Phonograph Monthly Review, Vol. 5, No. 4 (1931-01)

January, 1931, Vol. V. No. 4 125 at times, he unwittingly makes the concerto appear much more important than it really should be, thus giving a feeling of display for display’s sake rather than for the sheer musical qualities of the work. It is, of course, unfortunate that the composer himself did not do more to help the proceedings along. He may have desired to give Professor Auer the opportunity to dazzle the public but judging from the result, the noted pedagogue and violinist was more than sensible to act as he did. The real Tchaikowsky only appears momentarily in the first movement in a manner analogous to the pianoforte concerto but not exactly similar, and the theme as stated has many variations while the great theme of the other concerto occurs only furtively and then disappears forever. The orchestral accompaniment is naturally subordinated to the solo instrument, but in this case it is overshadowed com- pletely. The high degree of competency displayed by both the conductor and the orchestra under his direction, how- ever, speaks for itself. Richardson Brown Brandenburg Concerto Bach, J. S.: Brandenburg Concerto No. 6, in B fiat, four parts, played by Sir Henry J. Wood and his Symphony Or- chestra. Columbia 67842-3D. (2 D 12s, $3.00). The non-existence of a complete album of the Brandenburg Concertos has long been deplored. It has been insistently demanded and is certainly much more likely to have a wide sale than such a work as the B Minor Mass, the integral re- cording of which must have given to many the thrill of the almost unhoped for. The second, played by Stokowski, has been out for about a year now in the Victor Bach album. A much heralded complete set of English Brunswick about two years ago has turned into a mystery which is well worth the attention of some amateur detective. As they were announced to be played by celebrated soloists, including Walther Giese- king, the prospect aroused the greatest expectation and praise. One or two sets were allowed to slip out and then all fur- ther information on the subject ceased, nor have repeated in- quiries availed. Apparently intimidated by this dire event, the other recording companies have since held back from a similar attempt. Let us hope that we shall not have to wait much longer, however. Whether Wood is the ideal conductor to do the set or not, our eagerness has been increasing for so long, that we should welcome them from a much lesser man. These six Brandenburg Concertos are sometimes classed with the symphonies of Beethoven. Although they are per- haps very obvious, I shall pause a moment to point out a few points, wherein this juxtaposition is inaccurate. What- ever one’s opinion on the comparative musical worth, cer- tainly the Concertos cannot for a moment be considered as of nearly equal importance in relation to Bach as are the symphonies in relation to Beethoven. In fact one might with some justice say that if one knows the nine symphonies (or the sixteen quartets) one knows Beethoven, whereas, to know Bach at all completely, the smallest number of single compositions which would suffice is the Mass and the Matthew Passion. This difference will be enforced from a consideration of the circumstances of composition. Beetho- ven’s symphonies form a more or less complete musical autobiography, embodying many of the greatest achievements of the various periods of his life. In the case of Bach, these concertos form his first venture on a large scale into the field of absolute instrumental music—a department which was in any case not of prime importance at that period. Composed all at one time, when the composer was at the age of 36 (during his early Coethen period) they were dis- patched to Berlin to the Markgraf of Brandenburg in March, 1721. This nobleman was collecting concertos by living com- posers, but there is no sign that he valued these of Bach very highly—the story of their sale among miscellaneous unclassified incunabula is well-known. It is scarcely necessary to mention again the differences between the modern use of the term concerto and that in the early 18th century, but I shall summarize the salient ones. Above all, the soloists were employed not to display their virtuosity, but to give variety by alternating with the tutti passages, and to play parts which were beyond the technical capacity common among the ordinary members ORDERS ACCEPTED NOW FOR The New 1931 Edition of THE GRAMOPHONE SHOP'S ENCYCLOPEDIA OF THE WORLD'S BEST RECORDED MUSIC Containing over 400 pages, listing thousands of records which have never been brought to the attention of American record collectors before. Price 25c Postpaid QJIjt (brauutphmu' INCORPORATED 18 East 48th Street New York City of a band. It was not their technical capacity which was being exhibited, however, but the music in more elaborate development. Up to this time the usual rule had been to write entirely for strings, but Bach, employing in each of the six concertos a different combination of instruments, wrote only two of them (the Third and the Sixth) in which there were not parts in the concertino for various wood- wind or brass instruments. The example at present to be considered—the last of the series—is remarkable for the fact that the orchestra contains no violins. The instruments employed are two violas, two gambas (now played by ’cellos), violoncello, double-bass, and cembalo (apparently omitted). The music is not on such a large or profound scale as that of the second concerto, for instance, but it is among the most gay and joyous of the lot. The first record contains the first movement, in two parts, and the second; the second record, the third movement. Above it was intimated that Sir Henry Wood is not an ideal choice, but it would in some ways be difficult off- hand to pick anyone perfect for all six. Would Stokowski, for instance, bring sufficient vivacity to this one? Sir Henry is, on the other hand, probably better here than he would be in the second, where more subtlety and delicacy are demanded. He relishes to the full the jig-like finale. I feel, however, that is a little too purely boisterous and almost bustling even for the quality of these fast movements. A trifle more of lightness and a more subtle rythmic vivacity would have done much to heighten the effect. As a whole, however, it may be characterized as a good solid performance, enthusiasic but not over-refined. The last remark applies also to the tone of the strings. The recording is not as clear and well-balanced as it could be—the continuo in some places where it should be heard is lost in the shuffle. In spite of its lack of supreme excellence this release will undoubtedly be justly and enthusiastically welcomed by a large number of music-lovers. R. H. S. Phillips