Page 10, 14th April 1939

14th April 1939
Page 10
Page 10, 14th April 1939 — Gramophone

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could imitate anything


cYMPHONY No. 5 in E minor: Tchaikovsky. The latest recording of this famous Symphony is one of the H.M.V. Four Shilling Classics; there are five records, ten sides, and the price is, therefore, one pound. Constance Lambert conducts the London Philharmonic Orchestra with a delicate, unhurried style, but never lacking in sense of climax or the thunder of full orchestra where so this noble score demands. In fact, I fancy that the last movement is taken at a greater speed by most conductors to-day than the composer intended; such performances would scarcely have been practicable in the eighties, though to-day we accept them as part of the entertainment.

I should apply these remarks to the finale also of the Mendelssohn Violin Concerto, which is apt now to be ruined by the virtuoso.

DETROLICEIKA (Stravinsky) the Philadelphia Orchestra, conducted by Stokowski. (H.M.V.: Album of four records.) Read the analytical note if you have not seen this ballet, and you will be able to follow this luxurious, if strident music. It was first produced in 1912 and caused a sensation. We can trace here, of course, the influence of Rimsky-Korsakov, but the orchestral powers of this Russian composer were seen to be phenomenal from the start; in fact, Stravinsky can give a very fair imitation of anything, even a hurdygurdy or a musical box, by his extraordinary knowledge of timbre.

You could not have a more masterly performance than this, and it displays the kind of familiarity that breeds not contempt but precision, in which American bands head the world.

MOZART'S Night Music is played as a string quintet by the Pro Arte players and this gives it a charm and intimacy for which no praise is too high. Claude Hobday supplies the double bass part.

Brailowski makes his first recording for the H.M.V. on DB 3706, and has chosen the Valse Brillante of Chopin (Op. 18) and the three Ecossaises of Op. 72. These are two-in-a-bar dances and are not to be confused with the Schottische of the ball-room.

Elisabeth Schumann returns to leider for her record this month (April), a Lullaby by Wagner, and Oh viand je dors of Liszt. The former has never been recorded before, it is one of Wagner's few songs, apart from opera.


BOROWSKY is engaged in making a I/ series of records of the Hungarian Rhapsodies of Liszt. They vary in interest and popularity, no doubt, but are all among great pianoforte music and admirably played.

The Berlin Philharmonic Orchestra under Leopold Ludwig has recorded Beethoven's Leonore No. 3; the most familiar of these overtures, for, as is well known, it was a matter that Beethoven could not leave alone. He was always trying his hand afresh on writing an overture to this opera. Nor could we willingly spare one bar of them to-day. A fine and scholarly recording. LY 6135-6.

C. G. M.

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