The Record Society.

Amongst the many subsidiary societies and companies popping into existence in the record world, the newly-formed Record Society seems to be of worthwhile character. A branch of World Record Club, it has been formed with the intention of bringing to people seldom heard music—music which has been rarely recorded, and thus, music which is little known. An admirable attack to the problem of acquainting folk with esoteric music, and it is to be hoped, the achievement of the Society does not belie its efforts.

The first releases of the Society make for most interesting and varied listening experiences. Firstly, a disc comprising selected works of the 16th century Italian composer Claudio Monteverdi. This is an interesting record; it is made of transfers of other records—being the famous 1937 H.M.V. set of 78's recorded in Paris under the direction of Nadia Boulanger. It is a most successful record; the singing is perfect, as is the ensemble and continuo accompaniment. Copious notes and texts are added advantages of this album.

The other two discs released this month are the two Beethoven String Quartets (Nos. 1 and 2) and the Philharmonia/Silvestri recording of Bartok's Divertimento, and Hindemith's Mathis der Maler. The Beethoven is exquisitely played and faultlessly recorded; the interpretation, however, is a tiny bit insipid. Silvestri is on top form In both his pieces: this, too, is a finely recorded performance, and as with the above two records, is accompanied by full texts.

Dvorak. Symphony No. 9 in E minor, Op. 95, "From the New World." Carnaval Overture, Op. 92, Philharmonia Orch.—Wolfgang Sawallisch. World Record Club Tz 163 mono and stereo.

This is an extremely passionate and live performance of the "New World": lacking all traditional faults (wrong tempi, incorrect entrances) and possessing most of the rarely-heard merits. Apart from the Fontana disc by the Vienna Symphony under Ancerl, this is by far the best recording of the work. Sawallisch has kept the same control over his orchestra as Ancerl has over his; an even pressure is exerted throughout. His (Sawallisch) phrasing in some places is not as meticulous as Ancerl's; neither is his woodwind as buoyantly alive. Nevertheless, this disc (mono and stereo— Ancerl's stereo is a flop) can be recommended as far above the average; on a par with the best.

Michael Rabin. Kreisler Caprice Vienoiss; The Old Refrain. Dinicu Hora Staccato. Massenet Meditation (Thais). Sarasate Zigeunerweisen. Paganini Moto Perpetuo. Rimsky - Korsakov. Flight of the Bumble Bee. Saint-Saens. Introduction and Rondo Capriccioso. Michael Rabin (violin/Hollywood Bowl Symphony Orch./ Felix Slatkin Capitol P8510 mono.

The emphasis here is upon the violinist; virtuoso playing virtuotic pieces. Technically Michael Rabin Is very good; artistically he is lacking (but can one judge from the music represented?). The Sarasate and Saint-Saens are fruitful old war-horses; as for the rest, they may as well be thrown to the nearest hard southerly. The orchestra lapses at times; at times it is inaudible. However, for persons keen on this "extractive" type music, this will be a welcome disc. Recording is fine.

Grieg, (a) Piano Concerto in A minor. Op. 16. Franck. (b) Symphonic Variations. Litolff. (c) Concerto Symphonique (Scherzo) Clifford Curzon (piano)/(a) London Symphony Orch./Oivin Fjeldstad; and/(b), (c) London Philharmonic Orch./Sir Adrian Boult. Decca Sxlm 2173 stereo.

An excellent disc: The Grieg Concerto is magnificently played; page 5 the Litolff Scherzo is charming; the Franck Variations, brilliant. Clifford Curzon Is a pianist much under-rated; his playing Is too often criticised as stultified and heavy; critics overlooking his finer points—his subtleties of tone, nuances and colorations—In favour of his bad ones. His playing here Is superlative. The Grieg is vitally alive; the orchestra Is exceptionally clear and truer stereo I haven't heard. The piano is well balanced, and Curzon manages to fake music from this Concerto I am sure is not in the score. His approach Is lyrical—never virtuoso. Likewise, the Litolff and Franck are beautifully played and recorded. There is never any sense of strain or pull In Curzon's handiwork; the rhythm flows unbidden. Here Is piano playing par excellence.

Jules Corn, a well-known lecturer on Christian Science from New York City, will discuss its teachings and healing power in a free public lecture in Wellington next Friday. September 22.

Mr Cern will speak in the Little Theatre Students' Union Building. V.U.W. at 1 p.m. under the auspices of the Christian Science Organisation at V.U.W. His subject will be Christian Science: The Divine Solution to Every Human Problem.

A native of Dallas, Texas. Mr Corn has been engaged in the public practice of Christian Science for more than 25 years. He became interested in Christian Science when a young actor. While in the theatre, he appeared in a low plays on Broadway and toured nearly all of the United States and Canada. He has lectured on Christian Science throughout most of the world since he was first named to The Christian Science Board of Lectureship in 1953.

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