THE GRAMOPHONE

Southland Times, Issue 21101, 5 June 1930, Page 15

THE GRAMOPHONE

RECORDS OF THE RECORDINGS.

(By 1

“Vox Populi.”)

Arriving so closely on the composer’s B flat concerta issued by the same company, the H.M.V. Album seems to be a happy omen for collectors (says Mr Parkenham, a New York critic). This from the title page: Brahms. Double Concerto in A minor (Op- 102). JacquesJThibaud (violin), Pablo Casals (violoncello) and the Pablo CaSals Orchestra of Barcelona, conducted by Alfred Cortot. (Four records in album). Brahms orchestral swan song was singularly apt. The first movement (four sides) speaks promise of heroic attainment; the second (two sides) rolls out a typical ancient German song enriched with exquisite harmonies, and the third (two sides) deals in triumph and confidence blended with a suggestion of philosophic humour. In ■ passion, as in his other moods, Brahms has no time for unnecessary blandiloquence and wastes few bars in precipitating an argument, fought out with verve by the solo instruments. It is a pity that this episode should commence on the first record, for it reveals, more‘than any other part of the concerto, the disparity between f Thibaud and Casals. It is fortunate, however, that this is rather a lack of sympathy with his composer than a question of technique. Capturing the intent of Brahms, Casals carries the burden and dominates the whole performance. The orchestra is lacking in tone, but this is a shortcoming which may always be expected in a concerto for solo strings.

A valued album from Columbia contains Tchaikovsky’s Fourth symphony, by Willem Mengelberg’ and the Ooncertgebouw Orchestra of Amsterdam (comments an American critic). This is a gesture toward one of the props of the gramophone’s childhood. In the early days of complete works Tchaikovsky ran a short-lived best-seller career and is still a favourite with those in the first stages of library building. In ’ terms of record catalogues, Tchaikovsky wrote these symphonies. Why he commenced numbering these with the Fourth, gramophonically speaking, will ever be answered, though this album helps one to a conclusion.

The first production of this symphony received an apathetic reception, and even Tchaikovsky’s friends avoided mention of the subject in his presence. Encouraged to comment, the precocious Taneieff, twentytwo years talking to thirty-eight, could hardly be cruel enough. He slashed at the score unmercifully. The first movement was too long, its rhythm wearisome, and every movement had phrases reminiscent of ballet music. \ Before this, Tchaikovsky had explained the composition to Mme. von Meek.' First

movement (four Bides) —Inexorable fate. Second (two sides) —The suffering and weariness of existence, solaced by the joys of memory. Third (two sides) —Confused flights of bizarre fancy that inhabit our brains as we fall asleep. Finale (two sides) —Comfort drawn from witnessing the happiness of others, interrupted again by fate and closed in reconciliation with things as they are. ’ Which is to assure those familiar with them that this is of the stuff that might be ready made for Mengelberg and his Concertgebouw Orchestra. On the records these people have worked themselves into the position held in certain circles’ by de luxe organists of the movie houses, and by the same methods. No opportunity for extravagant contrast has a chance to get by them, and every emotion receives ample justice. There is an earnestness about it all as though Mengelberg wished us to understand that the peasant who originally gave sound to many of these lilts is now at the Russian and not to be considered lightly. ... . The recording is regularly high. ine pizzicato of the third movement is on the thin side, but the violin tone throughout is undoubtedly Columbia’s own. This is a set which should meet with the warm approval of those Tchaikovsky admirers who prefer to feel as the composer I might, and consequently found Stokowski (Philadelphia Orchestra) tiresomely unbending. . _