RECORDED MUSIC

Evening Star, Issue 21079, 16 April 1932, Page 6

RECORDED MUSIC

Brahms, as a composer for the piano, had Beethoven’s wealth of ideas and Bach’s skill in handling them. He was a scholar of scholars; yet with all his perfection of art, effect was not that of technique as an end, but as the vehicle for the promulgation of his musical ideas. , Hence his music waij not dry bones, ' but the living, breathing product of his lavish imagination. A famous piano work never previously recorded is Brahms’s masterly Variations and Fugue on a theme by Handel, op. 24. The theme is. taken from the second series of Handel’s harpsichord works, and the Variations are a veritable masterpiece, disclosing Brahms’s endless stream of inventive ideas, flowing without interruption, and concluding with the great fugue with its wonderful climax. In this case, where a brilliant technique and refinement of style are chiefly required, Moisiewitsch gives a good performance which is well recorded in six parts. The BrahmsPaganini Variations were recorded some time ago by Backhaus. (H.M.V.)

The recording of Liszt’s ‘ Sonata in B Minor,’ by the famous French pianist, Alfred Cortot, is a notable event. This is one of the great pianoforte works of all ages, and was written by the composer when ho was at the zenith of his powers. What a tremendously dramatic work it is! It is intense. It is full of mobility, intellectuality, and a sonorous brilliance. To deny it in the pantheon of piano music would be folly, and interpreted by an artist versed in the Liszt traditions, as Cortot is, the work compasses at times the sublime. “ The sonata is beyond all conception,” wrote Wagner. “It is beautiful, great, lovely, deep, and noble.” As far as form is concerned, it .bears little relation to the sonata of the classical masters; instead of the customary division it is in one long movement. This does not mean, however, that it lacks variety. On the contrary, there is an infinite variety of moods and contrasts which are wonderfully interpreted by Cortot, whose performance reveals technical mastery and deep musical insight. The piano tone has been realistically reproduced, and altogether the recording is a firstrate achievement. (H.M.V.)

Tschaikowsky’s . symphonic poem, ‘ Francesca da llimini,’ based on the sth canto of Dante’s ‘ Inferno,’ has at last been recorded. The poem is obviously full of dramatic possibilities. Tsehaikowsky’s wonderful orchestral technique is evident in the realistic suggestion of the howling wind, and as a contrast the lovely lyric beauty of Francesca’s sorrowful story is as melodious and appealing as anything he has 'ever composed. The climax at the end iis one of the most overpowering and terrific in all music, and the recording does justice to the orchestration. Albert Uoates gives an admirable reading of the score, and the London Symphony, ' Orchestra a very fine performance, recorded in four parts. (H.M.V.)

Weber’s opera, ‘ Der Preischutz,’ is rarely included in the opera seasons of the present day, but the overture has retained a high place in popular esteem, and the recorded version by the Berlin State Orchestra should he welcomed by music lovers. Like most overtures of the time, it is constructed from the principal melodies of the opera. Thus one hears in turn a fragment of the weird music accompanying the ‘ Wolf’s Glen ’ scene and the 1 Huntsmen’s Chorus.' Considerable use is also made of the music of the wonderful scene ofAgatha (known-as ‘ Agatha’s Prayer ’). and the magnificent tune of the finale is taken from it. With such ingredients, it is small wonder that the overture remains one of the favourite items on any concert programme. The performance reproduce! in this record is exceptionally fine. Dr Leo Blech is a conductor of the first rank, and under him is an excell eat orchestra. The smooth, flexible brilliance of their performance is delighiful. (H.M.V.) *#' * * The famous Russian basso, Chaliapin, has wonderfil opportunities for graphic singing in ‘ The Town of Kasan,’ from Jfoussorgsky’s ‘ Boris Godounov,’ and ‘Song of Prince Galitsky,’ from Borolin’s 1 Prince Igor.’ Chaliapin’s namo'is forever linked with that of 1 Boris (lodounov,’ the role in which he has scared many of his finest triumphs. As ! Boris, the Tsar who fought his way ruthlessly to the throne of Russia regariloss of those who stood in his path, CbiHapin has a marvellous opportunity ta display his powers. These records present Chaliapin at his best. Wonder/ul is the drinking song of Varlaam fiom the tavern scene of ‘Boris Godoupov.’ _ The sheer rollicking insobriety; Chaliapin achieves in his presentation if the vagabond monk_ is a feast in ilself. Ho is accompanied by an excellint orchestra. (H.M.V.)

An episod) of London’s latest rage, ‘ Viktoria jnd Her Hussar,’ is presented by ihe Light Opera Company and a capital orchestra. They record on a 12in ncord the vocal gems of this gay and tifieful work, and the singing is marked iy the vivacity which critics declare is a feature of the whole production. fho numbers introduced by the compfny include ‘ Following the Drum,’ ‘ rardon, Madame,’ ‘ Mousie,’ ‘ No Time for Anyone But You,’ ‘ Only One Girllin the World,’ ‘ Land of Song,’ * Sood-night,’ 'Mamma!’ and the finale! The singing is first-rate, and the recoil gives one an excellent condensed vision of what has' been called the “ m>st stimulating shojy of the day.” ifiat by the recording this comment ha* ample foundations. (H.M.V.) | « * « «

The flowing is a selection of attractive dape records from the latest t;— * That the Way it Goes ’ (fox-trot) and ‘ Little Old Churchp the Valley ’ (waltz), played by Jaf Hylton’s Orchestra; ‘ Yes, Yes ’ flMy Baby Says “ Yes,” ’ foxtrot) ajd ‘ The Queen Was in the Parlour ’ fox-trot), played by Ambrose’s Orchesfa; 1 There’s Nothing Too Good for Ml Baby’ (fox-trot), played by Gus Anheim’s Gocoanut Grove .Orchestra, ajd ‘ Bend Down, Sister ’ (foxtrot) , payed by Leo Reisman’s Orchestra ; ftt’s the Darnest Thing ’ (foxtrot) and ‘ Singin’ the Blues ’ (foxtrot), payed by the High Hatters; 1 Cubi Love Song ’ (waltz), played by Bid Whiteman’s Orchestra, and ‘ Now the Time to Fall in Love ’ (foxtrot) ildayed by Gene Kardos and his orchcfi'a-i * Lifo is Just a Bowl of Cileries ’ (fox-trot) and ' This’is the Missi] ’ (fox-trot), played by Rudy Valla’s Connecticut Yankees.. i