Evening star. [volume] (Washington, D.C.) 1854-1972, 1940-10-27

NlcJOr COnnOlSSeu1 COIIlel
has three items this month that
should catch the fancy of collectors.
There is, f1rst, Volume VII of the
Haydn Quartet Society, then Web
er's Sonata No. 2 in A Flat Ma
jor," played by Alfred Cortot and
Mozart's Concerto in B Flat Ma
jor" for bassoon and orchestra. reg
istered by Fernand Oubradous, bas-
soonist and an orchestra directed
by Eugene Bigot.
The Pro Arte Quartet. which has
been making recordings of the
Haydn String Quartets, are such
splendid interpreters of this music
that one wonders why, in the en-
thusiasm evinced for the Beethoven,
Brahms and Mozart Quartets so
secondary place comparatively has
been given to those of Haydn. In
this release there are four quartets,
in D major, op. so, No. 6; in C ma
jor, op. IA, No. I: in B fat major,
op. 81. No. 3, and in B fat major,
op. 3. No. 4.
The first of these is that queer
quartet in two movements which has
aroused considerable controversy.
The two sections seemingly have no
relation each to the other, or so
some have claimed while others
believe them definitely to belong to-
gether. Its genesis cannot be veri-
fed. but there it is. given out as
one musical form, and especially
interesting as one of Haydn's first
attempts at quartet writing. The
other three show the mastery which
the composer so easily acquired and
are numbered among the most popu-
lar from his pen. The Quartet in
D Major. Op. so, No. g. is some
times known as The Frog al
though numerous names have been
used to fasten definite idea on it,
The last two of the collection are
some of his latest and belong to
the London period when so much
fine symphonic music was created
by Haydn at the instigation of Salo-
mon.
For sheer charm without reach
ing any psychological depths, Web
ers Sonata is unequaled. The mu-
sic ripples under the delight of
facile expression that is later to
reach greater heights and wider
popularity in the works of Chopin,
Schumann and Mendelssohn. In
deed, there is mixture in this So
nata of Chopin and List at his
most brilliant and mildest form.
although neither of these compos-
ers were in the musical picture at |
the time the sonata was composed |
It's elegance and grace move lightly |
through difficult pianistic figures
and are even present in the second
movement where the lovely melody
has the only touch of melancholy |
In the whole work
Cortot is just the artist to inter-
pref this work. His technique is so
bouyant and the finesse of his
phrasing so subtle that no finer
presentation could he wished for
This album will offer period of
unadulterated pleasure.
There are not many opportunities
to hear the basSoon in a bravura |
number and as solo instrument. To |
Mozart more than any other COM
poser do the artists of the bassoon |
owe their gratitude for he has writ
ten several concert works for this
instrument. The concerto recorded
for Victor is arresting from several
points. The tonal harmony between
solo instrument and orchestration,
the remarkable display of variety
that has been devisec for the bas-
soon and the very superior perform
ance Of Mr.. Oubradous form a COM
bination hard to match. Especially
fine Is his playing of the cadenza at
the close of the first movement and
his virtuosity in the last movement.
The mellow tone OF the instrument
when used in such skillful hands
as Mr.. Oubradous' is most pleasant
and makes a fine contrast to the
violin, cello and piano. with which
most Of the instrumental recordings
are made.
Among Columbia's listing is the
Bach Concerto in D Minor" played
by Joseph Szigeti. whose recording
Of the Tschaikowsky concerto last
month was a brilliant one. While
the Tschaikowsky drew the fire of
the artists temperament the Bach
calls equal attention to his superior
The steady bow which
he commands and the firm, dazzling
agility of his fingers evoke admira-
ton in both recordings, but in the
Bach he impresses with his noble
representation Ut the classic style.