New GramOphone Records
UNDOUBTEDLY the most outstanding feature of the Beethoven Centenary has been the activity of the gramophone com-
panies. To a large extent, the Centenary has been an affair of records and reproductions, and while we could have wished that some of the purely commercial paragraphs in this con- nexion had been suppressed, we can feel nothing but the warmest gratitude for the meticulous care which the com- panies have devoted to the various performances.
"His Master's Voice."—In my own opinion the finest of the H.M.V. reproductions is the Violin Concerto (Opus 61) played by Kreisler and the Berlin State Opera Orchestra under Dr, Leo Mech. It is possible to bring the criticism that the solo part is made to stand out too sharply, but for sheer brilliancy and dignity I have never heard a gramophone performance to equal it. On the odd side Kreisler plays the Adagio from Bach's Partita in G minor, and draws upon the whole fund of his technical resources.
The Virtuoso String Quartet play Opus 18, No. 6, the third Rasonmovsky, and Opus 127. In spite of faulty intonation in the first violin part at the beginning, the Rasoumorsky is the best of these performances, although in all three the ensemble is well compounded and retained. The wonderful Opus 127 has proved too elusive for these players. It is a conscientious attempt, and the variations mark a high attainment in quartet-playing, but on the whole the interpretation lacks subtlety and eloquence.
Of the symphonies, the most notable achievement is the " Choral " conducted by Albert Coates—a magnificent en- counter. The Scherzo is so vital that almost I was persuaded that I was in immediate contact with the performance. The choral work, too, is firm and well knit, and not a mere con- fusion of emphatic sounds. Of course, we expect too much if we hope to hear the words. Beethoven was not thinking of clear enunciation here—only of cumulative effect.
Coates also gives a vigorous performance of the Eroica Symphony. Lomond plays the Sonata Pathetique in his most idealistic manner. The benefits of the new electric process arc very evident in his two double-sided records.
" Columbia."—This Company has spared no pains to make the Centenary a landmark in the history of mechanical music. An advisory body was appointed for the occasion, and it is interesting to note that among the members are three Bishops. We conclude from this that no stone has been left unturned ; certainly no work of importance has been left un- recorded. Very soon all the quartets (played by the Lener group) and the symphonies will be available. After the memorable Beethoven concerts given by the Lerner players, their records will be eagerly awaited, more especially those embodying the last quartets. One of the deepest of all the impressions I have received in the concert-hall is the playing of the slow movement of Opus 131 at one of the last of the Lener concerts. It was a mirage of lovely sound, which lured one on to follow and follow and then melted into thin air. Among the conductors engaged for the Symphonies arc Henschel (No. 1), Beecham (No. 2), Wood (No. 3), Harty (No. 4), and Weingartner (Nos. 5, 6, 7 and 8). The " Choral " Symphony has already been issued by this Company, and reviewed in these columns. Among the other works which have been recorded are the Kreutzer Sonata (a clean, straight- forward performance by Sammons and Murdoch) and the fine B flat Trio, Opus 97.
" Vocalion."—Records of the speaking voice are rarely satisfactory. This Company has issued a double-sided record of the " Fall of Wolsey," spoken by Mr. Henry Boynton (Wolsey) and Mr. Max Gayton (Cromwell). The reproduction of the voices is admirable in every way ; even the problem of sibilants is considerably diminished. It is all the more dis- appointing, therefore, that the speaking is undistinguished. Unimportant words arc given an unwarranted significance, and the rhythm of the lines is constantly broken by some meaningless point of interpretation. In addition there arc many curious perversions of vowel-sounds.
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