Evening star., 1961-05-07

In the Steppes of Central
Asia; Glinka, Overture to
Russian and Ludmilla; Liadov.
Fragment de lApocalypse;
Lamoureux Orchestra, con-
Quoted by Igor Markevitch-
ODeutsche Grammophon)-
This will be no disappoint-
ment to adherents of such
music, for Markevitch con-
tinues to show he is one Of
the days top music-makers.
CHARLES VALETTI: Fa-
vorite Songs from his 1860
Town Hall Recital-(RCA
Victor)-Valletti may not be
remembered as the greatest,
nor even the second best
Metropolitan tenor, but on
the concert stage he casts a
haunting spell. The first
half of this program is of the
classic Italian school, sung in
Italian. The second half is
in English and includes such
as Drink to Me Only with
Thine Eyes. Believe Me If
All Those Endearing Young
Charms and other favoriteS.
Like Tito Schipa, Valletti's
innate artistry makes the
most of a sweet, cultured
voice. Cheers. too, for his
accompanist, Leo Taubman.
THE ROMANTIC MUSIC
OF SPAIN: Charles Milgrim,
piano - (Kapp) - Milgrim
may be a new name to most
Of us. Be not afraid, for
Kapp knew what it was doing
in this collection of 10 pieces
by the foremost Spanish
writers. Albeniz, Falla, Gran
ados and Turina. Milgrim. a
young American, handles
these with aplomb and is
given solid support in the
sound department.
LALO: Symphonic Espa-
gnole; Saint-Saens: Violin
Concerto No. 3; Aaron
Rosand, violin, with the
Baden-Baden Orchestra con-
Quoted by Thor Szoke-
(Vox)-The Lalo has been
recorded to death lately, but
not the equally desirable con-
certo of Camille Saint-Saens.
In this business names some
times bob up with irritating
irrelevancy, to-wit: Mr.. Ros-
and. Let it be said he has one
of the sweetest, most ex-
quiSite bows in the business,
and with his and Szoke'S ad-
mirable musicality behind
1t, this is a first-rate record.
= \
BACH: Six Little Preludes:
Chromantic Fantasy and
Fugue in D minor; Partita
No. l in B flat major; Toe
cata and Fugue in D major
Carl Seeman, piano - CDeu-
tsche Grammophon - Mr..
Seeman long ago made his
mark in this world as pianist
and pedagog. He must play
Bach as he felt Bach want
ed Bach played. And that's
not bad. Perhaps a touch
pedagogic in spots, compared
with some thoughts, but all
in all, masterful demonstra-
ton of solid pianism, with
that good piano sound.
4 \ \ 4
TART: Symphony
No. 25 in G minor, K. 1888;
Symphony No. 36 in G major,
K. 425 CLinzO; Pro Musica
Orchestra, conducted by Otto
Klemperer - (Vox) - Some
body goofed in reversing
labels on the two sides Con
our copy at least. But no
one goofed in hiring KLEIN
perer to conduct, for every
thing comes out Mozartian.
The sound may not be the
clearest, but who cares?
+
HUMANN: Carnaval
KreSisleria Toccata;
Gyorgy Sander, piano-(Vox)
Now here is a pianist for
our money. Sander is as at
home with these as can be;
the romanticism must be in
his veins. So it is a happy
day for Schumann, especially
in the touching KreiSleriana.
n 4 4 4
BARTOK: Piano Concerto
No. /, Rhapsody for Piano
and Orchestra; Gyorgy
Sander with the Baden
Baden Orchestra under Rolf
Reinhardt- (Vox) Another
field day for Sander, and
marvellous rapport with
Reinhardt and the orchestra.
For every lover Of Bartok-
a must! This is his most
exciting concerto. splashed
with rhythmic colors writ
ten in the composers most
exuberant hour. Too much