For 20 years Edward Elgar worked for The Gramophone Company as both an advocate of his music and an advocate of the gramophone.
During this period, recording technology changed from the cramped conditions of the acoustic studio of 1914 (above) to the specialized recording studio of Abbey Road using the electrical system of 1933, in which year Elgar conducted his last recordings, with the extraordinary appendix of Elgar supervising a recording by telephone connection from his deathbed in 1934.
As an interpreter of his own music—we cannot comment from direct experience on his success with the music of others, for nothing was recorded—he was as fine a conductor as Furtwängler for Wagner and Mengelberg for Brahms. His conducting ability extended to every aspect of the art, from the purely technical quality of the playing he repeatedly drew from orchestras to the inexhaustible fascination of the interpretations themselves.
This according to “Elgar’s recordings” by Simon Trezise (Nineteenth-century music review V/1  pp. 111–31).
Today is Elgar’s 160th birthday! Below, Elgar conducts the prelude to The dream of Gerontius in 1927, a recording singled out for praise in the article.
BONUS: Elgar conducts the trio of Pomp and circumstance march no. 1 at the opening of the Abbey Road Studios on 12 November 1931. After mounting the podium, he says to the orchestra “Good morning, gentlemen. Glad to see you all. Very light programme this morning. Please play this tune as though you’ve never heard it before.”
A letter published in the June 1925 issue of Gramophone noted the magazine’s general absence of women correspondents: “are the sweet little things too shy, or what?” A response published in August of that year dismissed the idea of women enjoying the gramophone: “ladies…want to be seen and also to see. They don’t want to listen. That will never interest them.”
The October issue included a letter from a woman reader who noted that women have less money at their disposal for entertainment than men, and that when she attends concerts she sees many women, including poor ones, listening attentively. “I can only conclude,” she wrote, “that certain of your correspondents have been singularly unfortunate in the circle of women they have drawn about them.”
The letters are reprinted in Music, sound, and technology in America: A documentary history of early phonograph, cinema, and radio (Durham: Duke University Press, 2012). Below, on a record from the year in which the letters were first published, Margaret Young sings Red hot Henry Brown.
Related article: Gramophone ethics
With outward horror, but with secret envy, let us contemplate a man who is wealthy, unambitious, and unencumbered. After breakfast he lights a cigar, sinks into an armchair, and rings for the butler to set the gramophone going.
While one’s imagination may boggle at the thought, let us free ourselves from such trammels of convention that would confine the gramophone to the first half hour of after-dinner plethora. There is music to be had for all times and seasons.
Further, a convincing argument cannot be made against listening to the gramophone alone: If one may read a book without company, how can enjoying music in solitude be indecent?
This according to “Times and seasons” by Orlo Williams (Gramophone June 1923, pp. 38–39), an article reprinted in Music, sound, and technology in America: A documentary history of early phonograph, cinema, and radio (Durham: Duke University Press, 2012). Below, a gramophone record issued a few months after the article appeared.