~flr'6,r"®

Somewhat more successful is the Brahms
group in which, curiously, Miss Davy employs
a much less opulent tone. Her rendering
of Auf dem Kirchhofe is, in fact,
quite impressive.
But it is in the last two groups that
the singer is heard to best advantage. The
charming cycle of six Poulenc songs finds
her coloring the voice admirably to the
stylistic demands of the music, and in the
group by Turina, her rich, deep-throated
tones supply just the right emotional
thrust to the music.
The disc devoted to the late Kathleen
Ferrier is, in part, a re-issue of a 78 rpm
album, plus some other material. That
album has been for some time one of the
most valued items in my own collection,
and it is a pleasure to see it in its new,
long-playing version. Technically, the
transfer is excellent. The music is mostly
of a folk cast, and Miss F errier sings beautifully.
Her rendition of the unaccompanied
melody Blow the Wind Southerly
may haunt you for years, as it has me.
The third of the ladies, Suzanne Danco,
brings some wonderfully secure singing to
what must have been a pleasant task. The
"Album de Musique" referred to in the
title was a collection of songs by seventeen
composers, assembled and presented
to a lady in 1835, by Rossini. Among the
composers, besides the donor himself,
were Bellini, Meyerbeer and Cherubini,
together with a group of lesser known
figures. The music is charming, the languages
being French and Italian. The one
duet in the collection finds both parts
sung by Miss D anco; most of the texts are
supplied, and the performances are completely
winning.
D. R.
Landowska of Lakeville
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• BACH: Parfifa No.2 in C Minor; Ca·
priccio on fhe Deparfure of a Beloved Brofher;
Fanfasia in C Minor; J. K. F. FISCH-ER:
Passacaglia in D Minor.
Wanda Landowska (h arpsichord) . RCA
Victor LM 2194.
1
An amazing variety of musical color is
achieved on this disc. One need only compare
the stormy, almost angry sound of
the harpsichord in Bach's C Minor Fantasia,
as against the muted colors applied
to Fischer's Passacaglia.
The Fischer piece, by the way, is a
gem, and one is grateful to Mme. Landowska
for having recorded it-and with
such imaginative registration.
As she
points out in her jacket notes, it contains
a theme that bears a marked similarity to
the one used by Bach in his famous Chaconne
for violin. Apparently, Bach knew
and admired this work.
Owners of Serkin's Columbia recording
of the Capriccio may find it informative
to compare the piano version with the
present one. Serkin, incidentally, plays
the lively closing section with much more
drive. The h arpsichord, though, is capable
of more subtlety of coloration. The recording
itself is excellent.
D. R.
JULY 1958
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