Evening star., 1954-01-03

MArCeuO ana D group OF pieces
by Cimarosa assembled by Ar.
thur BENJAMIN. The recording
was done over the last decade.
but evidences thereof are ir.
relevant to the pleasure in
volved.
Lost AvoiIobIe
One Of the most poignant
phrases to appear on a record
label, many collectors will
agree, is the 'last available re-
cordings of" which stands just
above the name Dinu Lipatti
on a little 10-inch Columbia
LIP. Lipatti, a Roumanian.
was still practically unknown
in this country when he died
in 1850 at only 80. but among
European musicians he was re-
spected as one Of the era's
most gifted pianistic talents.
This recognition led to some
record-making. though Q far
too modest amount.
To the previously released
Grieg and Schumann con-
certos and discs of music by
Chopin, Bach and Mozart
only four LIPS In all-this last
record adds Ravel's "Alborada
del Gracioso," Liszt's "Sonetta
del Petrarca 104." and two
little sonatas by Scarlatti.
"Cortege" and "Pastorale."
Measured by groove length the
disc is insignificant. but these
little pieces are eloquent testi-
mony to a sad loss. They are
gems.
Master Of Mozort
It is In no way uniting to
proceed to discs Of Walter
Gieseking. Once during the az
termath Of World War II o
great pianist told me that he
understood - from another
great pianist-that Gieseking
wasn't playing so well any
more. Maybe there was a po-
litical opinion mixed up in
this, but in any event the
photographic evidence con-
tinues to pile up that Giese-
king is playing certainly no
worse, and possibly even better
than ever. The latest, from
Columbia. is a coupling of
Schumann's "Carnaval," brisk
er than some others but none
the less persuasive for that,
and Mozart's c major and c
minor sonatas, K. 545 and 457
respectively. The last was re-
corded in 1888, so it doesn't
prove anything about Giese-
king currently. but I don't no.
tice anything particularly diff
ferent about it, except that it is
the finer piece. Gieseking is a
master Mozartian in both.
Ravel's "Gaspard de la
Mutt" talso prewar) and
DebuSsy's "Estampes" and
Images" (undated) occupy a
companion Columbia disc
which is just as masterful. It
is becoming necessary to mind
ones labels. incidentally-wit-
ness recent releases by Giese-
king on Angel. Confusion con-
founded.
Engaging SubtIeties
That other pianistic stall
wart. Edwin Fischer, also is
represented in the recent is
sues, once in an HMV coupling
Of Schumann's c major fan
tasia and Brahms F minor
sonata. and again in a two
disc Victor set of no fewer
than four Mozart concertos,
the 18th. Goth. 22nd and oath.
The Brahms and Schumann
appear to be recent recordings,
although the sound is enough
below par to suggest dubbings
from standard speeds. Both
are well played, the Schu-
mann sounding much less like
technical exercises than some
times happens. AS for the con-
certos. Fischer is a specialist
in them. and the most ap-
parent objection-the age of
the recordings, all of which
are revivals-is a negligible
one. The renditions are filled
with engaging subtleties. The
c minor and D minor lack the
propulsion Schnabel gave
them, but the c minor also
lacks Schnabel's cadenzas.
which some may count a
blessing.