Dvorak's Violin Concerto in A minor is perhaps the most important addition to the musician's library that is offered by the Gramophone Company this month. It is a work not too well known in England yet undoubtedly one of the finest con certos ever written for the violin. The soloist is Menuhin who has now gone into retirement for two years, and the orchestra is conducted by Georges Enesco who was responsible for much of the previous training of this prodigy of the violin.
Dvorak himself was assisted in this work by Joachim and it will never now be known how far the hand of this great violinist changed or modified the solo part of the concerto. In this work we have not perhaps the more popular and tuneful Dvorak but it is obvious that he lavished the resources of his rare genius upon it. Nor is it lacking in lovely airs: witness the theme of the second movement into which the first movement passes without pergeptible break, and the gay, care-free finale. A glorious set of records, H.M.V. Album No. 254, in which will be found a first-rate analytical note to help the student.
The fame of Kirsten Flagstad has now gone forth from Covent Garden, and the press has been loud in her praise. On D B 2747-8 she is heard in Elizabeth's prayer and Elsa's dream; the first, from Tannhauser, reveals the dramatic versatility of this great artist for it is sung with all the virginal purity that the part of Elizabeth demands, so different for instance from the erotic passion of Isolde or the battle-cry of Brunnhilde.
We are indeed fortunate in this country to have heard this season a soprano who
will revive for many recollections Melba.
Who can resist the singing of the gr Italian Gigli? In the "record of the mont D A 1454, he is heard in two popu Italian songs, "Mattinata" and "Torn Surriento." Few tenors have .ever p sessed such dynamic force as Gigli yet musical quality is never lacking and control is perfect.
C. G. M