Many artists have since sung in it, and how as Cavaradossi in "" last February; among the most familiar in the Met's really popular "La Bohème" is can be his only other appearance this year was as large company, often heard in "La Bo- judged from its 131 performances (the most Rodolfo, youthful but effective. Heidi hème." Conductor Fausto Cleva joined the any achieved) in the 1955-56 season Kra11 has yet to sing Musetta on the Met's Met in 1929, and since 1951 has directed by opera companies all over the Country. stage, though she has appeared in many many of the new productions and most of The cast for this new recording is a other . She is acoming singer, with the old ones as well. Chorus and orchestra familiar one. , who was the a beautiful, securely-focussed voice, a are the regular Metropolitan aggravations. big hit of opening night last year in "Tales luminous quality, and sure theatrical The house is the same, and so to alarge of Hoffmann", has sung Mimi many times, sense, an eminently worthy successor to extent is the repertory. The singers are to great praise; she sang in the first per- the first Musetta, Fritzi Scheff. Frank different, and the style of singing. Record- formance of this past season. Her warm and Valentino has been a leading ing technique has gone through a revolu- lovely voice gives her Mimi especial ap- with the company for many years, and has tion. But — plus ça change, plus c'est la peal. The Rodolfo, Daniele Barioni, is a been a frequent Marcello. Nicola Mos- mime chose — the world's première opera newcomer to the Met. The 26-year-old cona as Colline, Clifford Harvuot as house is once again recording its regular made a somewhat sensational debut Schaunard, and Alessio de Paolis are repertory on its own premises.

tunately, this viola version is not recorded. THE VIOLA monic. In this work the viola comes at last It has been good luck for the instru- to a full flowering, and seldom has any Continued from page 24 ment, also, that Paul Hindemith began his instrument received more expressive treat- in the high register, makes good use of the career as a viola player. Since turning his ment. Walton uses the woodwinds exten- upper regions of the top string, and even attention to composition, he has written sively and effectively to back up the in the last movement ventures to a point for it with faith and understanding. brooding voice of the solo; his telling melo- more than two octaves above middle C Which brings us to the present. Let us dies and his turbulent, jazz-like rhythms (an E flat in seventh or eighth position, for reach for the nearest LP catalogue. We dis- create apowerful orchestral scene. the technical-minded). At such an altitude cover there asplendid array of Hindemith Hindemith gives of his best in Der air is very thin for the violist, but he can sonatas — sonatas for flute, for trombone, Schwanendreher, awork for viola and small come through gloriously. There are several for trumpet, bassoon, clarinet, oboe, and orchestra in which many will find reflec- recordings of the masterpiece; it would be violin. But viola? Downright discrimina- tions of the symphony, Mathis der hard to beat the Nap de Klijn-Paul Godwin tion. Hindemith has composed at least five Maier. It is based on a series of old Ger- performance with the Vienna Symphony man folk melodies, and these dark-hued Orchestra, Paumgartner conducting, on themes are peculiarly compatible with the Epic. A Brief Viola Discography viola. So, too, is Hindemith's orchestra- Mozart further demonstrated affection tion, which concentrates upon woodwinds for his instrument in a pair of duos for Berlioz: Harold in • Columbia ML-4542 Brahmin Viola Sonatas, Op. 120 • and brasses. This work appears on the over- violin and viola, two works which no ad- Westminster WN-18114 or SWN-18114 Hindemith: Der Schanendreher • side of the Walton — afortunate coupling mirer of the composer should miss. The Columbia ML-4905 indeed. Also available is Hindemith's first, K. 423 in G, is well performed by Trauermusik for Viola and Orchestra Stradivari 608 Trauermusik, the "Music of Mourning" for Goldberg and Riddle for Decca; No. 2 in Martina: Madrigals for Violin and Viola • Decca DL-8510 George V, written for the BBC within E flat, K. 424, is best presented by Joseph Mozart: Duo No. 1for Violin and Viola, K. 423 • twenty-four hours after the King's death. and Lillian Fuchs, also for Decca. Decca DL-8523 Duo No. 2 for Violin and Viola, K. 424. This short composition for viola and string Having taken into account Bach, Mo- Decca DL-8510 Sinfonia Concertante in E flot, K. 364 • orchestra contains some of Hindemith's zart, and Berlioz, and adding a grateful Epic LC-3194 most expressive melodic writing. Vaughan Williams: Flos Ca mpi (suite foryiola, bow to Brahms for his two sonatas, Op orchestra and voices) • Ralph Vaughan Williams has not ig- 120 (though to some of us these pieces Concert Hall Society CHS-1151 nored the viola, and in his suite Flos Campi Walton: Concerto for Viola • Columbia ML-4905 appear better tailored to the clarinet, presents it as solo in company with orches- which Brahms stipulated as alternate, than tra and chorus. Francis Tursi is the soloist to the viola) we may say, as potential in this work, recorded by Concert Hall record buyers: so far, so good; the viola sonatas for his maligned instrument — Society with the Cornell A Cappella has had afair hearing. Is there something three for viola and piano, and two for Chorus and Concert Hall Chamber Orches- else worth investigating? The answer is viola solo. Only one of these, the Op. 11, tra. yes. The best days of the "garrulous old No. 4 for viola and piano, is currently A set of three stunning non-vocal woman" were still to come. available; Francis Tursi is the violist in this Madrigals for violin and viola by the The instrument's limitations at the Concert Hall Society recording. Czech neo-polyphonist Martinu, put out by hands of broken-down violinists, and the Ernest Bloch makes agood showing on Decca, is superbly performed by Joseph and resulting caution of composers as to writ- the record market, but his suite for viola Lillian Fuchs. These pieces constitute a ing anything the least bit taxing for it, and piano, asolid piece of music once avail- really brilliant display of duet writing, ceased with the arrival of an English vir- able on 78's, still is absent from the micro- and as far as Iknow they stand alone of tuoso string player who became the first groove list. The same is true of Quincy their kind on the contemporary scene. They real champion of the viola's cause. This Porter's superb suite for the viola alone, are not profound, but they are stylish and pioneer is Lionel Tertis, today agentleman and Frederick Jacobi's Fantasy, with piano. remarkably durable. of eighty who has passed his mission on to And there are other sins of omission: the Acquaintance with any of these works the capable William Primrose. It was Terris Bax Concerto, the Bliss Sonata, and Holst's will perhaps suffice to show that the spirit who commissioned several of his British A Lyric Piece. of evangelism common to admirers of the contemporaries to write works for the However, let us count our blessings, viola is not without cause. Let me quote, viola, and who augmented this reportoire meager though they may be. Any .listener with becoming modesty, a proposition of by transcribing for the viola music orig- with an adventuresome spirit and an open the noted English critic Ernest Newman: inally written for other instruments. The heart will want to know about the first- -Is there something in the viola that de- Elgar Cello Concerto is one of the latter; the rate music for viola that can be heard on velops exceptional intelligence in its ex- arrangement received the composer's bless- LP's today. At the top of the list is Wil- ecutants, or is it just that when aman has ing, and Elgar himself conducted the first liam Walton's Concerto, recorded by Colum- exceptional intelligence he takes up the performance with Terris as soloist. Unfor- bia with Primrose and the Royal Philhar- viola as amatter of course?"

094-Auyial 1956 51