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

February, 1931, Vol. V. No. 5 169 gravely, with a tender expressive melody treated somewhat in the manner of Satie’s Gymnopedies (indeed Mompou’s music is immediately comparable to that of the Frenchman in his more serious moments), and later breaks into a solemn little dance. The third piece is subtitled Populars t and some of the sections are much breezier and more frankly tuneful ithan those of the other pieces. In the third there is a return to the haunting melodiousness and compassionate ex- pressiveness of the first two, although again their are moments of greater rhythmic impulse. Mompou’s simplicity is not than of the pseudo-naive artist: it is an engaging and direct as the frankness of a child. These little pieces, whether or not they actually embody folk songs or idioms, are fresh from the undefiled well of purest folk music.. Like the work of Delius they “are to be tasted without passion, without impatience.” The phonograph again commands our gratitude for giving us the acquaintanceship of a composer who writes from the heart, and whose work will surely live. Mompou’s textural revisions of the Chopin waltz confirm the- impression made by his own music. The piece is en- richened without inflation, and one realizes how deficient in many respects was Chopin’s own sense of texture and con- trapuntal weaving. The performances throughout are the utmost in restraint and poetic feeling. The recording is evidently considerably amplified—a constant hum is audible— but possibly this was necessary on account of the extreme softness and delicacy of nuance with which Mompou plays. At any rate. I would not part with these discs if they were a hundred times less effectively recorded. For me they are a part of that small but exceedingly precious musical reper- tory that reveals at once a sympathetic and intimate kinship with the most secret springs of one’s sensibilities. Three Debussy Sonatas In his last years Debussy might have said with Rameau, “Day by day my taste is improving, but my genius is dis- appearing.” After the second book of piano preludes, appear- ing a couple of years before the war. Debussy’s compositions were regarded as diluted imitations of his earlier works, re- vealing, of course, his invariably immaculate craftsmanship and delicate sensibility, but sadly lacking in originaity and freshness of inspiration. Yet others find in them the “quick- ening of a new impulse,” and, the utilization of his earlier methods not for their own sake, as before, but as a means to a new end. These later works were composed mostly in classical forms, and most important among them was the projected series of six sonatas for various chamber combina- tions, of which were actually written: the sonatas for ’cello and piano (1915), violin and piano (1916), and flute, viola, and harp (1916). The rare production of these works in concert and the consequent inability of Debussyists to deter- mine for themselves whether or not contemporary judgment on the sonatas was justified gives a special significance to the release of recorded versions. The most recent to appear is the first in the order of composition, the sonata for ’cello and piano, played on French Columbia LFX-6 by Maurice Marechal and Robert Casadesus. The work comprises three movements: Prologue, Serenade, and Finale, each taking a record side. On the fourth side the same artists play the Danses des Petits Negres from Andre Caplet’s Epiphanie. The other sonatas are also re- corded, that for violin and piano first by Andre Maneot and Lyell Barbour on N. G. S. 127-8, and more recently by Jacques Thibaud and Alfred Cortot on French H. M. V. DM-1322-3; the trio was recorded much earlier by Moise (flute), Laskine (harp), and Ginot (viola) on French Odeon 165, 243-5. The violin work is in three movements (Allegro vivo, Intermede, and Final) each taking a record side; the “filler” of the French set is an arangement for violin and piano of the prel- ude, Minstrels, and of the N. G. S. set Barbour’s solo piano performance of prelude, Les sons et les parfums tournent dans l’air. The flute-harp-viola work is also in three move- ments (Prelude, Interlude, and Finale) each taking both sides of a ten-inch disc. Of the three works the sonata-trio is the most immediately appealing for its animation, elastic close-knit melodic weav- ing, and its delicate nuances of tonal coloring; but the ’cello sonata is perhaps the most striking, and certainly the most im- pressively recorded. Its material is at once most enigmatic and most forcibly projected of the sonatas. Marechal, one of the foremost French ’cellists, and Casadesus play it with tremendous bravura—ranging from the somber, elegaic mood of prologue to the almost hysterical intensity of the finale with passionate fervor. The recording is exceedingly power- ful. Whether it is music destined to live and to add to De- bussy’s stature is impossible to forecast. But it does cast a new if somewhat baffling light on the composer himself, and it is not to be ignored by anyone who would know him and his music in their entirety. The violin sonata is prettier and more lyrical music than either of the others, but lacking the trio’s forthrightness and color, and the ’cello sonata’s impressiveness. The perform- ances by the Mangeot-Barbour and Thibaud-Cortot duos are closely comparable. Cortot is supposed to be familiar with the composer’s intentions regarding the performance, and he coached Mangeot and Barbour in the tradition. Most collectors will probably prefer the celebrity version, but since the recording qualities are of nearly equal excellence, I give the edge to the N. G. S. artists, partly for theiii great- er spontaneity and partly for Barbour’s performance of “ Les sons'* on the odd side; men of Thibaud and Cortot’s calibre should be ashamed for recording such an anomaly as a violin transcription of Minstrels. The piece on the odd side of the ’cello records is amusing—a highly vivacious Danse des pe- tits n&gres by Caplet, played here with the same brutal vir- tuosity that Marechal evidences in the sonata. R. D. D. IRA VOCALS F OR the first time I have had the pleasure of hearing some of the IRA novelties and it has been with the keenest interest that I have written down a few of my impressions. In the first place there was not one uninteresting record in the entire list and one at least is on my indispensable list. The repertoire itself is such a welcome relief from the rank and file of releases that it behooves me to mention it here. The first group that I played was from that comparatively well-known firm Pathe Freres. M. Aquistapace sings the air, “Papagena, Papagena,” from the Magic Flute and the more familiar “Voila done” from Thais. Not sensuously beautiful itself, the singer’s voice presents an interesting example of tonal drama as does that of M. Jose Beckmans in Dapertut- to’s air from the Tales of Hoffman and Mephistopheles’ Sere- nade from Berlioz’ Damnation of Faust. I do not care for *the latter’s falsetto ending in the first aria but perhaps I have been spoiled by hearing De Luca sing it in the Metro- politan’s excellent performance. Messrs. Villabella and George Vollier join voices in Bizet’s Agnus Dei and Faure’s Le Crucifix. Both numbers need the organ for complete effectiveness but are sung with much elan. With a trademark of Christschall surmounted by crossed keys is a record comprising the Agnus Dei of Viadana sung by the Chorus of the Church of Herz-Jesu in Charlotten- burg, and on the reverse, Viadana Toto Pulcra sung by Augusto Garavello, bass-baritone. These two liturgical numbers are given a proficient performance, the reproduction enhancing the choral voices. The gay label of the Perfectaphone is reflected in the Ro- mance, Garde ton coeur, Madeleine and Lilas Blancs, “Idyle Parisienne” both sung in typical music-hall style by Mar- jal, (de L’Europeen) accompanied by a Symphony orchestra (no less!). These are two songs obviously in the lighter vein whose words, intoned with much gusto by the soloist wifi prove interesting to those who know French and whose melodies will charm those who don’t. The triangular trade-mark of the Artiphon heralds more serious fare. Eugen Transky sings the Steersman Song from Der Fliegende Hollander and Siegmund’s Love Song from Die Walkure. The resonance of this record is appalling but* otherwise, it is well-done. There are two choruses: Die Ganze W'elt by Klein and Erquicke mich mit deinem-Licht by Becker, sung by the Immanuel Kirchenchor under the direction of R. Abel. Admirable music admirably sung. Franz, bass of the Berlin Staats Oper, sings Funftausend Taler—the air of Baculus from the opera Der Wildschiitz by Lortzing (better known for his Zar und Zimmerman) and Osmin’s Song from the Escape from the Seraglio, the semi- forgotten opera of Mozart which has received well-merited (Continued on the last page)