THE GRAMOPHONE SOCIETY.

Evening Star, Issue 19674, 29 September 1927, Page 3

THE GRAMOPHONE SOCIETY.

TO THE EDITOR. Sir,—With reference to a letter which appeared in last night's paper Signed L. D. Austin, Mr Austin is not a member of the society, but is cordially invited to join up, when he will have a perfect right to demand of me an explanation for my “ outrageous violation of principle, to say nothing of good taste.” As it is, Mr Austin is interfering in matters where he is not qualified to «o so. So that your readers may obtain some idea of the “ other mbbish ” played on the night in question 1 submit a full programme below: March, ‘ Rubinstein,’ the Grenadier Guards Baud; selection, ‘Trial By Jury ’ (Sullivan); miniature overture, ‘Nutcracker Suite’ (Telia ikowsky); waltz, ‘Dolores’ (Waldtcufel); march from ‘ Faust ’; ‘ Benediction of the Swords ’ (Mayerbeer), Vcssella’s Italian Band; ‘ Electra ’ suit de ballet (Varney), Black Diamonds Band; ‘lt Ain t Gonna Rain No Mo’,’ fantasy, the Savoy Orpheans; ‘Martial Moments, the Coldstream Guards Baud; 1 Uuoer tlie Double Eagle,’ march: High School Cadets,’ march; ‘ The Daughter of the Regiment’ ■ (Donnizetti), selection, Coldstream Guards; ‘The Clock is Playing’ (Blaaw), Argyll and Sutherland Band (conductor community singing record, H.M.V. 2423. ‘ Firo Down Below’ and ‘Marching Through Georgia,’ sung by 10.000 voices in the Royal Albert Hall, London, February 19, 1927. Lot me explain that the record It Ain’t Gonna Rain No Mo’ ’ is not a fox trot, but a clever skit on several kinds of bands. The number was put on as such, and Mr Austin is correct in stating that the record was applauded. The programme above was made up by the members themselves, several members bringing along their favorite band record. I hope that this will serve to snow your readers—and Mr Austin —that onr tastes are not entirely depraved, and that the society is doing its best to live up to its ideals.. —I am, etc..

Pniur Alarchant

September 29. TO THE EDITOR. Sir,—For llio sake of correcting a false statement, a reply to Mr Austin s letter is necessary. This gentleman states that “a resolution _ was passed ' only standard compositions would bo performed at the society's meetings, and it was specially stressed that no jazz or any kindred stuff would find a place in the programmes.” No such resolution has been proposed —much less passed—at any of the society’s meetings. On the contrary, I personally insisted from llio beginning that all classes must he catered for, and that the programmes must be representative of all holds of music, and m tins I have been backed by the committee. It is unwise of Mr Austin to persist in commenting on the music of concerts or meetings at which he was not present. It is only lair to those who are responsible for such meetings to make perfectly certain before praise or criticism is given that one’s secondhand information is correct, and in tins ease that could easily have been done by communicating with the secretary. Jn regard to ‘it Ain't Gonna Bain No Mo’,’ may I briefly state that, as last night’s programme was “band music of all kinds,” it was not felt to bo such a very violation of good taste to include one jazz band selection. ‘Tins was tho one, and A was, ns Mr Austin correctly remarks, applauded, f applauded myself. What Mr Austin overlooks is that the applause was given for the humor and cleverness of tho arrangement, ami ingenious contrapuntal effects, rather than for the piece as a “standard composition”; also the psychological fact that, after a long period of more or less serious music ol a certain sameness, a. light or humorous interlude is to many people so welcome that applause is involuntary. Mr Austin should not rail at a human foible upon which lie and others who have to please tlie public rely so much. May f mention that at several meetings (lie members have voted overwhelmingly in preference of (“amongst other 'rubbish”) Hccllmvcn’s ‘Choral Symphony,’ ‘ Tannliauser ’ overture (Wagner), ‘Prince Igor’ overture (Borodin), Schubert’s ‘ Death and the Maiden ’ quartet, etc., etc. The actual record I have kept of this voting, and the complete list of programmes given at meetings is open to inspection by Mr Austin at any time, i will admit that, in his opinion, these may not ho standard compositions; still I submit (hat tho taste of the society is not altogether depraved. Nor am 1 convinced that the occasional hearing of a jazz classic will prevent the fostering of a good taste for music. T was interested to see jazz referred to ns the “cloven hoof." As far as 1 know, a Mephistophelean origin lias not before been seriously suggested. Without wishing to cause any outrageous violation of Mr Austin’s principles, or in any way criticise his selection of standard compositions, I would like to ask that he and his orchestra some day perform for us Gershwin’s ‘Bliapsody in Bine,’ or Hylton’s ‘Three Bears.’ Theses arc finite interesting jazz works, and T for one would sooner hear them than tho standard compositions of Suppe and Kclcr Bela—l feci I have by now mastered tho principal themes in ‘Light Cavalry.’ Tho scoring of these works for in's orchestra would he no trouble, T am sure; the ‘Moonlight Sonata ’ is a far harder tiling for a musician of good taste to arrange for a picture-house orchestra. I am sorry if the society has offended Mr Austin by too flagrantly exhibiting the cloven hoof, but untii its members wish otherwise it will continue to be as eclectic as possible ; besides, I am afraid we cannot seriously consider Mr Austin’s preferences until he becomes a member.—l am, etc., H. J. Fim.ay, President, Dunedin Gramophone Society. September 2S.