Horn No. 1,Ind(K412) Prise) Symphony No
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the purchase of what are admirably- played the music itself quite overrides what reser- Veilchen, Abendempfindung, etc.) and Schu- and satisfactorily recorded discs only with vations one might have about its regis- bert's Heindenröslein, wafted in Miss Ber- the sharpness softened. But it would be a tration. get's ever -young voice with a facile address pity to forego No. 83 - a grand work in The Four Temperaments, on the other side, a little tainted by a persisting aura of com- astonishing anticipation of Beethoven, and was composed in 1944. It is a kind of con- placency, largely redeemed by extreme clar- the only recording - because of an incom- certo for piano and strings in the form of ity of enunciation. The bass of the piano patability of record and reproducer which a theme and four variations, each variation needs generous fortification.- C. G. B. may not be apparent. - C. G. B. corresponding to one of the "temperaments" of medieval physiology - the Melancholic, MOZART, W. A.: Concerto for Flute and the Sanguine, the Phlegmatic and the Chol- Harp, in C (K 299) Concerto for HAYDN: Symphony No. 94, in G (Sur- eric. Since the theme is quite complex, Horn No. 1,inD(K412) prise) Symphony No. 103, in E flat involving three contrasted ideas, its dis- Karl Mess, flute; Dora Wagner, harp; (Drum Roll) tortion in the mirrors of the four tempera- Gerhard Görmer, horn; Stuttgart Ton - Royal Philharmonic Orch.; Sir ments leads to widespread involvements Studio Orch.; Gustav Lund, cond. Per- Thomas Beecham, cond. Columbia brilliantly and ingeniously solved, although iod I2 -in. SPLP 544. 28 and 9 mins. I2 -ln. ML 4453. 23 and 25 mins. the score lacks some of the fire and ur- $5.95. $5.45 gency of the earlier concerto for violin. The aerial beguilement of K 299, here played Symphony The Four Temperaments is well played.- A.F. Symphony No. 99, in E flat with easygoing jubilation not comparable No. roi, in D (Clock): Vienna National HINDEMITH: Trauermusik to the finished stylization of the LeRoy - Opera Orch.; Hermann Scherchen, Laskine- Beecham version on Victor 78's. -in. WL 5102. See TURINA cond. Westminster I2 has nevertheless the better exposition on 27 and 28 mins. $5.95. HONEGGER: King David the newer disc. This is the magic of good Never has a conductor in direct recording Janine Micheau (s), Janine Collard LP's, that unremarkable performances can competition been favored with such consist- (a), Pierre Mullet (bne), Jean Hervé outshine remarkable ones in obsolescent ently superior engineering as Dr. Scherchen (speaker), Maurice Duruflé; (organ) recordings, through the living pulsations in his series of ten Haydn symphonies, a Brasseur Chorus and French National of almost touchable reproduction. The notable memoir to his fame and an imposing Radio Orch.; the Composer, cond. fragmentary Horn Concerto completes the earnest of phonographic art. Every one of Westminster two la -in. WAL 204. I hr. 33 rpm. recording of the four wonderful these symphonies has better sound than the r9 mins. $11.90. essays in that form (Nos. 2 and 4 on Colum- of its rivals and that is true of No. 103, bia, No. 3 on WCFM). It is the smallest best The union of musical and electronic talents wherein he is challenged for the first time of the four wonders, well played and in- here permits the ascription of the imper- by Sir Thomas Beecham, once Haydn's most cisively engraved, with the "touchabil- ial word "definitive" to the edition. The valorous champion on records. A distinc- ity" mentioned, after treble has been sub- conductor- composer is one able to master tive orchestral bloom a mellow expan- dued. C. G. B. - his own work, the intoning of the text - sion of rotund sound procured either - (French) by the chosen soloists is acrid perception or contributed by MOZART, W. A.: Concerto for Piano No. by engineering and telling; the enunciation of the Narrator hall acoustics, is Scherchen's and not Bee - i6, in D (K 451) is precise, and chorus and orchestra have We must call the Columbia disc Jeanette Haien; National Gallery cham's. been trained to a unified galvanic vigor. a good recording, and the Westminster con- Orch.; Richard Bales, cond. WCFM The of sound re- created by the en- exceptional. Interpretively, Sir billows Io -in. LP Io I. 26 mins. $4.75. sequently gineers are oceanic but do not suffocate Thomas seems to have it, with a franker the boatswain's pipe in a stunning demon- In a concerto glistening with aggressive and faster tempos more appropriate approach stration of Westminster prowess in the grace, Mr. Bales shows again his instinct the careful subtleties of Dr. Scher - than analysis and conquest of aural difficulties. for unearthing and projecting first -class, chen. The Englishman's Surprise, unrecorded The hall is again used as a creative factor but usually snubbed, decorative works by Scherchen, with a delicate exactitude by in the registration of sound both massive Mozart, and Miss Haien is pleasantly in of line obtained by what must have been and chiseled. Low -frequency background accord with the bold esprit implicit in the very painstaking orchestral preparation, noise is an occasional fault and, at the very score. Orchestral values are well presented is the writer's favorite of all the inter- end, silence is too -abruptly imposed before in an objective recording which offers good of this that he has heard. pretations last has completed its proper re- piano bass but some bell at the top, the latter on the new Scherchen disc, par- the chord No. 99, verberation. possibly a characteristic of the instrument ticularly its immaculate, regretful adagio Called by the composer a Symphonic used. C. G. B. in lingering emanation, takes precedence - Psalm in Three Parts, the music is as conven- over the two other versions, and the Clock, iently a cantata in its phonograph version MOZART, W. A.: Divertimentos for in a gracious projection supported by noble as anything. The barbaric excitation of its Oboes, Bassoons and Horns in Pairs: recording values, is the preference among alternate salutes to Stravinsky and obeisances No. 8 in F (K213), No. 12 in E flat seven. C. G. B. - to Bach is intensified for sound -enthusiasts (K 252), No. 13, inF(K253), No. 14 by the quality of the sound they hear, which in B flat (K 270) increment Karl Mayerhofer et al. Westminster r 2- HINDEMITH: Kammermusik No. 4, Op. compels an of conscious ad- for its own sake. in. WI. 5103. ro, 9, 12 and 14 mins. 36, No. 3 miration Peter Rybar, violin; Winterthur Sym- The album is supplied with an introduc- $5.95. tion by the composer, annotations, text phony Orch.; Henry Swoboda, cond. Inventive and occasionally enticing, but and English translation. - C. G. B. The Four Temperaments: Franz Hollet- essentially froth and so intended, the di- versions are stated with a cool elegance at schek, piano; Vienna Symphony Orch.; KODALY: Quartet No. 2, O. ro - piquant variance with their popular nature. Henry Swoboda, cond. Both on West- SZYMANOWSKI: Quartet in C, minster 12 -in. WL 5074. 20 and 22 The trouble engineers may expect from horns op. 37 is not excessively. C. B. mins. $5.95. Walden Quartet. Lyrichord z2 -in. 22. audible, but - G. 15 and 13 mins. $5.95. Kammermusik No. 4 is an absolutely colos- MOZART, W. A.: Missa Brevis in F sal piece, a concerto for violin and cham- Two modern quartets of great melodious- (K 192) Dixit et Magnificat ber orchestra composed in 1925, at a time ness, charm, refinement and ingenious (K 193) when Hindemith's youthful enthusiasm was color, splendidly played, reasonably well Mozarteum Chorus and Orch., Salz- spurting its highest, his polyphonic tex- recorded. - A. F. burg; Schmeidel, cond. Lyrichord 12- tures were at their most rugged. and his in. LL 18. $5.95 rhythmic vitality expressed itself on the MOZART and SHUBERT: Songs grandest scale. Even though this work is Erna Berger (s). RCA Victor Io-in. Both of these are early works, composed in 1774 for the services in the private chape not too well recorded by Peter Rybar and LM 133. 16 mins. $4.67. the Winterthur Symphony Orchestra, it is of Mozart's inveterate enemy, Hieronymus authoritatively performed, and the value of The five most familiar Mozart songs (Das Colloredo, Archbishop- Elector of Salzburg. 55 www.americanradiohistory.com.