The Week's RECORS

Radio Record, Volume XII, Issue 33, 27 January 1939, Page 8

The Week's RECORS

‘I’ course, it’s only light inusie.’? How often do we hear such words as these, pronounced in a half-apologetic tone by. some one who _ professes himself unable to appreciate what he calls ‘‘elassical musi¢."’ It is a commonly accepted belief that ‘‘classical music’’ consists of the established works of great masters which are enjoyed only by the elite, whereas light musie is treated as if it were synonymous with the popular music of the day for which not even its adherents claim more than a passing faney, but which they modestly allege to be the only music within the eapacity of their humble powers of appreciation. Many people, especially classical music enthusiasts, forget that the great masters of the past composed music for a living. Very few of these great men were halfrecluses like old Bach or Cesar Franck. In order to live, the big majority of them had to bz continually turning . out music that people would enjoy hearing-in other words, popular music. If, in the passage of years, quite a considerable amount of this music ultimately found a place in the standard repertory, all the better. Any composer who sets to work to turn out immortal ‘ masterpieces ends up by producing a mass of music that is stillborn to begin with, These sentiments, which at -first blush, may seem odd in a record review, are inspired by the many fine and _well-played compositions among recent releases. At no period in musical history were better musicians engaged in orchestras. The playing, for example, of the Paramount Orchestra, under An‘ton, is superb in their newlyrecorded ‘Medley of Paso-Dobles." — In this dise (HMV. EA2092) they are assisted by Al Bollington at the organ. This lovely Spanish potpourri contains pieces of Marquena, Para, Porschman, Fernando, and Ricardo. The record is cordially recommended. Barnabas von Geczy and his orchestra is another most efficient band, and in their latest record (HMV. B8676) they play, with great efficiency and charm, two waltzes-"Castanet" by Richartz, and the ever-popular "Espana" by Waldteufel. "Artist’s Life" waltz by Johann Strauss comes in for expert treatment at the hands of the Boston Promenade Orchestra, under Arthur Fiedler. "Artist’s Life" belongs to that splendid group. of waltzes which. Strauss created about 1867, and is next but one after "The Blue Danube" in order of composition. Its seductive strains occupy two sides of a record (HMV. C2919), calculated to please practically all who hear it. Playing eight of the choicest of Sousa’s-’ Marches, the Grand Symphony Orchestra ‘s responsible for a record (HMV. C2957) that will win many friends.