombre color and droning bees.
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n;. BuIletl.a with tho ] u utJ 192.3 Ce talol ...,pIi• • • CO KPLI1'& LIST or ell AlIIpko Recot ol.iJ>&. to 40.1•.
.,/Iccompaniment~ordings W ith WordsPI4~d ", M a TOS SUSII:II,;D
300410 Nicht BeloTed (CM re Nuit ),D Fla t . Soprano.•. _. .Bad u /d 1. 75
J OOSI G Come Out in the Sweet SpriD CNip t, E Flat , ),[ezzo-~rano
GiJbul' 1. 7SPla~d by MtrRI£L PoLLOCK
J00610 Invietua. B Fia t , Meaeo-So-pran o or Barito ne H ll.1IfI I .7S
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g eneral'Dawes-unusicianFine Composition by Vice-Presidential
Nominee in Am pico Recording
I T IS not commonly known thatGeneral Dawes, Republican ViccPresidential nominee, is a musi
dan as well as a prominent figure inthe world of finan ce an d affairs ofstate. One of his works, which hecall s "Melody in A Major, " has received the at tention of no less anartist than Kreisler, who has playedan arrangement of it for the viol in inhis concerts. M ilton Suskind hasplay ed it for the Ampico.
It is one of those tuneful numberswith beauti fully contrasted effectsthat at once int rigue the hearer. I tis a melody th at tugs at the heart.The flowing rhythm and gracefulembroidery with which it is embellishedare an unalloyed deligh t . I t is theha ppiest of songs , a melody spri ngingfrom an inspiration far removed fromsordid things.
.,/Ire you a Juosenfeebl?From Ar thur Brisbane's column in the
New York Arnuicafl: " Dr. Brill, psychoanalyst , says George Washington was a"schizoid "a nd Abraham Lincoln a 'syntonic. 'If in terested in those words, ask your psychoanalyst." Beeth oven was an oobenbabben,Schubert a snopglapf, and Bach a jupsenfeebl.If in teres ted, aU them.
- Mtuic.al e-r~r.
PlIlyt4 b, E ilKESTO L ECl:OKA
0J.f071G Two CubaD. Danc" : 1. LaComparsa; 2. Dam.a
La_ 1. 75
W HETHER in the blaze ol lhe southernsun or in a crowded, dimly lighted
ca!1! or dance hal l tbe music of Spain and herpeople overseas glows with its own radiance.Its colors are rich and varied, now scar letonl'athed wi th gold, now dark and twinedwith myrtle, and it is ever pulsating withintoxicating rhythm and a wealth of romanceand story. These dances conjure a vividand enthralling pict ure silhouetted against abackground of emot ions of which have beenwrough t the loves and tragedit'll of deadand forgotten cen tu ries.
Played by CoRRINE DE DERT
140IF I Passed by Your Window,Ballad , E Flat . . . . . . . . . •B,OM 1.50
ANOT HER in t he ever growing list ,recorded for the Ampioo, of those
tuneful old songs which have taken a permanent place in popu lar fan cy. I ts versesare charming and the music just what isfitting to express th eir pleasing sentiment.
..trranced alld Played by SIGKUN"D SI' ART1f
6J4:UH The Senu Agel of YankeeDoodle-A Parod y in the styleof various composers•• ••••••• 2 .00
T HIS recording represents Mr. Spaeth'sidea of how " Yankee Doodle" might
have been writ ten by various composers.While it is essentially an entertaining parody•....hich he has often made a feature of hispublic appearances, it has also a definitelyeducational value.
:\1r. Spaeth tint sho~ the familiar tunein a straightfor ward march form, with thesecond half in walts time . Then he introd uces the listener to a naively simple versionin the style of Bach, in which one-ha lf of themelody is heard in counterpoint with th eother.
T hen follows an in terpretat ion as Beethoven might have written it , which derivesit s effect from a definite change of rhythm.In the manner of Chopin " Yankee Doodle"is elaborated still further, securing the effectof a Noctume, in minor key. MacDowellis represented in experimen ts with un usualhnrrnonies in fascina ting st yle, and for thesemblance to Debussy, Mr. Spaeth uses thefamous "whole ton e ' scale, over a runningaccompa nimen t.
Finall y in the manner of Puccini there is awhole potpourri of the "But ter1ly " typefor an operatic close, and the progress of" Yan kee Doodle" through the musical.ceeturieli is completed.
This Bulletln WIth Ihe Januur 1923 Catel" ., euppl1e8 a COM P LETE LIST "t all Ample" Ree" rd ln.,a 10 dale.
:J\(sw Popular ~usic
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20SIUE Nightingale, Wal t z Song, Keyof C B rodman 1. 25
ANOT H ER of Grofe's arrangements ofa popular walt z song.
Pla yed by EDGAl/. F AIRCHILDand A D.-\M CARl/.OI.L
63493F Sky Blues, Int rc . I. From theLan d of the Sky BlueWate r;2. At Dawning - Specialda nce arrangement
Cadman-Fairchild 1.50
L I KE the "Song of India " and the"Bouquet of Roses," offered last month .
th is recording presents a delightful arrangeme..'n t of standard favorit es played in fox-trottempo.
Played by R AI.P II REIC HRI' TIUL
20S07lE My Dre am Girl (I Loved YouLong Ago), "The DreamGirl, " Fox-T rot , B Fla t
IIerberl 1. 25
T H E feature song of the musical comedyof the same title, Victor Herbert 's
latest work which opened in Boston a few'·..eeks prior to his death. A beautifulnum ber that will be welcomed by admirers ofits gifted and lamented co mpo ser.
20S08lE You Can Dance with Any GirlAt All, " No, ~o, Xunc t tc;"Fox·T rot , Key of C . Youmans 1.2 5
T H E best number from" x», xo.Nanette,"a musica l comedy which is one of th e
sensations of the season in Chicago.
Played by FERIll I> GROFF. , Assisted20SIOIE Please, Fox-T rot , Key of C
Cooper 1. 25
ONE of the best of the month's fox-trots .Everybody asks for " Please" and here
we have It in Grofd's arrangement similarto th e one he has made for Paul Whiteman'sfamous orch estra.
Advance Issuesof Latest Popular H its
about tht
A sk Y our Dealer
Played by A DAM CARROLL
20S0SlE Spain, Fo x-Trot , E F lat . Jones 1. 25
A T ANGO fox-trot especially arrangedby Mr. Carroll. A great success is
predicted for this number which is by thecomposers of " The One I Love Belongs toSomebody Else. "
ZOS061E Jealous, Fox-T rot, Key of Guuu 1. 25
A RECOGNIZED hit which Adam Carro llha s inter preted in the brilliant and
captivating manner for which he is fa mous.
Ptayed by Vn'CF."lT Lo esz, A~si"ted
;Z0501lE Why Did I Kiss That Giel?Fox-T rot , Key of G
K i nr,-llemkrson 1 . 25
V I NCE NT U JP E Z brings to the playingof this number tha t originality with
which he embellishes all the music he playsfor dancing. I n this recording the at tractivelyrics add immensely to the pleasure ofhearing it , giv ing' it an appeal for those whowish to sing as well as for those who dance.
205021E Don't Take Your Troubles toBed , " Plai n Jane," Fox-Trot ,Key of G . . .. . Cook_Johnstone 1. 25
H E RE we have the song hit fro m " PlainJane," one of the most successful
musical comedies of the yea r, now playingat the New Ams te rdam T hea tre, New York.
Played by H E S II. Y L A"lGE
205031E Where Is That Old Girl ofMine? Fox-Trot, E Flat
Jones 1. 25
T HIS is t he latest contribution of IshamJOIl e:> who has many popular hits to
his credit , and one which bids fair to rivalhis most brilliant previous successes .
20S041E Big Boyl Fox-Trot , E Fla tAger 1.25
A ~OVELT Y song, by composers of" Lovin' Sam " and "Louisville Lou , "
which is bcing fea tured by vaudevillestan> and dan ce orchestras. An except ionallyattractive number. .
20S091E What' s To-Day Got To DoWith To-Morrow? Fox-T rot ,Key of G Donaldson 1.25
ONE of Henry Lan ge's best efforts whichlead one of his admirers on hearing
it to say: " He is certainly 'The King ofSyncopators. ' "
T he creation of an interest in Bachhad its inception about the midd leof the last century, and must belargely accredited to Mendelssohn , whogenerously admitted tha t he owedmuch of his own fluency and vorsa
tili t y in composttion to a carefuls t u d v of themethods of Bach .
He went furtherthan this for he wasenergetic in bringing the music ofBach before thepublic, giving hisworks a place onhis programs, thereby acquainting th emusical world wit htheir-marry beau ties.
In addition tobeing a grea t cornposer, Bach was anoble and splendidcha racter. He wasunoompromising inh is con v ic t io ns,st urdy, honest andup righ t. Hi s determinati on is wellillus trated in ananecdote of his
boyhood. " l Ien hut ten years oldhe was left an orphan and went tolive with an older brother. Thisbrother , also a musician, was in tenselyjealous of Johann 's supe rior talents,an d cruelly refused to lend him avolume of "music of the composers ofth e day. He kept it locked in acabinet, but the little Johann , st ealinginto the room at night, pu t his ha ndsthrough the bars and rolling the musicup extracted it and secretly copied itby moonlight during the ensuing six
Johann Sebastian Bach pla}-ins:: theHarpsichor d for Frederkk the Great
The Cruelly of /lis Brother-Tile AdoraJion of His Kin:
This BuUetia 1rit/a t/ae ] Ul I1&f)' 19U Cot&ioc ...ppli a • CO MP LET E UsT of aU A=pic:o Il _ rd inp to .... te.
00me 'Bach v'fnecdotes
t\ T AN auction sale some rearsfi aj.{o in Berlin of autographs
an d manuscri pts, some pagesfrom the Ca ntatas of J ohann Sebast ianBach sold for $1075. This is moreth an Bach received during his wholelifetime for his musical works. Soslight was the recognit ion J..';ven himthat the publisherswere unwilling torisk anything onhis com posit ionsand many of themwere never printedat al l. Bach himself, in orde r tosave some of themfrom oblivion, engraved them withh is ow n h a n d s ,causing' a strai n onhis eves which re,sulted in pennanent injury to hissight. His celebra ted book, "TheArt of F ugue, "which was not published unt il afte rhis dea th, did notmeet with sufficientsale to cover the cost of th e plateson which the music was engraved ,and shortly after its publication ,there appearing to be no chance offurther income from the work , thesepla tes were sold by his heirs for thevalue of the copper, Posterity , however, has atoned for the neglect ofthis genius. Bach is now regardedas the fountain-head of instrumentalmusic, and th e Bach Society hasissued in large, handsome volumes hiscomplete works,
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Tb is Bulle tin with the J &OIu. <y 1923 C. l&log $uppliea .. COMPLETE LI ST of al l Ampico Recording . to date .
months. After his nocturnal workwas completed he rep laced the musicin the cab inet and it was not un tilthe whole work was completed th athis project was discovered. Hisbrother rewarded his efforts by dest roying the painfully executed manuscript, but fortunately th is brotherdied soon afterward and Bach wasenabled to have access to the original.
Whi le it is true th at Bach remainedunappreciated by most of his ccntemporaries there were some exceptions,one of the m being the music-lo vingKing Frederick the Great of Prussia .The story is told that the King, whohad arranged a concert at the Palaceand was about to begin playing theflute, was informed that Bach hadarrived at Potsd am . The performancewas instant ly stopped and the Kingannounced the fact proudly saying," Gentlemen, old Bach is here." Themusician was immed iately sent forand brought into the royal presenceeven before he had had t ime to doffhis traveling clothes.
The I9rigin of'R.,egtimeFred Stone Credits Ernest Hogan With
Starting J azz
W HERE and when did jazzstart? Fred Stone, star of"Stepping Stones," traces it
back to a ragtime song called "ThePasm ala, " written by a negro actor,E rnest Hogan, in the nineties.
" I can't remember where I firstheard ' The Pasmata ; ' said 1-1r. Stone,in his dressing room at the GlobeTheatre in New York, after he hadfinished humming the music from atattered old page of manuscript. " Thename is a corruption of the F renchterm ' pas a mele, ' which means ' amixed step.' That is exactly what itwas- a step generally done backward,the dancer, with his knees bent, dragging one foot back to the other to
broken t ime , a short unaccen ted beatbefore a long accented one, the sameprinciple now used in jazz and knownas syncopation .
" I firs t heard ragtime in NewOrleans about 1895, " continued thedancing actor. " I t was in a cafe,and there was a lit t le negro at th epiano. He would play one of thestandard songs of the day, such as'Mary and J ohn,' and then he wouldan nounce : ' Here's the new music,the way us plays it , ' and he wouldbreak into ragtime. I 'll never forget the way that negro chased himselfup and down the keyboard of thatpiano. He was doing, or trying to do,everything that the eccentric jazzorchestra did three or four years ago.
" Den Harn ey, a white man whohad a fine negro shouting voice, probably did more to popularize ragt imethan any other person. Harney, whowas pla ying in Louisville, heard thenew music, and he grew so ade pt at itthat he came to New York and ap pearedin the Weber & Fields Music Hall.
" The main thing that ragtimemusic accomplished has been over looked. That is that it developedstage dancing. The period was particular for eccentric and comed y dancing, and it was no t long before therewere grea t changes as the dancersbegan to fit their steps into the newt ime.
"Whenever th e talk turns to American music and American da ncing ,I always wonder if there is any musicor dancing more thoroughly Americanthan syncopation and wha t we atfirst called ragtime. I do not pretendto say th at this music originallywas anything but what it was- thecreation of illiterates. But it wasspontaneous, and as thoroughly original, though in another mood, as theso-called songs of the South whichmight have been inspired by negrochants."
:fleard from The Piazza
ON THESE summer even ingshave you ever listened to yourAmpico played in th e house
while you sit in the cool darkness ofyour piazza or ou t-of-doors livingroom ? Try it some time. Heardfrom within, th e mus ic will reach youwith ou t the dis t raction of seeing thesource from whence it comes, an d willtake on a new beauty as all musicdoes when heard in the dark.
Here is an interesting observat ionby Bishop Hall. " How sweetly doesthis musi c sound in th is dead season .In th e daytime it would not, it couldnot so affect the ear. All harmonioussounds are advanced by a silentdarkness. "
Surprise your guests some time byput ti ng on a dreamy Chopin Nocturne,such as the one in F sharp played byLeo Ornstein. Let its strains beheard without previous announcement.Then a wal tz like " Sounds from theVienna Woods" played by Volavy .Afte r this a favorite number like" The Rosary " or "Forgot ten. " Pollow with a gay, popular select ion ,pla yed for dancing or Mr. Delcamp 's"Dinner Music. "
If your gues ts will let you end thelittl e program, which they probably
won't, bring it to a close with theSixth Hungarian Rhapsody, played byLcvitzki, or t he Overture from" Martha , " conducted by Bodanzky.
You will find that such music heardin this way will "lend the ni~ht
enchantmen t , " and both yourselvesand your guests will have experienceda deligh tful evening.
If you live near the street do not besurprised or offended if you find alarge gathering of passers-by leani ngover th e gate or enjoying the impromptu concert from the sidewalk.
e%usic of the £apps
'R(.sembles Wagner's
KARL T IREN has just returnedto Stockholm wit h hundreds ofphonograph records of the
strange music of the Lapps, themysterious nomad people who roamLa pland , far to the north of Swedenand Norway .
Many pieces of Lap p music strong-ly resemble 'Wagner 's. An exam pleis a song about a bear that at tacks areindeer ; it is a close parallel to oneof the motifs in "Rheingold . "
This Bulletl ll with the JalloU J 19H c.taI0l aoppliet " COMPLETE LiST of roll Ampi~o Recordill;t to date.
Dai Bu ell's I mpression of Th e Ordeal of Recording
Dai Buell
T RULY, this is a remarkableage, and our privileges arc many!Nobody realizes this more than
a modern recreative artist who is everon the lookout for new opportunitiesto share the beauties that mean somuch to him.
Le t us t a ke ,for instance, theprocess of recordmaking. Until thelast fcw years, inwhich the development of recordinghas advanced sospectacularly, theexecutant pianist 'sa rt h a s bee nephemeral. Onlythe creative musician has been ableto pass along hisbest efforts, whilethe interpreter has,of necessity, had toface thcfact that hispowers were at anend with his death.
With the comingof the re-enact ingpiano, the pianist has been able torecord for future consideration hisvery best efforts , and the satisfactionand thrill that come to the artistupon hearing a good perfonnancc setdown for posterity are very great. Alit t le glimpse into the mind of theartist before, during, and after a perfonnance for a recordi ng instrument,would no doubt be a revelation andamusing to some.
The impressions in the laboratoryare a subject to which only an EdgarAllan Poe can do justice. The HiddenEar-insistent, demanding, exacting,uncompromising, is to me a goodtheme for a serious dissertation whichr would commend to an author cap -
able of dealing with uncan ny subj ects.One approaches the piano with the
feeling of a certain power because, eventh ough it is connected with TheHidden Ear, there is no ob vious difference between the concert grand that
one meets thereand the one that isthe medium of expression on t heconcert platform.By request, the attendants leave oneto get th oroughlysaturated with themood and used tot he instrument, andpresently with thequestion, " Are youready? " one is faceto face with theactual moment.
Although there isno exact parallel,still I can sympathize wi th aperson going to beelectrocuted. Onthe wall there areligh ts, t h r ee o f
them, signals for The Hidden Ear,or those operating it, and their intermittent flashing conveys to oneimminence. The attendant, withwatch in hand, says, "You may begin ,"we are off.
With the completion of the performence, it is possible to gauge in away, just what has taken place. Oneis conscious of having burned up muchphysical tissue; one is conscious ofemotional and spiritual depletion.But , ahl the joy when in a short timethe recording is before one. It is itsown satisfaction, and the recreativeartist has taken stand by the creativeartists in leaving as nearly as possiblehis best to posterity.
T hi . B Ull etin ",ith the J on uary 11/23 Ca Wo, ' llpp!ie. a COMP LETE LIST of a ll Ampi~Q R eCQrdinca 10 date,
Complete!Jst of(lassics and !Jght (lassicsI ssued f rom J anuary 1923 to 'Date
Tille (;,,"'1"...... I'Jas . ' IL y l 'ei,..ET UIH :. x.se . E n llt -
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I.\'n:n :>.n:z z o . op. 117, 1\0. ~ , II f1 nt
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Rl;Tn;IU 'L\' DA:"CE- f '" ",I , t 'oi" 'hil,1 I, S!lIIY THE SEA~"''''"!",rI.N''~• . . R<inkn'nll I .7~uv TH E WAn:usOI' :\UN:-ot:TO:"KA-
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D YI:"1i POET. T HF.-(J<)(l""h"lk , , .Gr"." 1.75EGYPTI.\ :" DAXCF.- F, ind .. Fair.h ild 1 ,50EX ROUTE. Op. 11)7.;so", a -
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Reprint of Classics and Light Classics-Contin uedT itle Composer Pb j"ed by Pri"" .'\". Tille Compos... Plo.ye<lby Pri""
~fA ltC llE :o.f1X IATl' RE -Jarobi, Jacobi 1 ,50 026 7 a ' SEJU:NA DE -l'u Lefev"" 1.50.U .\ fU O : n 't: _ Arndt , Ik l ",p 1.St) 6238J (; ;;E l!E .'i A. IJE -Dnfla_ " ••• . .. • . .Sd JRil 1. 75:\1£)IOIHES (S."""e ni'a IointRoi" . )--()p. 0244111 SEItEX.\DE. Jl t '),,! MiD"r -
1I• .'\0. 1~·~<l1~jf ". .Chalolf 1.75 /fucA"' '' '' ' '' ''"' , . . . . . n",h'olanin"rr II 006202 1f1 :'.It:'' IT I'- }'.. I, ",,c.Iri .. _, , S<hnit..., l!.lIO 61 773 H Sn" Uo\ -. flb<ni• ... .... . . . . . . D" ,,,. , ,,i l l! 00
U2lt' :\l E~';.\G.: 01' T il E VIOLET. 'rna. 6222 111 SO.\ RIS ti fFnnl. , iel'ie,-,.. )_" ''ri",,, "r f>i l""n, " h "V "f J) - ,';.-hu .. ,,",,·, . . . . . , . " . " . , .. . u·vil.ki ~ 001,,,1,,, ., ... ,., , ... , .. , ... . . n<'!eamp 1.5(1 U6H' SOM EWHERE I:': T ilE WOItJ,Il. 1I~ l1aJ.
633 5 1G ~1I 1l"'IGJlT IIUL~. \ 'ienlle"" MeI"dy E f·lat- . IV.,... . . . . . . .• •.. . . .. Lmc 1.00Wroru ti,e Opera H.alI )-Jl. "be'll' t. 6116311 SU:\' .\ T .\ . G Mi"" , . h lll-l ""I'm""l-I\ " i"ut , K"'i. le' 1 ,76 ,~<~"ma"". , . " Lc,·il,ki ~ ,OO
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( ll r ili,h F,~ k.~!II. i e&,Hj ng. )- 61M3H SOS ..\T.-\ n Mi""r, I.•t M""" menl -(;"'iU~CF . . .. • ••.. ••..• . . .. • . .Cop.lo.nd 1 ,13 Allegro ....I"""l ""o-e~"piu . :\foi,.i ..,il..·h 2.00
UOTIl. TIn;-.~·I"'''.... Ta'' niI' . . . .. ,Mh'' . t,OO 12311' SOS(;- 0 1' l.on :. " IlI"".. .lU .M( )T H EII I ....IUE U .:\,J)- I ,yman.<le Ilrr l 1. 30 T im. " . . . . , . . . .. .... . • . . . . Shlpma " .30:\Il YJ'lU m 1>L\Clfn.:p., lI alLJ.d, Kev of 1341 1' SO"'G OF W ....(;S , Til l{ (CII ."~"!" JIll
Il _ OINJlI./J a/I . • . .... . • • . . • . . He \kr l 1 . 00 roc". bri,~ ) II }'L,t-JI ,,,,. h",·hli,l .$0~IH;(C 1l0X- Fried",,, ,,. .. .. S" . rt 1. 73 11611' gO ...., ; Ot· Tin: IIOBI .... .. ( ·" S...,k i"d 1 30~IY B t:J) lJY_V"" QU",,~ d~ lI~, t 1. 60 0 18StG W \ ' (;g WIT Il Ol ,-r W(JIW,;, "Sl.n,,~....AJLA. W. llz-f)'hIn<f" g-1. /ld ibt MUn. I. 75 S"n~ "-Jfrnd,h><>A-n .. .... . " g.·hnil,...r I ,7~Nt:SA (Sp., ,,i,h P""lA. v)-Yo" Yo" I. 73 62953G SI.A....ISIII M :\'Cf:S. :"<)8. 6 an ,17 -:\' '''' I. I:\'T IIE H Y.I. I)S- Gn ua. ", . , , .T ov•• 1 7~
X,;~ ':;,"vkli.slrd·l;iiI Cihi,;f::.:.Ch.prne" 1 15 m~:~ ~~M\~~.P.N.:;;~t:p; : : : : : '.: :: ~ ~~:::I::~ :. ~~(;,od,ki , , . . • . . . •. Chapmen 1. 15 6286IG STAC·CATO.C .\PIIICt:-V"lIri, h, lI,,,,hk,, 1 ,73
:\'OCTL'R:\'£. E }'fa t :\I . jor - 9011' S I: ....IU SP.AS!) \"O ll- I'rn~" . . •'.i,,·h;;d I ';0( ·,\"{I" , , . . . . . . . . . . . .. . . • . . .. . ,Cooper I 75 13 511' SWAl.ll1W. TIlE (I., G"~,,,Jlrina) P. }' tal
:SOC' L:R:st:. Op. 9, :\'0 . " . II ~!M~lr- Sc"".t,-a" " , . •... .. .1 ,·. ,.,." ].50n ..pin " , , , " . . , l.h,,·inne 2 00 63 10311 SY:\ 11.1I0 Y. XO). .• i ll . : Min,,... 0 1'. 9,1.
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61 193G 0'\ t: LIVES llL'1'O:SC}:- " Fr"", lh e ....r w WorM " &~""d ~l"v".:' /ra"••. Ta".ig .. , .. . . . , . . . . . , . ,Ia Croix 1.75 m~nl "L" !l<> " -
6 1723F O'\ ~; MORt: IHY. M Y JOHS. and n ,,,rdk. . , . . . . , . .. .. S,,.kin.I An,II , ........ 2 . 00CCll )):S I A I, SO:\'G -f;",in~". , .~I',""r 1. 50 63123H SY'II' IIO....Y N'o. 3 in E Minur. Op. 90S.
Ol' t:n.\ W.\I.TZ-I1gen! rilo . .: I !lI"nfril ~ 1. 50 .: . ... " .. i hc ·~~'" Wor l<l " Thi" l ~I"v..o SOU ; ~l]O·-<1i C"vuc , , . , .n, G,,,,·. nn, 1 .30 mOil! "&he,~,,"-OCT Wll t:llF. T II& IILl.'E 1I. :(;I1\S- DM.-<i l: """.k illd and L _ r 2, 00
(:,..-mt. , , , de 1l0<l"1 ] ,M 63133H S \·~II'I IO:SY. ?,,, . 4 i" E !or in" , . Op . 93,P.\l.& "O()S-L"II~n .. , " I" B"rt 1 ,30 "F" "" l he ~ow W" rl,I" " ,," . Ih Mm'C'P.\ ll ,\nrSE- KMk" "".-K..w/n' , . , K",i . ie' 1 ,73 ",ent " ,\ Ik , ~'mf "or,, "-l ' t; ll I' ET lTAL M(YrJO~. 11" ",1" frolll /h,mf i " , . .' , , .. . S".ki..,J ."d Lor ~ 00
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JI",D"""II , , , , .. ,llar lh 1 ,13 ALI. - f) ,,),/ , F. ire1<il.ll. oWl'Il EU'l)!-: I.V F.}'L-\ "I'-('~al'<ff . .eh. I,,1T 2.00 63291P TOCC.\T.\ I ~ A_ PaMJi,.. . . H"d l 1. 401'1·'\CIII'\ t: I.I J1 . " .. , . , , !I ,·, h..rt I 13 632 01" ·ITl.lI'~- Mil. . . . . • . . . . . ' . . Lan. I .ShIU;CESSIOx,\f,. Ktr of D- 62S3 11l Y.\I~;;; t: . -\ fl" l - .
d. KOff" . . . , . . . ... . . . . . ..de Koven 1.74 T..k" ilI"",.ky"" .. , ... , . . Ii", ·hma" ,,,,,ff 2 0062 11lt' RDIDlllIlA'\ n : - Dari.. . . . . • . Il",·i,·. I ~o 61833G VAL;;;E .\ Il .\ Il ESQL'E. }: }·I. l - .617lJG ltlL\I'S()])J ~: , C M,,;' ...- l .tI, •. " . . , .. . , . . • . .. . . . . . .. . . ,n "'I"" I 10S
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Tbi. B ull etill wilh Ih e J ali UlIf)' 1923 C" W"I i uppllu a CO M PL ETI> LIST "t all Am pieo Recordilll:a 10 dale.
<Vfccompaniment ~cordings from 'Previous "Bulletins
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Every AM Pleo Ownershould have these
cJELECTED 'lqj;CORDIN GSSome Notable Composer-Played I nterpretations
62103H LIEBESLEID-Kreisler.RachmaninoffRachma n inoff $2.00
Rachmaninoff has taken one of the loveliest of Kreisler's oldViennese dance me lodies, a love song, and added embellishmentsof his own that set it forth in a new dr ess, but with all its originalbeauty shining through the shimmering filigree with which headorns it. Needless to say he plays it with consummate art.
63191G PUNCHINELLO-Herbert Herber t $1.75P unchinello in his gayest mood, with every trick and gestureperfectly performed, with never a miss or tumble, his merry goodhumor, lives in every line of Victor Herbert's music which thegifted composer himself has played in this recording.
59973H RHAPSODlE, Op. 11 No. 2-Dohnanyi • • Dohn imyi $2.00The majestic eloquent opening of this Rhapsodie, more like aballad than a rhapsodie, befits the beginning of a na rrative-thefirst of the lines of a story of high purpose and noble achievement.There are lyric passages of exquisite tenderness, brilliant passagesin octaves, and with great chords they tell of energy and passion,triumph and sacrifice. A superb work of splendid sonority andrichness magnificently played by its composer.
1191F TEN THOUSAND YEARS FROM NOW-Ball • . •. Ba ll $1.50Ernest R. Ball never wrote a better song than this, and he playsit himself with all th e fervor and feeling that his beautiful musicalsetting brings to the stirring poem by M r. Brennan.
62453H VALSE DE CONCERT-Levitzki . •. Levitzki $2.00This delig htful waltz, played by Levitzki himself, seems to be thevery spirit of the dance-s-enchanting melo dies and captivatingharmonies distinguish it- beautifu lly planned contrasts of lightand shade endow it with a quality that makes for an irresistiblewhole.