The Gramophone, Decentber, 1925
repeats are observed except that of the second section of the trio. The fifth movement occupies the sixth side (repeat at bar 9 observed); i t is brisk and jovial with a certain archaic simplicity at times. This work is well played and recorded, suitable for performance out of doors, and can be recommended particularly to those who enjoy the records of Handel's Water Music and Bach's Suite for Flute and Strings in B minor; Mozart's finest and greatest qualities would be out of place in a work of this sort, but i t is extremely pleasant in a thoroughly musicianly manner; i t is also a splendid study in the qualities of the different wind instruments.
*K.384. Overture to 1l Seraglio (aliter Die Entfiihrung).~This opera waf; composed, by the suggest ion of the Emperor, in 1781-2, shortly after Mozart's establishment -in Vienna, and tells how an Italian, Belmont, rescued his mistress, Oostanza, from the harem of the Grand Turk. ]\'[ozart was at this time engaged to Oonstanee Weber, whom he married soon after, and this circumstance is said by the critics to have given additional life to the love-music in the opera. The overture consists of an exposition section (presto) depicting the Turkish element in the opera, a very beautiful middle section (andante) founded on Belmont's first aria and depicting the amorous element. in the opera, and a recapitulation of the presto section. This beautiful overture has been conducted by Dr. Weissmann and recorded on a single side by Parlophone (E.I0273); playing and recording are both very good; owing to the fact that the overture as written leads straight on to Belmont's aria 1
the part subsequent to bar 230 h9s been omitted and a few bars of coda substituted; there is no cutting in the ordinary sense of the word. On the back is the overture to "Die Liistige Krieg" by Johann Strauss.
*K.387. String Quartet (No. 12) in G.-Oompleted 31st December, 1782. This quartet is brilliant and shining. The first movement has been played by the Oatterall Quartet and recorded by H.lVI.V. (D.560) on a single side; the greater part of the development is cut (bars 56 to 100); the music is strongly composed, symmetrically arranged ; founded on detached phrases of l i t t le melodic significance, and rather lacking in sweetness; these qualities are perhaps exaggerated by the vigorous, rather harsh playing; apart from this, playing and recording are excellent. The second movement (minuet) has not been recorded. The third movement (andante cantabile) has been played by the Lener Quartet and recorded by Oolumbia (L.1530) on a single side (the other side being an attractive but cut version of the slow movement of the Debussy Quartet); i t consists of an exposition a.nd recapitula,tion linked by a bridge passage of three bars; only the recapitulation (starting at bar 51) is played; the music is beautiful and interesting, with a lyrical quality and pure, rather spiritual feeling; the playing is sympathetic, the recording good in general, but some beautiful interweaving of the voices is rendered almost inaudible by the undue prominence of the first violin. The fourth movement has been played by the Flonzaley Quartet and recorded by H.M.V. (DB.252) and also played by the Lener Quartet and recorded by Columbia (L.1460), in each case without cuts and on a single side: the music sums up the special qualities of this quartet; i t is a remarkable combination of fugal and sonata form; vigour is blended with a spiritual tenderness , awe and happiness: the Flonzaley rendering is very clear and vigorous, with great virtuosity and an almost perfect balance of parts, and is remarkably well recorded, bnt the subtler emotional qualities are not adequately conveyed; on the other side is a splendid uncut movement from Schumann: the Lener rendering (which is a re-recording) is emotionally rather more sympathetic, but the balance of parts is not so clear nor the recording so good (the original recording was better in every way except that i t wore badly); on the back is an attractive but much cut rendering of the slow movement from Schubert's "Death and the Maiden" Quartet.
K.397. Fantasia for Pianoforte in D minor.Oomposed 1782. This slight but effective piece has been recorded on a single side by the AngloFrench Music Oompany (2066); there are no cuts, but none of the repeats are observed; the playing is clear but inexpressive and unsympathetic, and sometimes too hurried. The piece consists of (a) a very short andante introduction consisting of arpeggios; (b) an adag~o movement consisting of a quiet and attractive piece of melody alternating "rjth a more excited l i t t le section and a scale passage; (c) an allegretto movement consisting of a simple Mozartian melody in two strains, a rather more conventional melody, a scale passage, ana a recapitulation of the first melody. The writing is deft and attractive, covering a wide range of emotions in short space and by simple means; but in this ·short space i t is difficult to bring out the different emotions with proper effect; the interpretative genins of Mozart may have succeeded in doing this; but the playing of this record is distinctly nn-Mozartian, especially in the absence of " singing" quality in the playing of the melodies.
*K.421. String Quartet (No. 13) in D 1ninot'.Composed June, 1783, in the bedroom of the composer's wife during a confinement. This quartet is best described as a simple but passionate pastoral. I t has been played by the Kutcher Quartet and recorded by Vocalion (K.05190-3). The exposition (repeated) of the first movement occupies the first side and the rest of the first movement occupies the