Phonograph Monthly Review, Vol. 3, No. 1 (1928-10)

32 The Phonograph Monthly Review October, 1928 purchaser, who may also be swayed by the important con- sideration of price—the Columbia set is four dollars cheaper than the Victor. But the value of both is not to be reckoned in dollars and cents; both are musical treasures, and the composition itself is not only one of Schubert’s most masterly achievements, but one of the very finest works in Trio literature, and an ideal introductory work to all chamber music. Whatever other Schubert works you buy this Centennial year, do not, by any chance, fail to obtain one or the other recordings of this Trio in B flat! National Gramophonic Society 103-4 (2 D12s) Malipiero: Stornelli e Ballate, played by the Poltronieri String Quartet of Milan. Isn’t this Malipiero’s phonographic debut? The Poltron- ieri organization has already appeared on records (and to advantage) in the N. G. S. issue of a Boccherini quartet. While they were concertizing in London, advantage was taken of an opportunity to do some more recording, and the work chosen was this one which they play with ex- ceptional authority, inasmuch as they gave the work its initial performance over four years ago in Milan, where it was booed, applauded, and encored. It is a splendid choice for recording, by virtue of its giving the fore- most modern Italian composer worthy recorded represen- tation, and giving the composition itself a better chance for appreciative study than an occasional concert performance could ever do. The playing and recording are superb, in every way equal to that memorable performance of the Ravel Quar- tet by the International String Quartet. Intensely realistic, the string tone conies out with tremendous force, and yet no matter how forcible the playing may be, there is no suggestion of distortion or over amplification. The music itself is good strong meat. One is reminded occasionally of Hindemith and Bartok, but Malipiero has none of the somewhat contemptuous facility of the former, and his comparison with the latter is based on his very laudable qualities of soundness of structural sense, signific- ance of music ideas, and an unsoftened directness in their exposition and development. Like Bartok’s works, it has a folk music background, if not actual basis. It is not easy or sugared listening, but its vitality and muscular strength are very satisfactory. A work to study, and one whose study is very much worth while, it takes a high place in the list of recorded modern music. Instrumental PIANO Columbia Masterworks No. 92 (5 D12d, Alb., $7.50) Schu- bert: Sonata in G, Op. 78, played by Leff Pouishnoff. (On the tenth record side Pouishnoff plays the Impromptu in A flat, Op. 142, No. 2.) . u c . * This is a much more mature work than the bonata in A recorded by Myra Hess. It is constructed on an im- pressive scale, not incomparable with that of the C major Symphony; indeed the work although sufficiently piamstic is strongly symphonic in character. Has it ever been orchestrated, I wonder ? The first and second movements are in three parts, the scherzo (popular as a separate piece) in one, and the finale in two. Obviously it is not a short sonata, but it is not a tedious one by any means. The performance gives one a new respect for Pouishnoff; I had no idea he was as big a man and as sincere an artist this reading shows him to be. I have seldom heard such genial and unpretentious playing maintained so evenly throughout a long work. The recording is like the per- formance, unspectacular but crystal clear, and it catches perfectly Pouishnoff’s admirable piano tone, one that is never too dry nor over-luscious. A firm, deep breathing, flexible, and thoroughly satisfying reading,—Schubertian to the core. I care less for his performance of the familiar Impromptu. Doesn’t he play it exceedingly prosaically, or am I still bewitched by the memory of Paderewski’s way with this lovely song without words? (It makes a very nice waltz, by the way, as proved by the Hungarian Rhapsody Or- chestra in a Schubert Medley in the Victor International list. Their arrangement may be sacrilege, but it is very pleasant for all that!) The sonata recorded by Myra Hess should preceed this one in making an acquaintanceship with Schubert’s piano music; in fact this set is decidedly for the more experienced music lover than for the less discriminative novice. H. M. V. DB-1132-4 (4D12s, Alb.) Chopin: Twelve Etudes, Op. 10, Waltz in E flat, and Berceuse, played by Wilhelm Bachaus. (Imported through The Gramophone Shop, New York City.) This is a worthy companion to Cortot’s album set of the twenty-four Preludes, and undoubtedly will be given an early American release, likewise. The recording is very successful and the performances lucid and vigorous. Bachaus is a wise choice for the Etudes; there are other pianists who do some or all of them better, but their performances would hardly be as phonographic, i. e., both susceptible of flawless recording and admirably suited by nature of their straightforward readings for the purpose of study. Bachaus is in his characteristic vein—alert, energetic, somewhat colorless, but impressively capable. I should like a little more intensity and “revolt” in the Revolutionary Etude, but I had never imagined Bachaus could sound such emotional depths as he does in that magnificent poem which is the third study—Chopin’s own favorite and one of his noblest creations. The Chopin Etudes are an essential part of piano litera- ture ; they might even be called the basis of modern piano playing, for the pianist who has thoroughly mastered them, both technically and interpretatively, must be ranked as a full-fledged journeyman in his art. They are as worthy of study by ear as by fingers, and the non-pianist can gain a new r appreciation of piano technique through their phono- graphic acquaintanceship. The second book of Etudes, Op. 25, should be given early issue to complement the present set. Bachaus’ performance of the waltz is very spirited and brilliant. His Berceuse is far less successful: here clarity and exactitude are incongruous with the mood of poetic warmth. The record will be of great value to any student of this piece, however; the notes are played beautifully—it is the spirit of the piece that is lost. Victor 6840 (D12, $2.00) Strauss: Blue Danube Waltz— Concert Arabesques by Schulz-Evler, played by Josef Lhe- vinne. Lhevinne makes a welcome return to the phonograph, and his Victor debut, in characteristic and brilliant fashion. The Schulz-Evler arabesque on the Blue Danube Waltz is a tried and true concert hall war-horse of the old school: a prodigious display of technique, neatly sugared with the familiar melody, and with abundant opportunity for firing off all the weapons in the virtuoso pianist’s armory. The performance omits nothing and softens nothing. Aided by the powerful recording it quickens one’s pulse and com- mands unqualified admiration. The work should sell well; more, it should do much to arouse interest in piano records and a new appreciation of the abilities of modern record- ing processes with this instrument. Not only Messrs. An- derson, H. M., and other piano record connoisseurs will be delighted with this release; it is an event of general sig- nificance. Perhaps later Lhevinne will record some works of greater musical import, but the virtuoso and sensational qualities of this disk make it a wise choice with which to begin a Lhevinne series. Polydor 62639 (D10) and 66712 (D12) Beethoven: Sonata in E minor, Op. 90, played by Wilhelm Kempff. (Imported through the H. Royer Smith Company, Philadelphia.) A continuation of the excellent Polydor Beethoven piano sonata series and in every way fully up to the standard set by the earlier releases. This sonata is in two move- ments. The first occupies both sides of a ten-inch disk, the latter takes both sides of a twelve-inch disk. The first movement is particularly delightful, with an almost Schuber- tian simplicity and directness of utterance. Polydor 95044-5 (2 D12s) Liszt: Rhapsodie Espagnol (three record sides), and Sonneto del Petrarca No. 104, played by Walter Rehberg. (Imported through the H. Royer Smith Company. Philadelphia.) Rehberg, the first to record Schumann’s great Phantasie, has a number of outstanding works to his credit. This, however, is the first of his releases to reach the Studio.