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The Other Side

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The Other Side never cheapens music." Having at­ tended the same concert, I heartily THE OTHER SIDE subscribe to the same opinion; it was a wonderful experience to hear Bee­ easaseasBBmeasaamssammmaassxsBammmiBmmwmmssemmmmmsgsssae!^ thoven's A major Symphony superbly realised as the composer wi-ote It, not (IMPORTED RECORDINGS) as in the opinion of Herr General-mu- sikdirektor X he ought to have writ­ ten it. The Franck Symphony can LONDON. list of EMI's March releases, the un­ so easily be cheapened, yet how dull HE long-awaited decision of RCA usually few sets of longer works com­ it often sounds in the hands of an un­ Victor to produce LP discs has pared with the large number of single imaginative hack! Galliera steers a Tbeen greeted here by a new discs caught my eye and gave rise to perfect middle course, that of the true wave of expectancy. The wealthier some wishful thinking. musician, and the result is easily the among us can now purchase an excel­ When EMI published their annual most satisfying recording of this com­ lent two-speed motor and a first-class deletions list last autumn, it included position I have yet heard. picliup with interchangeable heads for both the remaining versions (Stokow- I approached the new Mozart G 78 and LP. Unless, however, the own­ ski and Beecham) of Cesar Franck's minor Symphony, K. 550 (Furt- ers of such equipment have kind- D minor Symphony. From this it was wangler and the Vienna Philhar­ hearted friends in the States, they obvious that a new set would be with monic) with some apprehension, can so far only amuse themselves by us ere long and that, in the opinion of expecting tempo-rubato effects of the turning their favorite soprano into a its sponsors, it would be of sufficient kind with which Koussevitzky horri­ somewhat wobbly basso or in detect­ excellence to supplant those two old fied us years ago, but the very brisk ing glaring inaccuracies in some cele­ favorites. In this case I feel that the opening soon dispelled such fears, brated violinist's rapid passage-work. result has justified their faith, for the which, before very long, gave way to It is now said that the main performance by the Philharmonic Or­ considerable admiration for a very stumbling block is the Performing chestra under Alceo Galliera is really fine performance. In spite of the fact Rights Society, which is supposed to splendid, and the recording has a that the first movement is a wee bit be making extravagant demands on thrilling sonority. After a recent con­ too fast, the Andante just a trifle slow the recording companies. However cert in which Galliera made one of his and sentimental, and the iVIenuetto too that may be, there would appear to be all-too-rare appearances on a London four-square (perhaps triangular would plenty of music free from copyright podium, one of our leading music seem a less incongruous word for a jurisdiction on which a start could critics wrote, "He is an artist. Also he minuet), this is all in all the best be made. Meanwhile there are some is one of the handful of conductors to recording of this great symphony to hopeful signs—looking at the advance whom one listens willingly because he date. The Vienna Philharmonic plays with all its accustomed splendor, and HMV's recording is happily not as re­ verberant as some others from Vienna, »••- yet equally warm-toned. Another !N OUR MORE\THAN THIRTY Mozart set from HMV is the Oboe Con­ YEARS' EXPERIENCE, WE 0 It turns the record over certo in C, played by Evelyn Roth- for you well with the Halle Orchestra con­ HAVE NEVER SEEN A ^ ducted by Sir John Barbirolli. This RECORD-CHANGER TO EQUAL i*>' is more familiar as the D major Flute Concerto (so exquisitely recorded many years ago by that great French The Revolutionary '^ * flautist Marcel Moyse), but that ver­ sion was, in Einstein's view, an ar­ NEW S rangement by the composer of a lost C major Oboe Concerto. The present "LINCOLN" version is a reconstruction of the original by Paumgartner, but I must Automatic confess that it sounded very strange indeed to ears accustomed to the flute "TURNOVER" version. Nor are matters helped by the fact that Lady Barbirolli is here not in RECORD-CHANGER her best form. She has some difficulty FOR ALL RECORDS with the trickier passage work and her tone is a little thin. Technically 3373-78-45 r.p.m. the recording is good. Automatically plays 20 standard or 22 Long-Playing records-ONE SIDE or BOTH SIDES, in PROPER SEQUENCE. rl? i-ng p/f''.'"' ONTH after month Deeca con­ • Intermixes 7", 10" and 12" Records of same speed. M tinues to astound us with the lat­ • Plays through your present Radio, est samples of their recording engi­ Phonograph or Television. ^x,i^ neers' wizardry. Elgar's lusty "Cock­ EXCLUSIVELY AT aigne" Overture—a musical portrait of London—has not been recorded since Cd^^ Ae<^» .« the composer conducted it for HMV nearly twenty years ago. Now we have ^ .\o<* vAe ojt*" ypfuoii Van Beinum and the London Philhar­ monic, and the result is some of the ^>'S-< I 450 MADISON AVENUE • 795 MADISON AVENUE most exciting sound ever to come from NEW YORK 22. N. Y. ^*<o'V.-'«: 228 EAST POST ROAD • WHITE PLAINS a gramophone record. Not so spectacu- 62 "T/ie SaMrday Rcvieiij PRODUCED 2005 BY UNZ.ORG ELECTRONIC REPRODUCTION PROHIBITED lar, but just as fine from a tonal point formance which, however it may to be somewhat neglected these days, of view, is yet another "Forza del Des- shock the aforementioned purists, so it is good to see on a record ex­ tino" Overture. For the fourth time will make this music accessible to cerpts from "Fidelio" and "Der in as many years this music by Verdi many who might shrink from the aus­ Freischiitz." The songs in question has been recorded, never so faithfully terity of an unaccompanied violin. For are Rocco's little ditty about marital as here, though the performance by those who take their Bach neat there economics, and the villainous "Cas­ the London Philharmonic under is an intensely poetic and musical per­ par's Drinking Song." Ludwig Weber Georg Solti is not particularly dis­ formance of the Prelude and Fugue is an excellent Rocco, but for Caspar tinguished. No. 8, from Book One of "The Well- he sounds a little old and benign. The Other orchestral records worthy of Tempered Clavier"; Denis Matthews accompaniments could have been more mention are Brahms's "Tragic Over­ here gives the lie to those who hold distinguished; Columbia's recording ture," nobly played by the Philhar­ such works to be dry and academic. is good. monic under Kletzki and finely re­ Boris ChristofE has been singing If listening to her records were not corded by Columbia, and Saint-Saens' many Italian basso roles at La Scala such a unique experience, I would "Le Rouet d'Omphale," played by the and this month's record shows him in already be tired of praising Victoria Royal Philharmonic under Beecham. this medium for the first time. He sings de los Angeles. Each month, however, The latter is meticulously played as what is without question one of Verdi's she contrives to astound us with some might have been expected, but I still great gifts to the race of bassi, new facet of her unique talent. This prefer the record Miinch made for Philip's wonderful monologue from time she gives us two songs by Res- Dacca about two years ago. Act IV of "Don Carlos." The introduc­ pighi, "Stornellatrice" and "E se un In view of the shortage of Haydn tion to the recitative is one of Verdi's giorno tornasse," and she makes them quartets obtainable outside the So­ most beautiful inspirations and it is sound far greater than they really ciety volumes, it is a pity that Co­ well played and excellently recorded. are. Finally there are two examples of lumbia saw fit to duplicate the Decca- ChristofE sings expressively and his the art of John Dowland (1563-1626), Griller set of Opus 33, No. 3 ("The voice sounds magnificent, but his vocal one of the very greatest of English Bird") with a worthy but rather line lacks just enough of the trUe songwriters, "Fine Knacks for Ladies" pedestrian performance by the Koppel Italianate flow to make one long for and "In Darkness Let Me Dwell." Quartet, a Danish team new to us. Pinza in his prime. Ebe Stignani is This is the second record made by It is good to have a recording of heard in the arias "Stella del Marinar" the male alto (or counter-tenor) Al­ Bach's great D minor Chaconne from ("La Gioconda") and "O grandi occhi fred Deller, one of the real "finds" of the Second Violin Partita in Busoni's lucenti di fede" ("Fedora"), but the last few years; the original lute transcription for piano, even though though her contribution to this Co­ accompaniments are well played on purists may argue that it is a strange lumbia record is impressive, it suffers the guitar by Desmond Dupre. A note on which to open celebrations of from such poor accompaniments as to most lovely disc—may HMV give us Bach year. Michelangeli is the pianist detract seriously from its value. many more like it. here and he gives a monumental per­ Pre-Wagner German opera is apt —THOMAS HEINITZ. UPA-2 — $17.85 — 3 12" long Playing Red label Records THE ART OF THE FUGUE-(Kunst Der Fuge) (ORCHESTRATED BY ROGER VUATAZ) Studio Orchestra, Bcromunster under HERMANN SCHERCHEN LPS-86 — $4.95 — 10" Red label Record SYMPHONY No.
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