New Records by Campoli

Bach: Sonata No. 4 in D minor for solo violin. Decca AK1955-7 (12in.-24s). Mendelssohn: Concerto in E minor, op 64, with the London Philharmonic Orchestra under Ednard van Beinum. Dccca AX290-2 (12in.).

Both these sets may be considered not only as magnificent souvenirs of a great artist's visit to this country, but as worthy additions in their own right to the recorded repertoire. The Bach fourth sonata (better known as Partita No. 2) has not previously been available here complete, and even the famous Chaconne with which it ends is perhaps better known in transcriptions for piano and even orchestra. For the general music lover this work is perhaps the most agreeable of the Bach solo sonatas — the inclusion of the Chaconne ensures a better sense of climax, and the odd dance movements which close some of the others. Campoli's performance is of almost overwhelming beauty and the recording here is fully worthy of it.

Owing to the automatic coupling of the set it would not be possible to obtain the Chaconne separately — those who want that piece alone may care to consider, rival versions by Giocanda de Vito (HMC DB6632-3) and by Menuhin (DB2289-90). The Menuhin is by now quite an old recording but has long been considered a classic performance — the de Vito (she is a young Italian violinist who has recently come into prominence) is magnificently alive and colourful. But for the sake of having the whole work on three records I should unhesitatingly recommend the Campoli.

At the time of writing it is not known whether the (Campoli) Mendelssohn concerto will be released in this country. There is another new version from HMV, featuring Heifetz and Beecham, which it is expected, will be offered here. It may be said that the general consensus of opinion overseas is heavily in favour of the Campoli performance. The work is flawlessly played by the soloist, well accompanied under van Beinum, and recorded as well as Decca know how. A pleasant point is that the first movement ends in the middle of a side — thus the effective link which the composer supplied between the first and second movements is not lost by having to turn over the disc. It is many years since we had a release of this most pleasant of violin concertos — of the three older sets still surviving in the catalogue my choice would be for the Szigeti-Beecham. I rather think most prospective buyers will await the Campolil

Haydn Symphonies

No. 40 in F Major. HMV DB6823-4

^*No. 102 in B flat. HMV DB9449–51 both played by the Royal Philharmonic Orchestra cond. Beecham.

Here we have two works from virtually opposite ends of Haydn's career. The No. 40 in F, which I believe was composed around 1763, has much of the element of a serenade or divertimento — it was written for the Esterhazy family — and the music as such is disarmingly friendly. This is emphatically set for all who enjoy the eighteenth century idiom, and immensely valuable to admirers of Haydn's style, as it is the earliest of his symphonies which has so far been made available here on records. The playing and recording are alike first rate.

We have waited a long time for No. 102 in B flat — an earlier HMV version under Koussevitzky was never made a local release. One of the most splendid of the so-called ‘London’ series composed during the composer's visit to that city, this work seems fully entitled to rank with any of them and it is set forth in a vigorous performance by Sir Thomas in his most assured style. A slight hardness of tone in the more strenuous passages goes for nothing beside the splendour of the music and the intense authority of the playing. This is Haydn at his greatest. Very highly recommended.

Records by Colin Horsley

Berkeley: Six Preludes. HMV C3940.

Prokofieff: Sonata No. 3 op 28. HMV C3941. Rachmaninoff: Prelude in E minor op 32/4 Szymanovski: Etude in Bb minor op 3/4 HMV C3942 (all 12in-6s ea.).

This is an interesting and important issue. So far as I know it comprises the first 12in. records of serious music actually presented by local HMV in Wellington. The labels are scarcely as elegant as those on English records, but the recordings as such are good and on my copies at least the surfaces are quiet and smooth. With admirable business sense, the discs were released to coincide with the arrival of the pianist himself, and record music from the repertoire of his recent concert tour.

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Furthermore, it is a matter for satisfaction that Mr Horsley is now featured on such a famous make of record. Even more a cause for pleasure is that his selection of pieces shows bold exploration of new pianistic territory — all the music is available on records for the first time. This may seem a disadvantage from some points of view — I hear that dealers who optimistically ordered substantial stocks of Horsley discs are wishing they could more easily lighten their shelves of them. If so, this may be taken as indicative of the traditional conservatism of record buyers. The most impressive piece is probably the Szymanovski etude — the Rachmaninoff prelude on the reverse with its violent changes of mood makes a powerful contrast — this is the disc which I think should appeal to most people. The Prokofieff sonata is modernism of a mild sort and quite worth your attention, certainly for the virtuosity of the playing; and Berkeley's brief preludes are fascinating pieces which improve on acquaintance. A final word about the piano tone — it is among the most realistic and convincing samples we have had on records.

Beethoven

Symphony No. 1 in C. op 21. Philharmonic — Symphony Orchestra of New York cond. Bruno Walter. Columbia LX8681-4 Toscannini's pre war version with the BBC orchestra (HMV DB3537-40) has been the standard set for New Zealand these last ten years. Being an immaculate performance and, (since it was made in England) air excellent recording, it cannot be said that this new one displaces it entirely. But there is a danger is getting to know one recorded version of a standard work until one is inclined to regard it as the only possible interpretation. Those familiar with the Toscanini set may regard Bruno Walter's as inferior merely because it is different. Yet I maintain that in its Way it is as valuable a contribution to the long list of Beethoven recordings. The music has been somewhat clumsily divided up to occupy eight sides (one side, indeed, contains the largest amount of vacant space I have yet seen on a 12in. disc) but the virile measured performance is most enjoyable and the recordings, by American standards, is extraordinarily good. Those who do not yet possess a Beethoven Symphony No. 1 are urged to give this one a hearing.

Shorter Notices

Gounod: Faust — Ballads of the King of Thule and Jewel Song. Victoria de la Angeles and orch. cond. Susskind. HMV DB6938.

Commended to the notice of all lovers of fine singing, but especially those who consider themselves rather above Marguerite, her spinning wheel and her childish delight in a box of jewellery. Has there ever been a recorded version more completely in the spirit of Gounod's guileless heroine?

“Brahms: Variations on a theme of Haydn (5 sides); Hungarian dances Nos. 2 3 Vienna Phil. orch. — Furtwanger. HMV DB9402-4. A de luxe performance, brilliantly conducted and spaciously recorded. The use of five sides bumps up the price considerably, but the two relatively unfamiliar dances are page 77 page 78 a decided attraction. The Toscanini set (DB3031-02) is unforgettably played, but the new recording is far more pleasant and convincing in tone. A Decca version by the L.P.O. under var Beinum (AX299-300) is not yet available for comparison.