RECORDS Great Beethoven Performances By Toscanini Reissued

Press, Volume XCIX, Issue 29178, 12 April 1960, Page 13

RECORDS Great Beethoven Performances By Toscanini Reissued

BEETHOVEN: Symphony No. 4 in B-flst, Op. CO. “Leonora” Overture No. 1. Arturo Toscanini conducting the 8.8. C. Symphony Orchestra. H.M.V. mono MALPJSSS (121 a Both these performances were recorded in the Queen’s Hall on June 1, 1939, but only hi-fi fanatics should shy at that fact. The recording is somewhat limited [in range and constricted in the tuttis, but a little knob-twiddling will yield sound which is quite acceptable, and should not interfere with enjoyment of two very great performances. Toscanini conducted the 8.8. C. Orchestra

for four seasons a few years after its foundation ahd he found it a well-drilled, responsive instrument. It was increased about 90 players for the recordings he made with it and the resulting sets were among the best of all Toscanini’s pre-wMr recordings. He gives'« wonderful perto Toscanini’s fiery but harddriven 1951 recording is partly accounted for by the fact that it takes half a side longer. The overture too has an expansive lyricism not always found in Toscanini’s post-war recordings. It is a glorious, singing performance.

dvorae:: Syaiphoay No. s la E minor, Op., n (“Fro* tba New WorW"). K«MI Amari eonCY (IZln).

Ancerl’s “New World,” as those who heard it when the Czech Philharmonic Orchestra was here, will know, is incomparable Whereas this symphony is usually performed along Germanic lines and made heavily romantic, its truly Bohemian character is revealed in this performance. Its lines become deaner and sharper. The woodwind Solos, become more important, with a pastoral freshness, and the country-dance episodes are more vivid. One forgets all about America and negro spirituals and realises that it is as national as any of Dvorak’s works. Its stereophonic form Is unfortunately not very successful. The orchestra is rather distant and there is a heavy surface. The mono version, however, is beautifully recorded and it contains also a beautifully frosh performance of Smetana’s “Moldau.”

GRIEG: Piano Concerto In A minor, Op. 16. LISZT: Piano Concerto No. S in A ma toy . Gysorty Czlffra (piano) with Andre Vandernoot condnettas the Philhannonia Orchestra. H.M.V. mono MALP.IS7B (Uin). Cziffra, with his staggering technique,-would be expected to be a great success in the Liszt concerto, but there might be doubts about his Grieg. A bearing of the record will dispel them, for his playing is deeply poetic as well as muscular. The jaded listener will feel that he is again hearing the work for the first time, so fresh is Cziffra’s performance. There is a great sensitivity as well as power in his Liszt too. In both works he and Vandernoot have a fine partnership. The recording is well-bal-

anced and marred only a faint, low rumble in places.

MANFREDINI; Ceaeerto is G ■UJor, Op. No. T. ComoHo la F major, op. 3, No. S. Rokerto Mielwtacci (violin) and I Muriel. Philips mono 4to.IOJ.AE (71B). In these concert! "with violin obbligato.” the movements generally take the form of four tuttis alternating with three highly-ornamented solos. Manfredini, a contemporary of Corelli, did not write particularly individual music, but it is most enjoyable when played with the style and polish it receives here. The recording has a lot of echo.

World Record Clak mono TZ-lto <l2in). This record is. notable not only because it is one of the World Record Club’s .first issues, but because a smallish orchestra is used, of the proportions Mozart in mind when wrote these great symphonies, The advantage over the usual performance with big orchestra is enormous; no longer is the woodwind obscured by the weight of the strings. Rarely is so much detail audible, the inner parts so clear. The recording too is exceedingly clear and spacious, although the top may need cutting back on some machines. Collin’s tempi are [lively but not rushed and he ahaptui the music strongly and dearly, with care for detail and a powerful rhythmic pulse in the tafter movements. The original version of the G minor symwithout clarinets, is played. Both symphonies are magnificently performed.

BMETANA: “The Bartered Bride"—excerpts. Enm Better (soprano), Bndolf Schock (team), Gottlok Frick (kem) and other . soloiete. HJS.V. mono IEGM (Hn). Records of music from this delightful opera are altogether too Infrequent and these excerpts although sung in German, are most welcome. The best ride consists of the tenor-bass duet culminating in the rollicking “I know a maiden.” Schock is an adequate tenor and Frick, in addition to possessing a superb voice which demonstrates what is meant by the term “black bass,” has a fine rhythmic sense which ensures that the duet goes with a swing. The other side has the famous polka, here complete with chorus, and the sextet, in which Erna Berger sings very pleasantly.

RICHARD STRAUSS: Rimrlcl, .D* r -ftera. Op. W, No. 1; sckltoMto Wetter, Op. Ueder records are most infrequent; these dayswo there. is parucnlar interest to this EP. Strauss himself thought highly of Hilde Gueden and even spoke of her as a successor to Elisabeth Schumann, She sings with some of that great soprano’s charm, if not with the same flnish anc vocal, purity. She does not make as much of “Schlechtes Wetter,” for instance. But in general her singing is. enjoyable, and she is very well accompanied by Guida. The recording, otherwise excellent, favours the voice.