GRAMOPHONE RECORDS
RECORDS are listed, where possible, in alphabetical order of composers. Where several composers are represented on one record, it is listed under the name of the composer of the most important or interest- ing work.. Starring applies only to the recording. A star indicates excellent quality. Unstarred issues may be taken as acceptably recorded where there is no comment to the contrary in the review. Initials before cata- logue markings are : A, Argo ; B, Bruns- wick ; D, Decca; T, Telefunken;. V, Vox.
Bach : 15 Three-part Inventions/Foss/ B.AXTL1027*; English Suite in G minor, with Mozart: Sonata in A minor K.310/Gulda/ D.LXT2826; 9 Chorale Preludes (organ)/ Heitmann/T.LGM65008.* The performance of the Inventions suggests that Foss's con- ception of Bach is really romantic but that he is inhibited by a wish to give them a classically pure performance. The coinci- dence of the two desires leads him to adopt very slow tempi, but their conflict and un- happy compromise produce merely a plod- ding dullness, in which we get few glimpses of the imagination either of Bach or of his gifted composing performer. Even so, domestic players may be glad to have on record these pieces, which they have often played themselves but can rarely hear. Gulda has obviously known no romantic temptations to feel guilty about, and plays drily with more spontaneity and life, especially where the music is brisk. But one feels a certain lack of sensitivity. The same is true of his Mozart on the other side, the seemingly uninspired fidelity of which, how- ever, grows on one as the work proceeds. The most satisfying of these Bach records, for style, is the organ one, which is ravishing. It would be worth having if only for 0 Mensch, bewein' dein Slinde gross, and is strongly recommended even to those who do not normally care for the organ. Bartok: Eight Pieces from Mikrokosmos, with Ned Rorem: Sonata No. 2/Katchen/D.LXT2812*; Sonata for unaccompanied violin1Tworckl D.LM4557.* Those who like the Concerto for Orchestra and the Third Piano Concerto should enjoy the brilliant performance of the Mikrokosmos pieces. Those giving them a trial are recommended to start half-way through the side, with the four dances in Bulgarian rhythm, before playing the more difficult outer pieces, to which they should by then feel well disposed. Rorem's Sonata, which though inoffensive and accessible is very slight in substance and interest, does not make them an ideal companion. The public for the Bartok Violin Sonata may be rather more limited, i.e., to those, as the jacket states, who like the Bach solo sonatas as well as less austere Bartok works. It is a masterpiece, and is here superbly and, except for one or two slight liberties with the rhythm, faithfully played. Beethoven : Symphony No. 6/Vienna Sym./Klemperer/ V.PL6960. A clear and congenial perform- ance spoilt by the recording, which gives various instruments, including the violins, a very " electrical " and unnatural tone. Bloch : String Quartet No. 3/Griller/ D.LM4558.* This is one of Bloch's most recent and best works. Like most of his music, its content is very largely moods (mostly tearful) and sonorities, but it is more concise and shapely than usual, and richer and more original in thematic inven- tion. Even those who are generally out of sympathy with him will find a good deal in it, and this beautiful performance by his most persuasive exponents is much to be enjoyed as sheer sound. Brahms : Symphony No. 3/ Vienna Phil./Bohm/D.LXT2843; Serenade Op.117Little Orch. Soc./Scherman/B.AXTL 1026*; Tragic Overture and Academic Festival Overture/Concertgebouw/Beinum/ D.LW 5041; Piano Conc. No. 1/Curzon/Concertge- bouev/Beinum/D.LXT2825 ; Two Rhapsodies Op.79/Kempff/D.LW5043. The slow-tempo of • the third movement is characteristic of the general lack of vitality of the careful per- formance of the Symphony. It is not helped by the recording, which blurs the outlines in a general haze—unless this too, as seems likely, is in the performance. The early Serenade is a less consistently interesting work, but no one who cares greatly for Brahms should miss it, and many who do not may want it for the lovely adagio and two enchanting minuets on the second side. The delightful performance too recommends it. The two Overtures and the Concerto, though not outstanding issues, are acceptably per- formed, but the latter is handicapped by inadequate recording. Kempff's highly accomplished performances of the Rhapsodies are both slightly flawed, the G minor by too much weight in the bass, which also taxes the recording, the B minor less noticeably by too little weight on the left-hand rising thirds in the treble, in the middle section, which are, scarcely audible. Otherwise they are sensitive and much to be admired, especially the B minor. Bruckner : Symphony No. 7, with Franck: Psyche! Concertgebouw/Beinum / D.LXT2829 / 30.* Those who still believe the legend that Bruck- ner was a gifted but unreasonably aspi .ing and long-winded amateur may learn from this
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