Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
The Music Trade Review
DECEMBER 31, 1927
11
international reputation, as the interpreters of
the music itself. The International Committee
took particular pains to select for the playing
of the various compositions those pianists
recognized as best equipped. For instance, it
Latest Product of the Aeolian Co. Interprets the Best Thought of Many of the is natural to be assumed that no one could in-
terpret Paderewski's Minuet better than 1'ad-
Leading Pianists and Educational Musicians of the World
crewski himself; that Harold Samuel was ac-
A Road to Better Musical Appreciation
by the New Aeolian AudioGraphic Music
TT is generally recognized that a full apprecia- ficulties that are often disheartening to the un-
*• tion of good music rests chiefly upon a trained mind.
thorough understanding of music and the
It has ifeen primarily for the purpose of mak-
thought it is designed to present. In their ing this understanding of what music means
works the great composers, without exception, easily available to the more substantial portion
INTERNATIONAL COMMITTEE FOR THE ADVANCEMENT
OF MUSIC APPRECIATION
American Committee
DAVID STANLEY SMITH, Dean of Music, Yale
University.
CHARLES H. MILLS, Dean, School of Music, Uni-
versity of Wisconsin.
WALLACE GOODRICH, Dean, New England Con-
servatory of Music.
LEOPOLD STOKOWSKI, Conductor Philadelphia
Symphony Orchestra.
EARL V. MOORE, Director, University School of
Music, Ann Arbor, Mich.
SERGE KOUSSEV1TSKY. Conductor Boston Sym-
phony Orchestra.
ALFRED HERTZ, Conductor San Francisco Sym-
phony Orchestra.
ALBERT STOESSEL, Professor of Music, New
York University.
HOWARD HANSON, Director Eastman School ol
Music.
FREDERICK STOCK, Conductor Chicago Symphony
Orchestra.
JAMES T. QUARLES, Dean, School of Music, Uni-
versity of Missouri.
WALTER DAMROSCH, Conductor New York Sym-
phony Orchestra.
WALTER R. SPALDING, Dean, Division of Music,
Harvard University.
DANIEL GREGORY MASON, Professor of Music
Columbia University.
LEON MAXWELL, Dean, New-comb Conservatory,
New Orleans.
EDWARD
DICKINSON,
Emeritus Professor of
Music, Oberlin College.
J. LAWRENCE ERB, Director of Music, Connecticut
College for Women.
ERIC DELAMARTER, Assistant Conductor Chicago
Symphony Orchestra.
WILLEM MENGELBERG, Conductor Philharmonic
Orchestra, New York.
EUGENE GOOSSENS, Conductor Rochester Sym-
phony Orchestra.
NICOLAI SOKOLOFF, Conductor Cleveland Sym-
phony Orchestra.
HENRI VERF.RUGGHEN, Conductor Minneapolis
Symphony Orchestra.
WILLEM VAN HOOGSTRAATEN, Conductor Port-
land Symphony Orchestra.
FRANKLIN DUNHAM (Secretary), Fordham Uni-
versity Graduate School.
British Committee
Honorary Advisory
Committee on the Educational Use of Reproducing Piano Rolls
SIR ALEXANDER MACKENZIE, formerly Prin-
cipal, Royal Academy of Music, London.
SIR HUGH P. ALLEN, Principal Royal College of
Music, London.
Professor of Music, Oxford
PROF. J. C. ' BRIDGE, Professor of Music, Uni-
versity of Durham.
PROF. C. H. KITSON, Professor of Music, Uni-
versity of Dublin.
ROBIN LEGGE, Music Critic of the London Daily
Telegraph.
J. B. McEWEN, Principal Royal Academy of Music,
London.
SIR LAN DON RONALD, Principal Guildhall School
of Music, London, and Conductor of the National
Orchestra.
SIR
HENRY
WOOD, Conductor
Queens
Hall
Orchestra, London.
Professor of the Royal
Academy of Music.
J. AIRMAN FORSYTH, Music Critic of the London
News and Star. (Honorary Secretary.)
French Committee
Belgian Committee
CH.M. W1DOR (President), Permanent Secretary of
the Academic des Beaux-Arts de France.
HENRI RABAUD, Member of the Institut de France
and Director of the Paris Conservatoire.
GEORGES HUE, Member of the Institut de France.
GABRIEL PIERNE, Member of the Institut de
JOSEPH JONGEN (President).
Director of the
Royal Conservatoire, Brussels.
ARTHUR DE GREEF, Professor of the Royal Con-
servatoire, Brussels.
LODEW1JK MORTELMANS, Director of the Royal
Conservatoire, Antwerp.
MARTIN LUNSSENS, Director of the Royal Con-
servatoire, Ghent.
FRANCOIS RASSE. Director of the Royal Con-
servatoire, Liege.
MATHIEU CRICKBOOM, Professor of the Royal
Conservatoire, Brussels.
EM1LE BOSQUET, Professor of the Royal Con-
servatoire, Brussels.
ERNEST CLOSSON, Professor of the Royal Con-
servatoire, Brussels.
MISS A. M. JONGEN (Secretary).
ALFRED
BRUNEAU,
Member
of
the Institut
de
GERARD HEKKING, Violoncellist.
JEAN CHANTAVOINE, General Secretary of the
Paris Conservatoire.
MAURICE EMMANUEL, Professor of the Paris
Conservatoire.
PHILLIPPE GAUBERT, Conductor for Concerts of
the Paris Conservatoire.
IACQUES DALCROZE, Composer.
CAMILLE DECREUS, Director of the Conservatoire
American de Fontainebleau.
MAURICE RAVEL, Composer.
NOEL-GALLON, Composer—Professor of the Paris
Conservatoire.
HENRI BUSSER, Professor, Paris Conservatoire.
RAOUL LA PARR A, Composer.
PAUL PARAY, Conductor of the Concerts Lam
oureaux.
PAUL VIDAL, Professor, Paris Conservatoire.
I. PHILLIP!', Professor of the Paris Conservatoire.
Spanish Committee
ANTONIO FERNANDEZ BORDAS. Royal Academy.
ENRIQUE FERNANDEZ ARBOS, Royal Academy.
BARTHOLOME PEREZ CASAS, Royal Academy.
TOSE TRAGO ARANA, Royal Academy.
ARTURO SACO DEL VALLE, Royal Academy.
CONRADO DEL CAMPO, Composer and Professor.
D. MANUEL DE FALLA, Composer.
RICARDO VINES, Concertista.
TOAQUIN TURINA, Composer.
VICTOR ESPINOS, Music Critic of "La Epoca."
1OSE Sl'MIRA (Secretary).
have sought to select some theme with a definite
meaning and to write around that theme a
musical composition that would tell a story to
those properly qualified to understand.
It follows, therefore, that music appreciation
has grown, and will grow, in direct proportion
to musical understanding, and that its progress
has not been faster is due to the difficulty pre-
sented to the average layman in grasping the
full meaning of the various works. He may
appreciate them for their musical value in a
sense, but his enthusiasm will increase a hun-
dredfold when he is in a position to follow the
story itself. To study thus thoroughly, through
ordinary channels, the works of the great com-
posers, ordinarily means years of work and dif-
German Committee
PROFESSOR FRANZ SCHREKER, Principal Na-
tional Academy of Music, Berlin, Chairman.
GEH.
RAT PROFESSOR
DR.
MAX
FRIED
LANDER, Professor of Music, University of
Berlin. Chairman German Brahms Society.
PRO] ESSOR MAX PAUER, Principal Academy of
PROFESSOR ROBERT KAHN, Professor of Music,
Berlin Academy of Music.
PROFESSOR KURT SACHS, Professor of Music.
University of Berlin.
PROFESSOR DR. h. c. KARL STRAUBE, Con-
ductor St. Thomas Choir (position which J. S.
Bach held). Professor, Academy of Music, Leip-
New York Director Public School Music George
H. Gartlan Using His Own Annotated Music
ceptcd as the logical interpreter of I'ach, and
so on.
Having outlined the plan and made the ar-
rangements for its carrying out, there came
the development of the rolls themselves, each
of which carries a brief biographical sketch of
the composer, the storv of the composition,
and then as the music begins to play running
comment on each phrase as it passes over the
tracker bar. The result is that the student
hears the music and sees its description at one
and the same time, and thus is given a new
understanding of it. In* Weber's "Invitation to
the Dance," for instance, as played by Tina
Lerner and explained by Daniel Gregory Mason,
there is found not simply a pleasant melody but
a description of the selection in the composer's
own manuscript notes, describing, for instance,
the approach of the dancers, the request for the
favor of a dance, the hesitation and finally
acquiescence of the young lady, and finally the
dance itself. In short it becomes a musical
story.
Through the use of the AudioGraphic rolls it
becomes possible for the music lover to build
up an unusual library of . the best in music,
not only played by recognized pianists
thoroughly qualified to act as interpreters, but
described and annotated by authorities of un-
questioned reputation both here and abroad. It
has been said, and with a great measure of
truth, that the notations on the records them-
selves are even more valuable than the music,
for properly studied they represent the basis
of a musical education of unusual scope, the like
of which could only be obtained perhaps
through extensive travel and persistent study.
Educators particularly have been enthusiastic
over the possibilities of the AudioGraphic
SIEGFRIED WAGNER, Composer and Conductor,
Bayreuth.
PROFESSOR DR. JOHANNES WOLFF, Director
of Music, Berlin State Library, Professor of
Music, University of Berlin.
BRUNO WALTER, Director of the Municipal Opera.
Berlin.
of the music-loving public that there has been
developed by the Aeolian Co. the new Audio-
Graphic in the form of carefully arranged and
edited rolls that bring to the listener's mind
through the medium of word pictures and actual
illustrations at the same time as he is hearing
the music, appropriate information that will in-
form him of its hidden beauty and meaning and
enable him to grasp its full significance.
The AudioGraphic Rolls are not in any sense
simply rolls that carry the story of the music.
As a matter of fact, they arc representative of
a distinct musical movement participated in by
an imposing committee of musical authorities
in many countries of the world as interpreters
of the thought and by present-day pianists of
Percy A. Scholes, European Editor-in-Chief,
and Franklin Dunham, Aeolian Educational
Director
records, and many of them have taken occasion
to comment on the possibilities of this new
medium of advanced music construction, thus
made available to so many. George H. Gart-
lan, Director of Music in the New York City
public schools, said: "The AudioGraphic Music
Uolls constitute a vitally important contribution
(Continued on fofjc 12)