Gramophone Notes
BEETHOVEN'S " Emperor " Concerto (Concerto No. 5 in E Flat Major, Op. 73) is one of those rare examples of musical excellence which have found favour with highbrow and low- brow alike. Herr Schnabel's public, too, is composed of diverse elements, so that the combination of forces (with Dr. Malcolm Sargent and the London Symphony Orchestra ;
DB 1685-89, 80s.) should prove pretty generally acceptable. The " Emperor " was Beethoven's last concerto, and it is not easy to guess at his approach to a sixth. There is an air of assurance and finality about the work which suggests that Beethoven's future development would be rather a con- solidation of position than an exploration of fresh territory. Herr Schnabel's interpretation is dignified and not lacking in sensitiveness. His treatment of the third movement is more restrained than is customary, but is nicely calculated to balance his magisterial rendering of the first. It is difficult to find fault with the recording.
The rest of this month's records are rather dwarfed by the first mentioned. Mengelberg with the Concertgebouw Orchestra (Columbia LX 168, 6s.) gives attractive renderings of two of Grieg's Elegiac Melodies, The Last Spring and Heart Aches • pieces which have suffered from an unmerited oblivion, and free from the oppressive nostalgia which overwhelmed Peer Cam, nt and other of the composer's better known composi- tions. L'Orchestre Symphonique de Paris, conducted by Eugene Bigot (on Col. DX 355, 4s.) gives a pleasant version of Thomas' Overture to Mignon.
There is little else of conspicuous eminence to note. Among single records, we may recommend Dohnanyi's versions of Strauss' Schatz Waltz and Du and Du from Die Fledermaus (H.M.V. C 2363, 4s.) ; Te Deum in C (C. V. Stanford) sung by St. George's Chapel Choir, Windsor ; conducted by Sir Walford Davies (Col. DX 357, 4s.), and the Lener Quartet's playing of the Nocturne from Borodine's Quartet in D (Col. LX
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