GRAMOPHONE NOTES

Press, Volume LXXI, Issue 21416, 7 March 1935, Page 5

GRAMOPHONE NOTES

NEW RELEASES (By "Disc.'') j Some men use a skipping rope to prepare them for the day's work. Yeliudi Menuhin employs his violin to keep him fit and well, and begins each day with one of Paganini's caprices or a Bach sonata. His enthusiasm for these composers is clear in the latest releases. Paganini's "Caprice No. 24," arranged by Kreisler, is played brilliantly and, although unaccompanied violin pieces are not always everyone's fancy, this cannot fail to satisfy (H.M.V. DA 1281). The first movement of Bach's "Concerto in E Major" was selected for the Columbia "History of Music" as typical of his compositions. Menuhin, with the assistance of the Paris Orchestra Symphonique, now plUys the complete concex-to with warmth and true artistic feeling. The sixth side is occupied by a movement from the "Partita No. 1 in B Minor" —a real gem. (H.M.V. D.B. 2003-5.) Some of Ravel's music is neither easy to play nor to understand. but his "Tzigane" is tuneful and allows the violinist to display his virtuosity. Menuhin takes full advantage. (H.M.V. D.B. 1785.)

' In many instances the stories that have been connected with famous classical music are apocryphal. In the case of Haydn's "Farewell" Symphony, though, it has always been accepted that the design of the fourth movement was a hint to Prince Esterhazy that liis players needed a holiday. Sir Thomas Beecham follows up his inspired interpretation of the "Fair Maid of Perth" Suite by the best recorded version of the "Farewell" symphony. Haydn's subtle jest in the (inale is not overdone. The recording is helped by the new process, but the phrasing is Beecham's. (Col. LOX 197-9.) The Kolisch Quartet is a new combination, and their second set of records has just been \-eleased. They play Mozart's lovely "Quartet No. 21 in D Major," and if they maintain the standard they have already set their records will be eagerly awaited. (Col. LOX 200-1.) Massed piano records are no longer novelties, but a massed 'cello orchestra is unusual. The playing in this way

of the andante from "William Tell" and Schumann's "Traumerei" mayoffend musical purists, but the record is at least interesting. (Col. DO 1311.)Schubert's "Serenade" and Godard's "Angels Guard Thee" have been played and sung so often that they are in danger of becoming hackneyed. The latest recording by the Celebrity Trio (Regal G 22260) is worth attention. Marek Weber's latest offering is entitled "Lilac Times," and consists o£ a pot-pourri of the better known tunes of Schubert. Weber may always be relied upon for a bright and pleasing record. (H.M.V. C 2673.) The vocal record of the month contains two songs from the "Tales of Hoffmann." The familiar "Barcarolle" is sung by Margarete Teschemacher (soprano) and Margarete Glose (contralto! in German. In the coupling, from the dramatic scene, where Antonia is persuaded to sing, DomgrafFassbaender (baritone) assists. In both instances the chorus and orchestra of the Berlin State Opera do their work unobtrusively and excellently. (H.M.V. D.B. 4410.t Richard Crooks has, in many of his records, suffered from over-amplifica-tion, but in "The Prayer Perfect" and "So, We'll go no More a-Roving" he is allowed to sing naturally. 'H.M.V. D.A. 1386.) Essie Ackland excels in certain types of songs and her contralto voice has not been heard to better advantage than in "Sweet and Low" and "A ■Song of Thanksgiving." (H.M.V. B8161.)