the week's RECORDS

Radio Record, Volume XII, Issue 28, 23 December 1938, Page 9

the week's RECORDS

a A~ QO the man-in-the-street, Brahms was once probably the least known of all the great masters-even if aji are not guite ss inndéent of knowledge on the subject as the hero of a certain story. "Do you like Brahms?" he was asked, to which he repHed, "Never tried them-what are they?" And this recalls another: A.: "Do you like Brahms?" B.: "M-m-b-Ye-y-Yes." A.: "No more do IE!" Brahms was not always held in the same high regard as he is today-people joked about him, others failed to appreciate his worth as a composer, and the French musical public came near to foathing him. Indeed, one Parisian public auditorium displayed emergency door signs as follows: "Emergency Exit in case of Fire-or Brahms!" Of course, the growth of the eult of Brahms and his widespread appreciation today is réflécted in the recording companies’ supplements, SO it is not strange to find among the recent H.M.Y. dises, two very fine overtures by Brabmsthe "Academical Festival" and the "Tragic." Thanking Them As a graceful recognition of thé honour of being made a Doctor of Philosophy by the University of ‘Fireslau in 1880, Brahms composed tis "Academical Festival’ over‘ure. Despite its rather solemn ritle, this overture is one of the zayest pieces that he ever wrote. _ Brahms selected a handful of the more convivial student songs and worked them into a concert overture which remains one of the: amazing pieces of comedy in the whole range of music. The last tene to be used. and one which university students the world over know, is "Gaudeamus Igitur." Needless to add, the Vienna Philharmonic Orchestra, under Bruno Walter, have in their record (H.M.V. DB 38394) thoroughly entered into the spirit of the work and the result is a dise which will find its way into many Hbraries. It deserves @ place on every shelf. Linked with the "Academic Festival" is the "Tragic" overture, which was completed a few months later-and the two overtures were both played under the composer’s baton when Brahms received his degree. Beyond the expression of the mood that the title suggests, the "Tragic" overture has no "story" behind it, Played by the BBC Symphony Orchestra, under Arturo Toscanini, the records (H.M.V. DB 2349-50) are all that can be ¢desired. The overture takes up only three sides and the fourth and remaining side contains in delti¢htful contrast the Menuetto and Trio which comprise the third movement of Beethoven’s "No. 1 Symphony in ¢." Under The Moon ' No one could depict "Moonlight" in music to so successful a degree as Debussy, the "Moonlight" sonata notwithstanding (a title by the way, which was none of Beet‘hoyen’s choosing). "Clair de Lune" seems to be the very embodiment in music of the calm beauty of a summer night and the white light of the full moon. , "The music seeks to. suggest rather than actually depict the Scene, but there is a more clearly defined melody than is usuial in the Debussy pastels. That. Leopold Stokowski has succeeded in his transcription for orchestra will be admitted by all who hear this record (H.M.V. DA 16384), played by the Philadelphia Symphony Orchestra.