Evening star., 1942-02-22
Review of Recordings

III keeping WIN LLe style OF CIlOplIl.
In a more serious vein, but also
rife with a scholarly attitude as well
as all the technical perfection which
he commands Is Artur Rubinstein's
album of Beethoven's Sonata No.
20 in E fat major" known as lies
Adieux." 1t is a moving per-
formance with his rich tempera-
ment fully attuned to the program
the composer designated for this
lovely work. Less interesting be-
side these greater artistic lights is
the performance Of Mozart's. Son
alta No. S in G major, K. 283" and
Sonata No. II in D major, K. 576,"
by Claudio Arrau. Mr.. Arrau is a
Chilean pianist who has attained
wide acclaim in Europe and Amer
lea. He is a newcomer to Victors
roster of artists and it will be in
teresting to hear him again in some
other type Of music.
Not in some time has any of the
phonograph companies put out so
thrilling a work as the Walton
Concerto for violin and orchestra"
which is also one of the major re-
leases of Victor this month. The
concerto is dedicated to and played
by HeifetZ with the Cincinnati
Symphony Orchestra. It's conduc-
tor. Eugene Goossens, is a great
friend of the British composer, so
the presentation Is a labor of love
on the part of conductor and soloist,
Mr.. Heifetz having also edited the
concerto.
This Is Mr.. Walton's latest work,
given its premiere in this country
but never heard by the composer,
who had remained in England. until
this recording was sent to him by
Clipper. 1t is a magnificent and
at the same time formidable work,
requiring super-technique to pre-
sent 1t in any shape. 1t is hardly
possible to think of another violinist
playing it with the same brilliancy
and finish as HeifetZ. Its tremen-
dous mechanical demands are offset
by an intensely dramatic content,
the stormy power of which is re-
lieved by rarely beautiful melodic
passages. On the whole, however,
the tension is kept at white heat
and Heifetz outdoes himself in the
quality of his performance.
The same artist with his faithful
collaboration, Emanuel Bay, has also
recorded the Brahms second sonata,
giving a highly poetic performance
that will surely take precedence
over other recordings Of the same
work.
Among the symphonic works on
Victor's latest lists precedent must
be given to the Philadelphia Or
chestra's recording of Shostakovich'
Symphony No. g." The composers
name is spelled SzostakowicZ, which
is correct, but to most people un-
familiar. Stokowski who directs the
orchestra in this album introduced
the symphony to this country two
years ago and played 1t on one of
his programs in this city. The COM
poser's recently completed Seventh
Symphony" was scheduled for per-
formance in Moscow this month.
The symphony is in three move
ments, vastly contrasting. The first
could stand by itself for it is monu-
mental in its structure, family rem
iniscent of Sibelius in its strength
and heavy content. A pessimistic
tone is prevalent in this movement,
but through 1t is to be felt a great
earnestness. The two lighter sections
that follow. and particularly the
third movement, come as a distinct
surprise. However, the last move
ment is a real joy in its fresh and
invigorating gayety and sharp
rhythms. Greater familiarity with
the work makes the Philadelphians'
performance doubly interesting.
Again the Philadelphia Orchestra,
this time conducted by Eugene
Ormandy, is present with an album
of the symphony made from the
music of Hindemith's Matthias the
Painter" In arranging this orches-
trail version of excerpts from his
opera, the composer has chosen
those named after three sections of
the renowned Isenheim Alter, with
its famous paintings by Mathis
Gruenewald, the hero of the opera.
Entitled angelic Concert" En-
tombment" and Temptations of st.
Anthony" Hindemith has sought a
counterpart in music of the painters
art.
The music is thoroughly modern in
form, which in Hindemith's case has
more understandability and genuine
ness than in many another's writ
ings. 1t is, however, hard in outline,
scarcely approximating either the
rich colors of the paintings them
selves or the impressive beauty of
the subjects. The reading of the
orchestra is more academic than
inspired and helps little in q Just
appreciation of the music.
A more satisfying recording all the
way round Is that of LISTS ME
phisto Waltz" by the Boston SYM
phony under DR.. Koussevitsky. The
tonal character of this ensemble is
ideally suited to works Of this type
and DR.. Koussevitsky directs it with
fire and abandon. Another album
by the same orchestra presents
Sibelius' symphonic poem, 'Tapiola"