:ji · pdf filein the vein than in tl: ... 206561e the kinky kids parade, fox-trot ,c ~lajor...
TRANSCRIPT
!'OO!' ~mAL 1:- TilE HOl'!';F. 0 1" T!OIl:-A'ilYl , n l"D.~PE!iT
The great pianist is sea ted at t able with his wife , his two,;oDS, mother, mother-in-law, sister-in-la w, sister an d n urse,
H 0 ~{ EA TDo u :-;ANYI
:JI.0Jw cJfmpico 'R.!,cordings
~veJJlher, 1925Played by BE'ill'O :\!OISEI\\lTSCH sudden ly th e mood changes and gives way
in the S econd .1l<JllC1lUml, Sckerso, to one of65181H Sonata, Op. 58, B Minor, frisky playfulness. T he delicate loveliness
2nd Movement , Sche/'$o. Chopin 2 ,00 of this finely sp un music has been compared(iS193H Sona ta, Op. 58, B Minor , to a harebell roc king gent ly in the soft
3rd Movemen t , Largo .Chopin 2 .00 breeze. I t is replete with res trained ai r!
65203H Op B:\1' pe rfection and offers some of Chopin's mos tSonata , . 58, • mar, cxj uisi te wr-iting in t his form .4th Movemen t, • I . hFinal e, Pres/a, non tanto, Chopin 2.00 . re TlJird .'[wemen l, Largo , opens W i t a
phrase of quiet dignity, as if bidding the
THE First M Ol'ement of Moiseiwitsch's listener to ta ke careful note of wha t is tonotable inter preta t ion of this beau tiful come. T hen follows an extended passage
Sonata is already available in r ecordi ng tinged wit h the melancholy of the nocturnes,:\0.61 843H, The great pianist now releases sin gin g anew of the witchery of nigh t andth e balance of the work. starligh t , singing, too, of the swee tness of
If in the' First J[ot'eml'nl Chopin scatters lovers ' vows oft repeated , music over whichfra grant blossoms wi t h a prodigal hand, he th e com poser linger s as if loathe to let itfinds still other splendun; wit h which to KO, returning reluctantly a t the close to thedeli ght the list ener in th ose succeeding beautiful nocturne-like melod y of the earlyJfOl'Crllents . T he 50na/(£ is very human, part of the Largo.an expres sion of moods, widely differe nt In t he FO llr/h Mot,tntent one is plunged.hut each completel y absorbing while it lasts. after a few ba rs of vigorous introduction,The Fir st MOl'fm",,1 is exqulsit.l'ly and solemn- int o an im petu ous and agi ta ted t ur-moi lIy happy in its color and sugKestion. t hm sug gesting a wild ride through the blac'h;n ess
This Bulle tin with Ihe J anua ry 19Z~ Catalog luppli". a COM PL ETE LIST of all Am pleo Recordings to dale.
1. 75
65233G
PI<Jyed by JOSEF LIlEn:';I'E
652 13H Soirees de Vienne, No. 6(Evenings in \'i,'n na ), raIseCapr ice . . Sdlllbcri-Lis~t 1.00
IT IS :\OT ~ llrpri si n l{ th at Schubert 's.beautiful Viemtese 1V,1Itu s sh ould ha ve
intrigued Liszt 1:<) em ploy t horn in one of histranscriptions. T11Cse lovely ai n;, whichSchubert himself culled from t he mu sic of 01,1Vien na, are voices that han ' lived andbrought to us a picture of cl ays tha t hnvcgone. T hey are surrounded in l.i".zt'ssuperb setting with an t he s j):en,1nr of t hebri lliant O:lUrt li fe of t he Austri an capital.There is pomp nnd ceremony in every noteof t he int:>:J<1uctory pal"'" and the deli ciou swa ltzes are hea rd , as from a distan t hall room ,decked with purling phrases a s pleasantconversa tion mmgles with the music, mak ingits hearing t he swee ter.
Played by ),ftI.TO:-; SI'SKt:-;U
Preludes and Fugues, Th eWell- Tempered elm'ie/lOrd. 1\0.2, C Miner : :\0. 5, 0 ),[a jor
B<Jch
65243G Etude de Con cert, Op . 36.F Sharp ... . . . . . . . . •If<JcDou'cU 1.75
A N exalted mood finds its expressionin t his glorious study , one of the com
IIQSt~r's fines t works, for in no other of~ lacDowell's works do we lind him mo rein the vein t han in tl:i~ splendid pie ce.From its excit ing opening bars to the finalshout with wh ich it closes, it never ceasesto voice ,l rapturous joy, bo iste ro us at timesas wit h a breathless telling of deathless deedsor of happint'SS that comes \)vcrw hel mingly.
Mme. Carclvn Cone-Baldwin, who wit ht his recor din g, makes her first appearance asan Ampico artist, has played it superbly.
T H E Preludes and Fugues of Bach areamongst t he ma sterpieces of m usic,
ospccinlly the t wen tJ' -four num bers whichform the group Far lie Well-Tempered Clavi chord . The clavichord was one of thea ncestors of t he pia no , an inst ru ment offragile but eloque nt voice which gave to thewor ks performed upon it a l' t'L.'tlliar poig nancy.On the modern piano t her. come to t he ea rcloth ed in splendor of anot rer kind, hut theirintrinsic nobi lity remains unimpaired. Observe how in No.2, a Prelude of dignity andspJemlor, is followed by a }'11J',lle of airyJightness in exquisite contrast and in No. 5an equally beaut iful effectiveness is achievedin t he lighter Pre/rule sueecceled by a F Ilgl<eof great richness and sonority.
I'Mycd by C \lWLY:-; Co:-;£-BALDw!:\"
2 .00
1'1I/yNI by HA~ S n.\II.T H
R ha psodie Hongrcise (H ungarian Rhapsody), No. 4, EFlat . . .. .. . . . . . .. . .Lisu
(i5173H
Plt/yed by ER'lST \-0 :-; DOll:-; .{,\ n
(i5221G Winterreigen, Op. [3, ;\0. 6,False Aimal de (P leasing Waltz]
( 'Oil f)o /lIlally i l.i5
A DE LICIOL:S litt le episode fromDchndnyi's suite IVi ll/errrigl'll (A ""in ter
Cycle) is depicted in t he cad ence s of t hischarming wa ltz nu mher. Its brevity is itson ly shortcoming, if indeed it possesses any ,but hearing it on ce you will wish to hearit again and again. It is comp\)~ed wit ht he exquisit e tas te which distinl;u ishes allDohndnvi's music, and will give addedple,lsurc if heard with other numbers of theH"':II/erreigw Suite . Play t hem in sequen cerome t ime-fir st , the M usic of the SpheresXo. 59683H, then this I'a lse, closin g t he li ttlegroup with Boisterous Party, :\0. 6.>32IH ,t he three togethe r making a channing group.
of storm and night. The wind cries withthe voice of myriad terrors and the ride-rshudders with each onslaught. of the eeriehosts of the ai r, but with home and sanctuaryin sight there enters a JOY0 1lS andabounding happin ess in the impetuous fina ldash to a haven sa fe and warm .
T he who le work renv.J.Js the artisticsubtlety a nd grandeur of C hopin's inspiratio n. He adhe res onlv in the names of theJlvt"e mellts to the tradit ional Sonata f" rm,but whe n t he result is contempla ted on ecanno t n'ganl this as other t han fres h evidenceof his genius.
T H E source of Liszt 's inspim:.ion for hisfamous Rhap.w dies, in his newly awak
ened interest in the music of his nativeHungary, has been d iscussed in these pagesmore than once. Of the long ser-ies somehave been less fortunate in rl':lc hing publichearing than others , but a ll arc c'erspreadwith t he touch of th e mast,'!" mind which,through t hem, made Hungary's ooogs anddances known to t he outer world.
T he Fourth is one of those less wellknown tl '.a n some of th e others bu t thatLiszt reg arded it highly is evidenced byhis having dL~licated it to Prince CasimirEs terhaay, a member of t ha t no ble house towhose fa mily Lisz t himself and his fatherbefore him owed 00 much. Less brilliantthan the Second, SixIII and nldJtlt, it ishardly less beaut i ful and pe rhaps is moretr uly reflective of the heart of the p<..'Ojllcthan its more ornate companio ns.
Thi s Bullet in with th e January t\l2 5 C.. tsl og su pplies a CO MP LET E LIST of a ll Ampic o Record ings to date .
This Bulle tin with the Janua.ry I92S Co-W oe sUllplie . .. CO MP LET E LIST "f aU Ample" Ree" ,d in l s t\l da te.
Don' t forge t to ord er som e newrecord ings for your ThanksgivingParty .
SO ME OLD SONGS - wi thword s, that everybody may sing.
SOME NEW DANCE RECORDS- for the youn g people.
SOME NEW DINNER MUSIC- to play while th e feast is on.
No Thanksgiving P arty is complete without music.
,% usicfor
Thanksgioing
T H E GUITAR IST, B Y PAB LO .\IA NES
An example of extremely modern ar t aspracticed in France by the symbolists
and artis ts in ma ssed effects.
Pian o compositions lo r th e left ha nd arcnot necessarily morganat ic mus ic.
- M llsical Courier
Played by Enxesro L EC UOl'A
65253 G Cuban Dance Suite : L TheMinstrel; 2. Dan ce in .1-2T em po: 3. Black Dance
Lecsuma 1. is
ALL dance rhyt hm s are akin . On e willhOOT in t hese Cuoon Dances som ething
of t he old fas hioned reel trans lated into theidiom of th e music of th e La tin coun tries .Th ey arc all full of life and fi re an d have muchof the fascinat ion of any music which partakes , however little, of t he music of Spain.T he composer gives us hi s own interpretation , which, needless to say, sets themforth wit h authority and brilliancy. Theywill prove an importa nt ad dition to the listof comp oser -played intreprctat icns for whichthe Ampico catalogue is al ready notable.A rranged and Pl,,}'cd by :\ IcNAII! h .GE:;:FR!rZ
65263G Valse de Concert , E!uneUeFolie (Eternal Folly ) -
NII=are-Aga 1.7$
T IlE concert waltz with it s extendedintroduction has never failed of its
effect . Here is one of unusua l charm ,r eplete with beauty, and exciting all theallure inseparable from t he waltz rhyt hm,especially when so skilfully employed as inth is work.
Played b>' SASCHA 8.\11.0:>01'1'
65271F Caprice Antique Batogli 1.50
ADE Ll GH T F UL blendin g of the 010and th e new, all the antique grace
of melod y and rhythm t ha t one associateswit h the old world lllin lUts and g" c<J llesclothed in modem dres s. Its harmonics andprogressions a re of today , b ut through t hemt here wind the strains of t he music of longago, like gold and silver th read s through apattern exquisitely woven and designed.
Played by lIE~HI L En h 'HR
1651F A Brown Bird Sin ging, Bal lad.G Major (with words) . , W ooo 1,50
T HE very title of th is song is pleasingenough an d it is equally pleasan t to
record tha t the music matches it well andscorns a perfect expression for it s prettysen timent.
.. AU throllgh the night there's a little bro'wnbird singiug,
Singing in the Ill/sl! of 1M darkness andthe IUU',
Would Ih'll his sOllg through the stillnesscould f O Willgillg,
Could go 'winging to )'011 ,A ll throllgh the 'light ti me lily 10llely
heart is si llgbrgSweeter SOl l gS of love tlron tile bf(Y".:n
bird ever knew. "
T hia Bulle ti n wilh the ' an uar y 1925 Ca lal og su pplies. CO M P LETE LIST of a U Am pk o Re~ording . 10 da le .
G r R L S
RECORDINGS 'WITH WORDS FORSIN GING AND DANCING
Played by vrxcexr r.<:lI>I·~7;, Assi sted
206561E The Kinky Kids Parade,Fox-T rot , C ~lajor
Donaldson 1.25
T HOSE who remember Tlte Parade of tMn',wde>! Soldiers will find its compan ion
piece in this deligh tf ul no velty fox-t rot .
Played by ZEZ Co~F1mY
206571E Sweet Ma n, Fox-Trot , F~Iaj ()r Pi nkard 1.25
206581E Loud Speakin' P apa, Fox-Trot, 1<: F la t P"lIack 1. 25
ZEZ COXFREY has brough t all his bes tta k llts to the interpretations of t hese
t wo hit s. T hey are being" demanded everywhere and will be do ub!v welco me in thein terpretation of this gift &i artist.
Played by J. l\IILTOI\ DELCAM1'
206591E Brown Eyes-Why Are YouBlue? Fox- Trot , G ~Iajor -
M e)'l'r 1.25
A N un usual combination of lyrics an dmelody with a pre tty sentim ent g-i ve
lIIr. Delcamp splendid opportunity for oneof his sympathetic recordings.
'Popular U'Y(usic
J0 l- S O XI~ ms LATE ST rttuttox OF "nrc ~OY"
A L
RECORDINGS WITH WORDS FORSINGING
Played by C OR IU :-iK OE BERT
200661E De ar Little Hom e of M yDreams, A Flat Ball 1 . 25
ERXEST R. HALI, may always be countedon for a be....tu tiful song, and here is one
of his loveliest and most appealing. It hasan engaging melody, a well-designed climax,and that ca tchy qua lity that has made hisna me loved wherever music is known .
Pla yed by]. :\hLTO:-i DELCA~I P
65303F Musical Comedy Fa vori tes,No. 6 : 1. Why is Love ? JuneDays ; 2. I n the Shane of t heAlamo, Zu/;!e{;t FoUus; 3.What a World This Would Be,George W hite Scandals; 4. .AprilFool, Garrick Gaieties. 1.50
AXOT IIER of hIr. Delcamp's group offavori te numbers from recent successful
prod uctions. De lightfully arranged andplayed, t hese series of lIJus«:al COlnedyFaoorites have proved a great success withlovers of popular music.
RECORDINGS WITHOUT WORDSFOR DANCING
This Bulletil1 with the Ja.l1ua.ry 1925 Catalog au ppliu a COM P LETE LIST of all Am picl1 Recor dil1gs to date .
Played hy \YALTI'II. GOI.DF.
30401G Awakening, D Flat, HighSoprano. . . . . . . . . . . .. Golde 1 .15
30411G Awakeni ng, "\ Flat, MezzoSoprano. . Golde l. iS
,Accompallimcllt~ordillgs
icith 'JfJords
....,Accompallime1lt~cordi1lgs
witlt I talian Words
W I N N I E L I G H T NE Rt x "G .\Y P A R E E "
Played by W ALTER GatOR
30423G La Boheme , ]I id dama no .lIimi(~ ly Name is Mimi), D Xlajor,High Sparano Puccini 1./5
"M usic is t he only sensual gratification inwhich mankind may indulge to excesswithout inj ury to their moral or religiousfeelings. - A ddison
Played by F ER lH E GROF f:
Played by VICTOR L.>, ,,I!.
206641£ Oh Lavey Be Mi ne, Fox-T rot , G !lI" jor . .. . Do naldson 1 . 25
206651E Ohl Boy , What a Girl, GayParre, Fox-Tro t, Kl')' of F -
Wrif.hI-Bnsiliger 1 . 25
T WO of t he Dew fox-trots predicted acomplete tonic fo r res tless fed. Pla y
Uwm once and you will agree.
Played by All.HI CA RROLl.
206611E Cec ilia, Fox-Trot , C :J.fajorDreyer 1.2.:;
206621£ Nobody but Fanny, Big floy,Fox-Trot , c :J.laj or -
]o!son-DeSy!<u _Collrad 1.25
W HAT EYE R Ada m Carroll chooses f' jrhis monthly offcr inp may he ..-oun;ed
011 :.s first class. He re Ill' has choSl'n ano table song hit in Cecilia a nd the outs tanding hi t from Al jolson's prcducticn Big f3, )y.
206601£ Le t's Wander Away, Fox-Trot , F :J.b jor. . .. ,( r,UlI' 1.25
T H E dreamy qnalit.y ot t lw melody andthe sweet sentiment of the han nonies
wl:i<-h go :0 make up th i~ 11\1;))I" 'r expla inthe favor with whkh it is me-ring whereverit is heard.
P la, ·ed by EDG.\ R F A1RCH1LTJ
20663 1£ My Sw eetie Turned M eDown, Fox-T rot , F \Ia;or -
DO/ialdson 1 25
T H E la test "sweetie" song by WallerDotl.'1,ltlson which is ~uarantee enough
of its SIlCceSS and popularity.
,Accompallimellt~fOr<lillgs
for 'UiolinPlayed by :J.IOlnnlEli. B ROW .... I:"IG
F(Jf . \JlC.WIE D1 RIO;::';JjOLl
6528l G L'ArMsi en ne , A dagit'IIO. .Bi:el I . i5
65291G M elody lJawe5 1.75
eric ~atieA Strange Old M all Who lIeIped Debussy and Others
of the F OIlI/g eY French Composers
!'Debussy
and ~atie
ERIC SATIE is dead . We sha llnever again sec his keen smileand the twinkling of his eyes
behind his never-missing eye-glass.We shall never hea r again his sligh t lyveiled voice, utter-in g characteristi-ca ll y odd ideas ,often so subtle andamusing. " It iswi th a kind ofpain," writes HenriP r u n ieres in th e).[ usical Digest ," that I realize thatI shall never againsec this strange oldman, so unlike allother old men inhis mixture of wis-dom and extrava-gance, a mixture soconfusing that hewas as often takenfor a prophet whenhe was fooling ashe was taken for afool when he wasclairvoyant. "
" He came upon Satic with hispass ionate interest in the impressionist ic movement among the pai nters,and must have been convinced quicklytha t music must undergo devel op-
ments simila r tothose taking placein t he sister ar t.
" Sntic had anopera ti c the orywhich he had alread y p u t intopractice in his LcFils des Etoiles, Hethought tha t musicin opera ought tobe a sort of sceneryof sonority, a backgrou nd of tone.B eca u se a stagecharacter was indespair was for himno reason why themusic o ught toexcite itself to despcrate passions, too .T he trees of the forest never cha ngedt heir hue for sucha reason. If themusic remained asplac id as the scenic
" I t was i n E R I C S A T E se t ti ng-s. h e be-Debussv'e yo u t h from sketch by Alfred Freuh lieved , the plaintsthat he met Satie, and although it of the desperate characte r would bewould be ridiculous to say that the all the more enhanced. Debussv heardfanner plagiarized the mu sic of his these beliefs , and th ey helped himfriend, as perh ap s some of the younger find out his own pa th. He wasimpressionist s were la ter to do, there grateful to Sat ic for the help. For ais no doubt that Debussy learned qu arter of a century he was one ofmuch from Sat ie. At that t ime - it Satie's few admirers . Rave l abo rewas in the late eighties - Debussy spected Batie's musicianship, and lovedwas growing away from the influence his savory and nea t style, but oneof Masscuet , his teacher , and ' Vaguer. of the strange humo rs of the olderHe was in search of a style. mau caused a fall ing ou t with RavelThis Bu lletin with the J u ua ry 1925 Catalog suppli u II COMPLET E LIST of aU AlIIp;co Reco rdings to da te.
Th is Bulle tin with th e J anuary 1925 Ca ta log supplies a CO M P LETE LIST of aU Am p;co Recordings to da te .
c..Jr[odern ~usic ":A0..usea"Toscanini IVould "D-isinfe ct" The atre
After Venice Festival
T H E corres pondent of the Ne wl"ork lIerald recently sent thefollowing interesting item from
Venice:" Art uro Toscanini, fanner musical
directo r of the New York MetropolitanOpera, sa t at a table in a cafe todaychatting with frie nds concerning theInternational Festival of Con temporary Music, which has just closedhere an d which was marked by thepresentation of ultra-modern compositio ns.
"The condu ctor rem..nrked: 'ThankGod , it 's over! ::\'01;\' we can disinfectthe theater. '
"Somebody asked Signor Toscaninito expla in his expressions of contemporary effects as exemp lified by th eprograms of the festival.
"<My impression, it 's utmostna usea, ' the musician replied . "
'Why the I0!g'Didn't Ulfarry :;fer
Ju DITH GAUTIER, who wasone of 'Vagner's ear liest and mostdevoted friends, tells among other
anecdotes one relating to his greatpat ron . King Ludwig II of Bavaria .In 1867, the King became engaged toth e Archduchess Sophie. One evening'< T ri staw" was performed in the RoyalT hea tre. The King attended withhis fiancee , bu t she was bored, andmade no effort to bide her feelings .She appeared absent-minded, and paidno attention to the sta ge or the music.Ludwig II saw thai she was not a\Vagnerite. He might have pardonedmany shortcom ings , but this was toomu ch for him; the marriage nevercame ab out . - .1I usical Lalt{!.hs
just as with Debussy - in fact , justas with almost all the men whosupported him when the public showedhim only indiffercnc..ie and deri sion. "
:J£fs 'Ptac« in J'r(usic"Bat ie's great glory consists In
ha ving foreseen where the music ofthe fut ur e was to move. He guidedand helped greater musicians thanhimself. He never imita ted anyonehim self. Perhaps he was somewhatinfluenced by his early favori te,Chabrier, but not much . Ravel, Auric,Poulcnc, and oth ers have shown Satiethe admiration of imitation .
,. I think that Satic will long be anat t ractive figur e to mu sicians, whowill find in his music a st yle absolu telyF rench. In a t ime when nothing is sorare as t rue originality, Sat ie has ha dthe meri t of being himself. r11 thefutur e that will be his greatest fame. "
'"carly Jl0..w York I9peraJiOuse Victim 0/ Trade
Old A cademy of sl us ic Soon /0Disappear
SACRIFICED to the march ofcommerce, one of the early homesof grand opera in America will
va nish with th e demo lit ion of theAcademy of Music in New York City.An office building will be erected onth e site of the theatre.
T his temple of opera was openedon October 20, 1854, wi th a performan ce of S ormll . Thereafter grandope ra was heard th ere until 1887,after which it was deserted for theMet ropolitan Opera house farther upBroadwa y. Among the stars thatsan g t her e we r e Adclina Pat t i,Pauline Lucca , Clara Louise Kellogg,Parepa Rosa and Jenny Lind .
A fictional use of thi s old operahouse was made b y Edith \\11arlonin her novel, "The Age of Innocence. "
-H. Giles
Critic UpholdsToday's eSingers
MODERN singers are not inferior to those of the past,according to at least one New
York music critic, who differs thereinfrom some of his older confreres.This critic is Leonard Liebling of theNew York American, who relates, "1Was dragged to the opera when I ~as
a child but as I come of a musicalfamily and had my musical trainingearly I formed definite impressions ofwhat'I heard in those remote years.
"Mr. Oldfogy will tell you thatPatti never has been equalled. Thetruth is that Patti was a poor actress,and also that she attempted only thelightest kind of roles. Melba, whocame long after, had a better trillthan Patti, more vocal volume and aricher quality of tone. She, too, wasconsidered an unsatisfactory actress.Tetrazzini had greater facility andbrilliancy in rapid passages than eitherPatti or Melba. Ail three rankedimmeasu:a:bly below Frieda Hempelas a mUSICIan.
"The reproach of coldness was thecommon criticism hurled at EmmaEames. Calve was scolded for takingunmusical liberties with the composer's measures. She survives in memory strictly as a one-part artist, thatof Carmen. Plancon was superficial,winning fame only as Mephistophelesin 'Faust' and through his delivery of'The Palms' and 'The Two Gronadiers' at the Sunday night Metropolitan Opera House concerts. Campanini was the most limited kind of anopera tenor, even though he made atry at 'Lohengrin.' Jean De Reszkewas a baritone converted into a tenor. He was, however, also a man ofhigh intelligence and true artistic. understanding. Tamagno, known chieflyfor his Otello. was as celebrated forhis shouting.
"Of the Wagner interpreters, LilliLehmann frequently sang flat (therecent Melanie Kurt was as authoritative and affecting a Brunnehildeand Isolde as one could wish for),Van Rooy had a wooden delivery, andAlvary's tenor tones were throaty,although he looked especially romantic as Siegfried.
"My inference is that the old fogieswere more impressionable then thanthey are now and were less familiarwith the operas themselves. And donot let anyone tell you that the operasingers did not sing at the top oftheir voices in those days. I heardmany a star feat of the loudest kindof musical yelling. "
....gluck's ,:lrCusical glasses
GLUCK had many failures aswell as many successes duringhis life, and at one time, when
things were not going so well, heannounced a concert at which hewould playa concerto on twenty-s~x
glasses containing water. This was In
London in 1746. The instrument,which on this occasion made its firstappearance, was announced as G~uck's
own invention and that on It hecould play anything written for theharp, violin, and kindred instruments.Musical glasses became very popularand were heard well into the middleof the last century, but it is notgenerally known that the instrwnentwas the invention of the immortalGluck, and that the receipts from hisconcerts in which they were heardhelped him over a hard place inhis career. ...
The direct relation of music is not to ideas,but to emotions-in the works of its ereeeeeemasters, it is more marvelous, more mysterious than poetry.
This Bulletin with the Januuy 1925 Catalog supplies a COMPLETE LIST of all Ampico Recordings to date.
'"'"'"
RHAPSODIE HONGROISE(H ungarian Rhapsody ), No.4
MUSICAL COMEDYFAVORITES, No.6
:JiOw to qind P ieces You 'Will ljkellelpful Similar A ppeal Chart Compiled for Am oico Owners
W HE N you hea r one of the new Xovcmbcr rccordin gs th at especially appealsto you, check it 0 11 this page and ask your dea ler to play for you the
pieces, t he numbers of which are J.!;iven. You will find that they ha ve in themthe sante qualiti es which you like in th e new recordings selected.SO NATA, Op. 58, B Minor, Similar a ppeal ns Sonata, Op. 58, 1st Moveme nt 6184JH
2nd, ard, 4th Movements Sonata, Op. 35, No. 2, 1stMovem ent. 63803HSona ta, Op. 35, 2nd M ovement 63813HSonata , Op. 35 , .Srd and 4thMove ments . , 63823HSonata, Op. 22, 1st Movement. 61163HSonata, Op. 22, 2nd and J rdMovements 01323HSonata, Op. 22, 4th Movement .6 1693H
Similar appea l as Rhapsodie H ongroise, No. 2 59Z63HRhapsodie H ongroise , No.6 57437HRhapsod le Hongroise, No. lZ . .58087H
SOIRJ::ES DE VIENNE . . . Similar a ppeal as One Lives But Once . .61793GWINTERREIGEN, Val5e Aimable Similar appeal as Valse , . . . . . . . . . . . . . . . .. 61051G
Valse La ngoureuse 57Z34H. Similar appeal as Ita lian Concerto, A llegro 627ZI H
Ita lia n Conce rto, A ndan le 6Z733HItalian Concerto.!. Presec . , 6Z741HOver ture, 29th Cantata 63423H
Sim ila r appeal as Etude de Concert . . . . . . 55284GEtude de Concert. . . . . . . 51164HEtude, Re1!olldwnaTy 62621G
Sim ila r appea l as Two Cuban Dances . . . . . . . .63471GDanse Espagiiole 6J37IGSu ite Espail.ola , M al agu ena . . ,62231G
Simi lar appeal as Valse de Concert . . 62453HVals e Caprice . . . .. . . . . . . ,65113GValse de Conce rt . . .62433F
Similar appeal as Ga vott e 62921HP assepied 642fil H
Similar appeal as I Passed by Your Window 140lFWest of th e Great Divide 1551F
Simi lar O;ppcal as Musical Comedy Favorites :No.3 . .. 64Z43FNo.4 64373FNo. 5 64663 F
CUBAN DANCE SUITE
PRELUDES AND FUGUES
ETUDE DE CONCERT
VALSE DE CONCERT(Eterna ( Folly)
CAPRICE ANTIQUE
A BROWN BIRD SINGING
This Bull e tin with th . }aoua ry 1925 Catalog su pplies a CO MPLETE LIST of aU Am p;"o Reco rding. to d at " .
'"r ulccompaniment 'R.tcordings from 'Previous "Bulletins~~ No. Till . Compo,ee Pla)'ed by P, ;"" No. Tille C"'''r-' Played by PM""!:;'<l 30361G All . LOVE, nU T A J)AY! A Flo.t. J 021lG eo xor GO. MY LOH .• D :'o[ i"",. Alto
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C"" ira lto 0' no"too" (...lib w" ...-I.I- "I Life." J-: f b t. f;",pcono 0' T~n",65141 G dpif:ci-:' ' ,'ii;\;~'iliS:' '(lp:' ,~l(Vr;I'i: 1.1' J01 11G J)(W(,(~ i~~l,lm!IJ.~(I~J-:S:J ;. · ;-.\IlC;~ki~ 1.1$
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,~ 64S41F CA\ A I I ~ .\, 01'. as . So. ~. K Oj' or J) (.. ,t ,....)...I. )- Ronald....... •. Bro...""'~ 1. ,5
( \' i"l ; n A""'""p",, i " ,~ol )- /l",ff. Il"' .·"ing I .W 30181<; DC,,".\ . J) FI. t. S<,!'r,,,,,. '" Tonor"i~ 3020lG DO "OT co. ],f\' rove. F Sharp ~l iu"r. ( ith "rd, )- J/oGiiI n m oing 1.7'rs S"p,ono <X T""", l.. ith "'orJ , )- ~OI9IG DC"" .' . II FLo t. lIoril ,,"O ("';lh ...",<1.)-
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Th is Bulletin w;lh th e Janoa ry 1925 Catalog Sllppliu a COMPLETE LIST of all Ampko Recordiou t o date.
Complete /j'st of(lassies and /j'ght (lassiesIssued from January 1925 to 'Date
Ti ll~ C""n~",,' 1'1")',,1 by /'riceCll .\'I;:-i()\; u ·.nrOl"ll (1m '" :;" ",,.1, Op.
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H , ;'; 0. 1 , G 1' 1.,1. ~I ,'. I",~, ( ~l.v
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I. D,·" . Old \' "I~. " ll,, ~hl C"II " ll~) 'eM" ; ~ . Fni, II ''' ''~ "I : 3, I', i"" ,·I0 ", ."O /,l .'\"~...,,, " ; ,j , C.....""II. .. Pn. ,II. "..,C. Yll;{jl·' W~ t ,,, " ; .1. B ail, I'~n .,d.
v""ial ("'ill, "'·,..d , ) " 1""i,'-],'t.l ~.OOCOllTEGE (1'", ,.,,0,,). I: "~i<"--
lJ"b"..y .. , " , C,,!t~, 1.71coc rcnr ene. L \ (l' 1,~ :'<"" ",. 1",_, )_
JIQ""",,,.,".•k.~~~"lnli~ik"l! , . . l! ",j1 ' ~'.,k" ~ , OO1l.\'\S ~:' K"r "r E · IJ""u..y .• . . ~,.j , mi l . t . MD.\ '\St: In: :-: .I l ~m r-: ~: , 1..\ w"",,, <lr
""lome l. Op. '~l. \; " . t. ]) 'f i""" .-\IT•C"C pi"no b.,· \\"I:o di",i, Sld,,,,,llald ,dT1;1",,," ",,,, ." . , .. . .. , .. , . ' .'\ ~;'"lQ·J,a.i t .OO
D.\ .'\Z,\.~ Crll. \.'\ .\.~ ((" ur~", I)lIn,,,.•):;.;". t. E ~[ill''"' .'\" . '1. E ~1nI-('m",,,r,,, , :...h""I. 1, 75
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Il"",,,i ,,~: ~. I' ,,, Falli,,~ ill [m', "llh~" ",,,,,e: :1. I' ,~". Ilu tl<'l"fl/ ' : ~ . Ki,. ~[e
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JK~.'\ , 1) FIn! , ll"r i("ne (with ",,,,,1.,: -lI" rI ..;" h, .. . .. . . , . . . , •. . . , . . Il" ,wn ill ~ IJ
L.\S T :-i(l.'>l;. 'rtn; K".'" "r .1. ~ ,p""",0' T,·",,,. ''''i lh """,l, )- )t,W'T>, . .. Wille I 7.1
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0\,1,: H \' : Il.\ Y, "M" .l" ", ,, 11" 11 ,,, 11.,',"
l,..~tn~~( ?'I:' :~'l" ;;f';:;7/!~j,l.; ;' · ;il/~7'; : : IJl it" 1'1".,·), ~: ll i"" r, Te" ,,' ("-)111",,,,,I ,) - /." "","'0</1" . . • • . . .• . , B",,,,,,,'Ul . 71
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.o uu-n J) ~: I : .I I ' .\ CIII::. I: <-11,"'heI. ,""l----/J/ fn l'<loh- f;l/" " ., .... .. l.d e,.,.., I. 75
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I\.\Ll.hl ()t run ~Ll)\\ U!:-;. Op. »~:.'\". I. " ",gllo, i!<-., : Sn.~. 11 ,, 1 II" ,.".'\". :1. Mig ,,, ,,,olle-Jl,u!/,'U •. . . . Ynunj{ 1,75
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in. .,\ " . ". "" ,0,,1 F ---{'u i . l.h h i" ,," ~ , (IO
Accompaniment Recordings fr om Previous Bulletins-Continued;.;". T itle C.""l"""" 1'1",,",,,1hy l'tiee
30341G IU:lj l :IDI. 0 1" l ~, ;.;". ~. II n ,t ~l "j"r.T,·"". (w;lb " '" ,, 1,)- 1/,,.. __, Ilr<>w,,;nj( I .n
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<:>5023(; HO"lIE In~" IXT1.'\ ~, L.I .rs., J)"n,,,,,[ lhe (;" Io li" , ). 0". ~,; , \ 'i" li" "\"'''!''_1"' '' ''''''101)-/1"""" , B ,.""m ,, ~ . 71
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30UI(; SI'lHlT FLlJ \\"E Il . .\ . (; n , l . ::"pr """,,,. T,·"", ' wit b ".",.,1_)_
30Z9lG i' 1[;I{'H·~·t!jJ;'t;Fl i: '.i.:"/.;;,': ;,i 'f:: ~r~~~;~ I n""I""""" ,,' lI" r; I" I'" ("'i,t "',,,,1.) -1·"mpbdl.Tipr,," . . ... .•. ~ "J<;n.1 7J
3025[(; ST.I Il, rue. Il "t·kl. ;;. ~"" "" (""t h" " ,,1,) - /1"'1"" .. " ' " .. , . .. . II",w"i,Ul 1. 7J
3020[(; ST.IU , T][~;, 11 f lat, .\r " ' ''_''''I''' " '' ''(,,';' h "'""I , ' -II,,~, ," lIr"w "; " ~ l. 71
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T hi. Bulle tin with the J.n" nry IQ25 Ca ta log . "p pliu. CO MPLETE LIS T of .II Ampi co ;R""ordlngs to date .
Reprint of Classics and Light Classics-e-Continu edTitle c.""p""" I'J,,)'''' ! by Pri,..,
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T his Bulleti n "'lIh the ] a nua , y 1925 Ca ta log s uppli es a COMPLETE LIST 01 a ll Am pico Recordi"gs 10 date,
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T h is Bullellll with Ih e J alluar y I92S Cata log .Ul'ptl~ . a COMPLETE r.tST ot all Ampieo R«<>r~ i ngs 1<> d a te .
should have these
eJELECTED 1(§CORDnVGS
Every A M PHC O Owner
1331F GYPSY LOVE SONG-Herbert . .. Fairchild $1.50The piquant appeal of Victor H erbert's music was never more inevidence than in this lovely song, which is qualified to rank withhis best efforts in this form of mu sical expression.
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~63593H DINNER MUSIC, Series No.2 . . . Delcamp $2.00
The effect of this charming recording is precisely as if the artistsat at the piano wand ering from one piece into another as themood dictates. Playing of this kind has great charm and bothin the pieces chosen and the manner of playing them Mr. Delcamp'srecording is wholly delightful.
63243H HUNGARIAN GYPSY DANCES-Tausig Lhevinne $2.00
Music of amazing vitality, created of the joys and sorrows, themournings and fes tivals of the Hungarian people, woven into agorgeous musical fabric.
63233H BLUE DANUBE-Schulz-Evler ... Levitzki $2 .00The far flung popularity of this famous waItt gives it probably thefirst place as the most widely known and loved of all musical works.In this arrangement it is freely transcribed for the piano, embel-lished and augmented into a concert number of dazzling brilliance.
63503H ARABESQUE, No.2 -Debussy . . . • Schmitz $2.00Lovely musical phrases, delicately shaded, fashioned into an intriguing pattern, glowing and glistening like a lovely jewel whichflashes, catching the light as it is turn ed in the hand . Such isan Arabesque in music ; this work, one of Debussy's early compositions, is just that.
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