New Records

Britten: Variations on a Theme of Frank Bridge (Boyd Neel String Orchestra; London). Composed when he was 23, this work shows Britten's wit and enthusiasm at its best. Perhaps because it was inspired by a melodious theme of his teacher, Frank Bridge, it is also more tuneful than most latter-day Britten. Among its movements: a march, a Viennese waltz, a funeral march.

Debussy: Rhapsody for Saxophone and Orchestra (Jules de Vries, soloist; Frankenland State Symphony conducted by Erich Kloss; Lyrichord). Debussy had little taste for this commission, wondered vaguely during the eight years he was at it whether the saxophone "indulges in romantic tenderness, like the clarinet." It never does, here, but there is a portion with typical Debussian shimmer, and the performance is elegant.

George Barati: Siring Quartet (California Quartet; Contemporary). A fairly brief three-movement work by Hungarian-born Composer Barati, who is also the quartet's cellist. The three movements are consistently thoughtful, occasionally warm, once or twice fiery in a moderately dissonant idiom. Good performance.

Monteverdi: The Coronation of Poppea (Zurich Tonhalle Orchestra, chorus and soloists conducted by Walter Goehr; Concert Hall, 3 LPs). Monteverdi's last opera (1642) and his most affecting score, rich in musical compassion and credible characterization. The story, which might have trouble with contemporary film censors, tells how Poppea, Nero's mistress, ousts the rightful empress and triumphantly takes her place on the Roman throne. The recording is notable for some superb singing by Soprano Sylvia Gaehwiller and Contralto Maria Helbling in a fine cast.

Music of Poland, Vol. II (Chamber Orchestra of the Polish Radio conducted by Jerzy Kolaczkowski; Vanguard). Talented Composer Witold Lutoslawski is heard for the first time in the U.S. on this disk, and is well worth a hearing. His Little Suite succeeds neatly in integrating elements of fun, folk themes and his own considerable personality. Modern in effect, but easy to take.

The Piano from Mozart to Bartok (Beveridge Webster; Perspective). The house of Steinway's 100th anniversary this year gives a chance to lump a music-hall variety program (Mozart, Beethoven, Schubert, Weber, Schumann, Mendelssohn, Chopin, Liszt, Brahms, Debussy, Bartok) on one disk. Versatile Pianist Webster runs the gamut without stumbling and with considerable brilliance.

Russian Arias and Songs (Boris Christoff, basso; H.M.V.). One of the world's noblest voices and a program eminently suited for bassos. Mussorgsky, Tchaikovsky and Rimsky-Korsakov account for most of the ten selections.

Schoenberg: Second Chamber Symphony (Vienna Symphony Orchestra conducted by Herbert Haefner; Columbia). A two-movement work, the first dark with fin-de-siecle gloom, the second almost gay and dancelike for all its scattery orchestration. The performance has a labored sound, but is adequate for fans of atonal music.

Other notable new records: Debussy and Ravel Quartets, played by the Budapest String Quartet (Columbia); Deep River and other songs, sung by William Warfield (Columbia); Smetana's symphonic cycle, My Fatherland, played by the Chicago Symphony conducted by Rafael Kubelik (Mercury, 2 LPs); Twelve Spanish Dances by Granados, played by Pianist Jose Echaniz (Westminster).

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