Gramophone Notes A cot. - PLE of months ago, we wrote of
Schnabel's performance of Beethoven's Fifth Concerto. Now we have, with Dr. Sargent and the London Symphony Orchestra (H.M.V. DB16904. 30s,) the First, or in order of composition the second, Piano Can'. certo, in C major. So far as the piano is concerned it is it possible, even more satisfactory than is the preceding work. On the rare occasions when they can be persuaded to touch this Concerto, pianists are generally reluctant to play it as it was written. Music which, like this, reliei for its effect rather on delicacy than, as.does the " Emperor," on massiveness gives 'greater opportunity for, and gains less by, inexpert embellish- ments than do compositions of any other type. Schnabel has no taste for such extravagances, and his performance is on that account all that could be-desired -The-orchestra is,-however, less reticent. Dr. Sargent frequently appears to be trying to fore the effect. Expression marks are insufficiently observed, par- ticularly in the last movement, and the strings are consistently too loud throughout the second. But the brilliance of Schnabel should quell the hesitation of potential buyers. - Bach also gets his share in this month's records. The British .Symphony Orchestra,, conducted by Sir Henry Wood (Colum- bia LX173. Os.), play, in a ridiculously cut arrangement, the Third Brandenburg Concerto, with tremendous relish and con- siderable effect. There is an occasional shrillness Of tone, and a marked dullness in the passage for violas in the second movement. Mr. Eugene Goossens' arrangement of a Bach Suite in G (the fifth French suite, with some omissions and the substitution of a stray Minuet. H.M.V. C2273. 4s.) is de- lightfully played by the London Symphony Orchestra, con- ducted by Mr. Goossens himself. Miss Yvonne Arnaud (on H.M.V. C2455-6. 4s. each) plays with delicacy and decision an Allegro in F minor (from one of the concertos), together with Saint-Satins' Valse Caprice, Haydn's Rondo at Hungarese, and Raff's La Fileuse.
Miss Harriet Cohen (on Columbia DX375-0. 8s.) plays Mozart's Sonata in C major. Miss Cohen's style is but ques- tionably adapted to the playing of Mozart. She is inclined to drag and push, and has an unnatural predilection for rubato playing. Her tone is frequently, indeed chronically, colourless. Her interpretative powers may possibly be acute, but her technique appears to be the unknown quantity. We may also note : Roman Carnival Overture (Berlioz), excellently played by the Halle Orchestra, conducted by Sir Hamilton Harty (Columbia LX172, 6s.) ; Overture to Filth') (Beethoven), played by the Berlin Symplainy Orchestra, con- ducted by Kopsch (Decca-Polydor LY6040, 3s. 6d.) ; and The Fire-Rider and The Stork's Message (Wolf) brilliantly sung by Heinrich Rehkempe (Decca-Polydor LY6022. 3s. 6d.).
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