RECORDED MUSIC

Evening Star, Issue 21090, 30 April 1932, Page 6

RECORDED MUSIC

[By Erato,]

The maturity of Schumann’s genii, is illustrated in his ‘ Quintet in .10 Fie Major,’ which has been recorded b Ossip Gabrilowitsch and the Flonzak Quartet, which is now unhappily disbanded. Hero is the ideal relation bitween piano and strings. It has beer said that Schumann was at his bes only when the pianoforte entered inti the scheme, of the work upon which In was engaged. It is certain that he die actually conceive a great deal of 1m music in “ terms of the pianoforte ’ (as can, indeed, be inferred from man;, passages both in the string quartet; and in the symphonies). But in the ‘ Quintet ’ the writing for the string; is rather “ orchestral,” and a wonderfully rich, balanced effort is obtained. There are four movements. The first is essentially lyrical in quality, anc breathes an air -of-warm romanticism. In contrast to this lyric outpouring the second movement has an air wind at times approaches a gentle melancholy; it is in a rigid march rhythm but interspersed are many passages in which the steady rhythm is submerged in outbursts of a different and more poignant nature. The third movement is a scherzo, and as such is perhaps the most typically “ Schumannesque ” of the movements (if such term can be admitted). It contains many very characteristic turns of phrase and rhythm. The finale brings to a climax a certain sense of cumulative energy which progresses with each movement. It is a brilliant movement, in which the nice balance of piano and strings is emphasised again and again. The records which Ossip Gabrilowitsch and the Flonzaley Quartet have made of this great work are noteworthy. They afford, from an artistic point of view, a performance which is well-nigh perfect. The reading given is catholic, and yet the performance is one which only virtuosos of the highest attainments could give.

High among the biggest selling choral records are those by the Don Cossack Choir. They appear this month in another great record— 1 Three Cossack Songs ’ and 1 The Volga Song ' (not to be confused with the ‘ Song of the Volga Boatmen ’). The three short Cossack songs comprise ‘ Blow, Oh Blow ’ (in which we have a strong baritone section and a marvellouslycontrolled medley giving the effect of whining wind), ‘ There’s a Cloud of Dust ’ (a fine example of voice modulation), and ‘ A Little Red Berry ’ (giving prominence to the unique falsettos of the choir). ‘ The Volga Song ’ reveals the effect of voices calling to one another in the distance; the falsettos are in vivid contrast to the baritones, and the whole ensemble has later a tremendous swell that gives the impression of three tunes as many voices as there actually are.

The recording of Beethoven’s ‘ Symphony No. 7 in A Major ’ by the Philadelphia Orchestra, under Leopold Stokowski, will arouse widespread interest. This symphony, which was composed in 1812, was first performed at a concert consisting entirely of Beethoven’s works and conducted by the composer himself on December 8, 1813. It took place in the University of Vienna, and was arranged by Maelzel in aid of the soldiers wounded in the battle of Hanau. Maelzel was the inventor of the metronome, and also of a strange mechanical instrument, a sort of automatic trumpet player, for which Beethoven composed two military marches, which also made their first appearance at this concert. A further light on the war fever which was raging over Central Europe is thrown by the remainder of the programme, consisting of Beethoven’s battle symphony, which glories in the sub-title of ‘ Wellington’s Victory ’ or ‘ The Battle of Vittoria.’ Beethoven himself conducted, and the orchestra, which consisted mainly of the finest musicians of the day, gave the symphony, which was being played with manuscript, a wonderful performance. The public enthusiasm was terrific, and the entire programme was repeated with even greater success four clays later. Beethoven was delighted, and addressed a personal letter of thanks to the players. Ever since then the symphony has been one of the most popular of the “ Immortal Nine,” vieing with the fifth for the larger share of popular esteem. It was a particular favourite with. Wagner, who named it very appropriately ‘ The Apotheosis of the Dance.’ Its strongly rhythmic themes hold the listener’s attention from the first. » * * * Among the favourite classic ballets of the world is Delibes’ ‘ Sylvia,’ the music from winch has been recently recorded by Oscar Fried and the British Symphony Orchestra in the Central Hall, Westminster. Apart from the uni-versally-known ‘ Pizzicato,’ the other beautiful gems include: ‘Prelude,’ ‘The Huntresses ’ ‘ Intermezzo,’ ‘ Valsc Lente,’ and ‘ Cortege.’ Oscar Fried has conducted with real imagination, and the orchestral players have revelled in the bright, lovely melodies and inspiring rhythms, * # * « Weber’s opera, * Dei 1 Freischutz,’ is rarely included in the opera seasons of the present day, but the overture has retained a high place m popular esteem, and the recorded version by the Berlin State Orchestra shock! be 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 aim the ‘ Huntsmen’s Chorus.’ Considerable use is also made of the music of tie wonderful scene of Agatha (known ai' Agatha’s Prayer ’), and the magnifiemt tune of the finals 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 reproduced in this record is exceptionally file. Dr Leo Blech is a conductor of tic first rank, and under him is an excellent orchestra. The smooth, flexible brilliance of their performance is delgbtful. * * ■* * The recordxig of Liszt’s ‘ Sonata in B Minor ’ by tie famous French pianist, Alfred Cortot,is a notable event. Tins is one of tin groat pianoforte works of all ages, md was written by the composer wluu be was at the zenith of his powers. iVhat u tremendously dra-

matic 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 lie 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, whoso performance reveals technical mastery and deep musical insight. ** * * * Gillie Potter, the popular and original humorist, who was such a great success at last year’s Royal Command performance, has made a new record entitled ‘Mr Potter Wanders On.’ This inimitable raconteur, in his celebrated role of a know-it-all professor, spills witticisms that simply fall over themselves in their abundance. Gillie opens Vith a cheerful “ Hullo, England!” and after sundry items informs us that his creditor are, as usual, reminding him of their presence, and have readied the friendly stage of sending him three brokers’ men on regular visits. Everybody will bo tickled by the improvements effected in a spot designated as “ society’s playground,” where cold water is laid on in every field and a doctor and bookmaker are within easy roach!