GRAMOPHONE NOTES

Greymouth Evening Star, 10 September 1927, Page 12

GRAMOPHONE NOTES

TRIBUTE TQ BEETHOVEN. The Beethoven centenary records make a very fine and thoroughly representative list. Most of the syin-. phonies, almost all of the sonatas, and many other numbers not often heard, or even heard about, have been collected into a festival list worthy of inclusion in the library of every gramophonist who prides himself on his musical taste. This week’s notes are entirely devoted to this notable issue of records. VIOLIN “ROMANCES.” “Romanes in G and F” (Beethoven). Played by Jacques Thiband (violin) Beethoven wrote two ‘■Romances for violin; the one in G (Op. 40) was composed in 1803 and published in the same year, but it is not easy to discover when the companion work in F first saw the light. The beauty of the opening melody has been universally recognised, and it has even received the doubtful compliment of being converted into a hymn tune I It is given out by the violin, a section at a time. Thibaud’s interpretation brings out all/its loveliness, and the new electrical recording reproduces his tone in all its mellow fullness. The accompaniment was originally heard in a piano arrangement, and we have followed this plan on the record. A FINE OVERTURE. “Egmont Overture” (Beethoven). Victor Symphony Orchestra. The “Egmont Overture” was composed as an introduction to Goethe’s tragedy, based on the life of the hero of the Netherlands, who was executed by order of the ruthless Duke of Alva, during the Spanish tyranny in the sixteenth century. The music depicts the opposing characters of the two personalities, being in turn soft and tempestuous. The unsurpassed grandeur of the overture makes it a great concert favourite. The recording is superb in the extraordinary richness of volume and the interpretation is very dramatic and vigorous.

FAAIOUS “AIOONLIGHT” SONATA

“Sonata in C Sharp Alinor” (Beethoven). Frederick Lamond at the piano. Liszt’s Concert Study, No. 3, in D Flat,” occupies the fourth side. Beethoven, himself, never called the Sonata in C Sharp Alinor the “Moonlight” Sonata, and the title was added later by an. astute publisher. But the title is highly appropriate to the first movement, if not to the Sonata as a whole, for the. gently moving rhythmic figure, which is one of its chief features, together with its great simplicity. is in perfect harmony with the atmosphere of the moonlight, with the moon’s rays touching the soft curves of ripples on the water. The “moonlight” atmosphere ends with the first movement, for the second movement begins with what is almost gaiety, but which develops later more seriousness. The finale is again completely different from anything that has preceded. It has dark energy and passion and it overflows with vitality, so that we feel Beethoven is almost reaching beyond the limit of the pianoforte in his writing. Lamond uas given a superb performance of this lamous work.

A MATURED BEETHOVEN. “Quartet No. 12, Op. 127 (Beeethoven). Played by the Virtuoso String Quartet. Five 12-inch double discs, the tenth side being occupied by Von Dittersdorf’s “Mement,” from his “('uartet in E. ” The quartet. Op. <127, was composed after the “Choral symphony,” Op. 125. The first movement, from which everything not essential has been ruthlessly pruned away, is very characteristic of Beethoven’s latest manner, while the sublime variations which follow, reach an emotional plane (especially in the two mysterious sections where the signature changes to four sharps), to which he raise us. The abrupt “Sherzando Vivace” is more closely akin to the posthumous works, but the finale goes back once more to the less troubled atmosphere of 'the opening movement. In these changes of mood we see Beethoven’s life reflected in his music. Such capriciousness must have made him very difficult to get on with, but it undoubtedly accounts for much of the charm of his compositions. A FAMOUS SONATA. “Sonata in A Major” (Beethoven’s “Kreutzer” Sonata).. Played by Isolde Menges (violin), and Arthur de Greef (piano), (four double discs).

“CHORAL” SYMPHONY. “Symphony No. 9 in D Minor” (Op. 125 —Beethoven). Played by the Symphony Orchestra and the Philharmonic Choir under Albert Coates. Soloists, Elsie Luddaby (soprano), Nellie Walker (contralto), Walter Widdop (tenor), Stuart Robertson (bass), (eight 12-inch double discs — the choral part is introduced in the “Finale.” In 1822 the Philharmonic Society of London wrote to Beethoven offering him £5O for a new sypmphony to be ready for performance by the society in the following year. The composer, with the sketches for the Choral Symphony already in existence, resolved to complete the work for his English friends. This intention, however, was not carried out, and ultimately the Symphony was first produced at Vienna on May 7, 1824, the performance being marked by the pathetic incident of Beethoven’s inability, owing to his deafness, to hear the applause which greeted the work. The score used on that occasion bore a dedication to the King of Prussia, but Beethoven sent another copy to the Philharmonic Society with an autograph dedication to that body. Probably Beethoven’s financial' embarrassments were responsible for this failure to carry out his promise to the Philharmonic Society, for the yienna "•odm'tion. and the dedication to Prussia’s King, doubtless brought ■'ome pecuniary gain. The first performance eventually took place in 1825. " 'A MAGNIFICENT SONATA. “Sonata in C Minor” (Op. 13, Beethoven). Played by Frederic Lamond (piano). The title “Pathetique” attached to the Sonata in 0 Minor, Op.. 13, emanated from the composer himself. What exactly he meant by this due to the meaning of the work we cannot say for certain, there being no evidence available, and the message of the work being far less obvious than in the case of Tchaikovsky’s “Symphonic Pathetique.” We observe, however, that among Beet-

hoven’s early Sonatas the “Pathetique” stands out on account of the urgency of the emotion that the composer is trying to express. The solemn introduction, the poignant (though fiery) first movement, and the tender and beautiful “Adagio” are deservedly famous, and the final Rondo, though it has received less attention than the other movements, is in no way inferior to their interest. Lamond, as everyone knows, has made a special study of Beethoven, whose works his temperament and talent make'him peculiarly fitted to interpret.

THE SONGS OF BEETHOVEN. “Adelaide” (sung by Tudor Davies, tenor) ; “Adoration” (sung by the De Reske singers); “Faithful Johnnie” (sung by Julia Culp, contralto); “In Questa Tomba Obscura” (Chaliapin, bass). The vocal compositions of Beethoven are few in number, and not very familiar to the average music lover. From the above list, however, one may obtain an intersting glimpse of the composer’s genius in this class of music. The Chaliapin number is particularly fine.