New Records

For the first time since the late Artur Schnabel's memorable performances of 1932, all 32 of the Beethoven piano sonatas have been recorded (for Decca) by one man. The pianist: Germany's Wilhelm Kempff, 56. In Paris last fall, Kempff played the complete Beethoven cycle in recital, and Paris' critics forthwith ranked him ahead of Schnabel, Backhaus and Serkin. For the time being, at least, U.S. Beethoven fans will have to appraise his works from recordings. Like his fellow German pianist, Walter Gieseking, Kempff chose to go on playing in Germany under Hitler, now seems disinclined to risk McCarran Act visa difficulties, and the kind of uproar that sent Gieseking home in 1949. He has recorded most of the Beethoven sonatas in the past (for Polydor), but the Decca disks are new and marked by lustrous tone and silent surfaces. Kempff plays with splendid seriousness in the diabolical Hammerklavier, delivers such lighter sonatas as Op. 2, No. 3 with a hint of mischief. Twelve of his performances have been released on six LPs; the rest will be out next month.

Other new records:

Bloch: Israel Symphony (Vienna State Opera Orchestra and soloists of the Akademie Choir, Franz Litschauer conducting; Vanguard, 2 sides LP). An early work in Ernest Bloch's monumental "Jewish cycle" in a first recording. Its single movement falls into three large sections, contrasts richly contemplative and passionate moods. Voices add a songful quality to the finale. Performance and recording: good.

George London: Dramatic Scenes from Russian and French Operas (with the Metropolitan Opera orchestra, conducted by Kurt Adler and Jean Morel; Columbia, 2 sides LP). Up & coming George London uses his darkly magnificent bass-baritone to best advantage in the melodramatic scene from Prince Igor, sits rather heavily on the more lyrical ones. Other operas (all little known) from which London sings selections: Rubinstein's The Demon, Paladilhe's Patrie, Massenet's Don Quichotte.

Martinu: Sonata for Piano and Flute (George Reeves and Rene Le Roy; EMS, 1 side LP). Melodic inspiration (vintage 1945) and superior performances make this attractive listening. The more astringent Martinu -- and some spectacular pianism--are on the other side, where Charles Rosen plays five short studies and polkas and a longer work, Les Ritournelles. Recording: good.

Mendelssohn: A Midsummer Night's Dream (New York Philharmonic-Symphony, George Szell conducting; Columbia, 1 side LP). For sheer beauty and realism of orchestral sound, this recording of the overture and four incidental pieces is one of the finest since the first LP was made. A kindling performance.

Puccini: Tosco (Maria Caniglia, Beniamino Gigli, Armando Borgioli; chorus and orchestra of the Royal Opera House, Rome, conducted by Oliviero de Fabritis; Victor Treasury series, 4 sides LP). Puccini's fieriest, reissued in the fine, robust performance that was a pre-LP highlight. Recording: good.

Complete Piano Music of Ravel (Robert Casadesus; Columbia, 6 sides LP). A major undertaking by an artist who is at his best in French music. Casadesus delights in the pastel shadings of Le Tombeau de Couperin, ripples almost too effortlessly through the intricacies of Gaspard de la Nuit. For the four-hand Mother Goose suite and Habanera, he is assisted by his wife Gaby. Recording: good.

Rimsky-Korsakoff: Suite from Le Coq d'Or (French National Symphony Orchestra, Roger Desormiere conducting; Capitol, 1 side LP). A color-rich score, played with elegance and recorded with luxuriant sound. The suite is also available on Vanguard, played by the State Radio Orchestra of the U-S.S.R., Nicolai Golovanov conducting. The latter reading is less sophisticated, has less resonant sound, but the recording is up to the standard of most U.S. releases.

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