Evening star., 1938-06-26

performers ample opportunity to DEM
onstrate their ability which must be
Of superior order from the beginning
In order to cope with 1t at all. The
sonata represents Brahms In his later
period Of composition and is q mix
ture Of his great emotional sensitive
ness and the technical sureness that
the years brought him. One finds this
later quality exemplifled in the first
movement which is intricately devel-
oped In the style which Is Brahms in
his finest Towering and In the second
movement is heard the master Of
melody and heart-moving harmony.
A tinge OF melancholy, a sort Of
glancing backward, as 1t were, flows
through the simple outline Of this
movement and is carried over to the
beginning of the third.
But, as If in anticipation OF the
fiery final movement. there are in
troduced passages OF great vigor
bridging the distance between the lyri-
cal interlude to the passionate finale.
The entire sonata. which is dedicated
to Hans Won Bulow. glows with in
tense warmth whatever the particular
mood. Mr.. Szigeti and Mr.. Petri are
splendidly matched and give a per-
Torrance which is clean-cut, thor
oughly balanced and warmly tinted
1t is . recording which can be heard
an infinite number Of times without
exhausting its many revelations Of
beauty.
On the same list is an almost un-
known work Of Beethoven's, that is to
the general public. the Triple Con-
certo in G Major, Op. S." for violin,
cello. piano and orchestra. It Is
played by Richard Odnopasoff. violin
ist; Stefan Auber, cellist; Angelica
Morales, pianist, with the Vienna Phil
harmonic Orchestra. led by Felix
Weingartner.
STARTING OF with a grandiose in
PRODUCTION by the orchestra, the
first solo instrument heard is the cello
followed by the violin, a charmingly
harmonized duet leading into a bril-
liant passage by the piano. In this
hrst movement it would seem that the
major efforts were given to the latter
instrument with the strings forming
beautifully contrasting interludes. The
most interesting part Of this unusual
work is the changing color which finds
play through the varied tonal differ
ences Of the three instruments. The
movement concludes with q maenifi-
cent outpouring Of sound by the COM
bined soloists.
The cello again takes the lead in
the strong melodic line of the second
movement. a theme Of great dignity
and beauty drawing in the three solo,
lists in a lovely interviewer pattern.
The final movement begins with q
polonaise which is intricately manipu-
lated by the three instruments in
varying rhythms to which the orches-
ira adds its voice in powerful con-
cluslon. The work is an interesting
one with fine opportunities for soloists
OF even greater caliber than those
making the recording.
THE Victor Co. comes forth this
month with two noteworthy re-
cordings by the Philadelphia Orches-
ira conducted by Eugene Ormandy.
First and foremost is that of the all
too-seldom-heard Symphony No. 2 in
G major, op. 81" by Schumann on five
double discs, and. secondly, Two
Hebraic Poems" by Harl Mcdonald,
on single disc
Given the genesis of the second
symphony, one can but wonder at the
power of music, for certainly this par
ticular work could shine as an example
OF Its magic over the weak human
body. Schumann wrote that he dis
tracted himself from acute physical
suffering by immersing himself in the
composition of this second of his major
works. Bearing that in mind, it is
astounding to contemplate the result,
for never has music been written that
discloses such opposite" of bodily
pain. Surely this work could be used
to prove how mind can transcend the
physical through music If the gift and
the desire is great enough.
One may well believe that the COM
poser set himself to his task with
great determination for the entire first
movement is vigorous tn the extreme
and moves along, sometimes almost
with fury, to its marvellous develop
ment. There is nothing but health
and vitality in every note and sublime
absorption in noble thought. Not for
a moment does he waver in his ac-
complishment but writes with a free
dom and sureness that is gripping.
Schumann told that he heard the
sound Of trumpets in the key of c and
throughout the first movement he
manipulates these instruments with
telling effect.
The same quality of freshness and
spontaneity Is to be found in the gay