Phonograph Monthly Review, Vol. 5, No. 5 (1931-02)

February, 1931, Vol. V. No. 5 151 Leopold Godowsky nine Chopin nocturnes and the Grieg Ballade. For anticipation, there is the first recording of Chopin’s fourth scherzo. Of his Brunswick discs, two original Schubert transcriptions have the beauty and intimacy of an old-world garden. Josef Lhevinne’s one available record (Victor) shows his marvellous ease and virtuosity—the Schulz-EVler Blue Danube, unsurpassed for octaves. Not only a technician, he is an artist of fine intellect and poetry, one of the most graceful of Chopin players. Better represented on records is Sergei Rachmaninoff (Victor), who has won the esteem and imagination of the American public more than any other pianist since Paderewski. Gaunt, Russian aristocrat, he plays with unequalled strength of accent, infinite command over shading, perfectly controlled staccato, a gloomy power stripped of all romantic coloring. His name as performer on a record is guarantee of distinction; nevertheless, one may emphasize the extreme importance of having him perform his Second Concerto in C Minor, also Schumann’s Camaval, and, with Kreisler, sonatas by Beethoven and Grieg. An original Etude Tableau, ultra-brilliant playing of Liszt’s Gnomenriegen, the Schubert-Rachmaninoff Brooklet, Beethoven’s Turkish March and C Minor Variations, a Bach Sarabande, are all unusually fine examples of his art. Mark Hambourg, who used to be called the “Young Rubinstein,” plays with breadth, an abundance—often a superabundance—of vigor, and occasionally with beautiful delicacy and finesse. Therefore one can only advise those who wish to investigate beyond his brilliant Tchaikowsky Concerto (Victor) to choose which work they want—Hamburg has recorded almost any- thing for H. M. V.—and pray for the best. For musicianship, it would be hard to surpass Harold Bauer, Ossip Gabrilowitsch, or Alfred Cortot, among contemporary artists. Bauer’s career is something of a marvel. Starting late to become a professional pianist, he has acquired a technique for purely musical ends that few can match. He is an all- round artist, unequalled in the passion and surge of Brahms, unsurpassed in the harpsichordists, or the changing moods of Schumann His participation in the Brahms F minor Quin- tet (Victor) is one of the greatest of all recorded perform- ances. It is doubtful whether even Schnabel (who refuses to record in any case) can equal him in the D minor Concerto— a logical choice for him to record. His recorded Appassion- ata and Moonlight Sonatas are noteworthy; and of shorter works, Debussy’s Clair de Dune, a Schumann Novelette, and a Brahms Capriccio are outstanding. The meagerness of Gab- rilowitsch’s list cries out for a remedy. Playing of the most unadulterated artistry, unsurpassed discrimination of tone and style, make him one of the greatest pianists today. In the Brahms B Flat and the Schumann Concertos he is unexcelled, perhaps unequalled. His Chopin and classics are also of the greatest. On records (Victor), one fine solo disc, a two- piano disc with Bauer (Arensky Waltz), and his collabora- tion with the Flonzaley Quartet in the Schumann Quintet, complete a list which is as valuable as it is short. No similar complaint may be made concerning Cortot, whose services have been employed wholesale (Victor, Swiss and English H. M. V.) in masterworks—not an unsound choice, but per- haps unfortunate in cases where neglected artists could equal or surpass him. Poet, wth fire and intellect, his readings of Schumann (Concerto; Symphonic Studies; Camaval), Chopin (Preludes; Ballades), Liszt (Sonata), Franck (Symphonic Variations; Prelude. Choral, and Fugue), and Debussy ( Chil- dren's Corner ), are all eminently distinguished, and in the case of the last two composers, considered authentic. His con- tributions to recorded chamber music, in which field he ranks with Bauer, are as extensive. The Cortot-Casals-Thibaud Trio sets (Haydn, Schubert, Beethoven, Schumann, Mendels- sohn) are of course unique, and he has collaborated with Cas- als (Beethoven Variations) and Thibaud (Sonatas by Beetho- ven, Franck, Faure, Debussy)' singly. Of smaller works, Weber’s Invitation to the Dance and Albeniz’ Sous le Palmier might be preferred. Despite a mercurial quality of filigree, Cortot’s playing does not yet record as satisfactorily as that of most of the other pianists. Ossip Gabrilowitsch Equally noted as pianist, composer, and conductor, Erno von Dohnanyi has used the first and last of these capacities in the only recorded Mozart piano concerto, No. 17 in G (Columbia). Like Medtner, Strawinski,* Prokofief, excellent pianists, or, to come to this country, Godowsky, Omstein, Schelling, Powell, or Stojowski, he has not played any of his works for the phonograph. Some of the rhapsodies and other piano works, played with his brilliant pianism, would be ex- tremely attractive fare. The same neglect, until recently, was accorded his distinguished countryman, Bela Bartok, also a fine pianist, who has just recorded part of a suite (H.M.V.), also for Columbia, and who should by all means be recorded in his works for piano and orchestra. Also fine exponents of their own works are Cyril Scott (Columbia and H. M. V.), and the younger Francis Poulenc (French Columbia), and George Gershwin (Columbia, Victor). Arnold Bax (H. M. V.), has not yet been recorded in his own work. Two saner artists than Rudolph Ganz and Wilhelm Bachaus would be hard to find today. Ganz’ sole contribution (Vic- tor), from encore favorites, should lead to works giving wid- er play to his fine balance and intellect, perhaps his cham- pionship of the modems. Bachaus is quite well represented in the cat alogues (Victor and H. M. V.) in Beethoven (Con- ♦EDITOR’S NOTE: Since this was written, Strawinski has been recorded in his own “Capriccio” (the subject of Mr. R. P. Blackmur’s article, “Necromancy,” in the January P.M.R.). This extremely significant word is scheduled for release next month by the American Columbia Company.