RECORDED MUSIC

Evening Star, Issue 22328, 2 May 1936, Page 6

RECORDED MUSIC

[By Erato.] The May releases oiler several orchestral recordings of exceptional value and Interest. I'ride of place unquestionably goes to Arthur Schnabel and the London Philharmonic Orchestra for their monumental performance of the Beethoven Concerto No. 2 in B Flat Major. Schnabel is acknowledged to be the finest of all Beethoven interpreters, and he plays this great work with particular authority and compelling power. He has now recorded all the Beethoven piano concertos, and has thereby immensely enriched the gramophone libraries. This latest performance must command immediate attention and respect. Schnabel plays with great clarity, and "sketches vivid scenes in each movement. Each is an arresting study, and yet all are indivisible Jinked. The Philharmonic Orchestra is conducted by Dr Malcolm Sargent, and an admirable balance is maintained between soloist and orchestra. The concerto is contained on eight sides, and should have a place in the collection of every real music-lover.

Jascha in association with the same celebrated orchestra, presents the Saint-Saens Introduction and ‘ Rondo Capriccioso ’ —another brilliant representation that must charm every listener. Heifetz is one of the greatest tonalists of his instrument the world has known, and he plays this Saint-Saens music exquisitely. His delicacy of bowing and fingering make it vibrant with life. The orchestra is -conducted on this occasion by John Barbirolli, one of the most brilliant young men in English music.

The Minneapolis Symphony Orchestra, conducted by the dynamic young Eugene Ormandy, plays two vivid sketches from Smetana’s ‘ Bartered Bride’—the ‘Polka’ and the ‘Dance of the Comedians.’ These lively and attractive scenes are interpreted with great verve, and the performance very happily accentuates the spontaneity of the score Of this tuneful opera.

In rather startling contrast comes a recording (the first complete recording, incidentally) of George Gershwin’s ‘ Rhapsody in Blue,’ a work which, ever since it was presented to a very largely resentful musical world several years ago. has aroused a storm of criticism. As a serious study in syncopation it may have its merits. That must, of course, be a matter ;of opinion, but there can be no denying its interest. It is played here by the Boston Orchestra, a section of the Boston Symphony Orchestra which, conducted l by Arthur Fiedler, is now giving in America a highly popular series of lighter concerts. The soloist is Jesus Marin Sanroma, and he gives a very forceful exposition of the Gershwin music.

In the vocal section of the May supplement there is an enchanting record by Elisabeth Schumann of the lovely ‘ Evening Prayer ’ duet and the almost equally captivating ‘ Folk Song ’ and ‘ Sandman’s Song ’ from the Humperdinck opera ‘ Hansel and Gretel.’ In the prayer Schumann sings the parts of both Hansel and Gretel with bewitching effect, and in the ‘ Folk Song ’ adds to the charm of her music with her really beautiful whistling. Schumann has a voice of great purity and limpidity, and it is a delight to hear her.

Richard Crooks, one of the most firmly-established of all gramophone favourites, presents two well-known ballads in 1 Garden of Happiness ’ (Wood) ! and ‘ Arise, 0 Sun ’ (Day). Crooks has a voice of immense power, but invariably sings with remarkable delicacy and discernment. His forthcoming visit to New Zealand is being awaited with pleasure and interest.