RECORDS DYNAMIC SILVESTRI

Press, Volume C, Issue 29402, 3 January 1961, Page 14

RECORDS DYNAMIC SILVESTRI

Collection Of Overtures CONSTANTIN SILVESTRI. ronSuctln* the PMlharmonia Orchestra: “Hansel and Gretd” Overture (Humperdinck); . "A Midsummer Nicht's Dream" Overture (Mendelssohn); “Russian and Ludmilla” Overture (Glinka); “May NUht" Overture (Rimsky-Korsakov); “Prince Igor” Overture (Borodin). H.M.V. mono MALP.I749 (IZtn). An impression formed from some of Silvestri’s earlier records is that his chief characteristics as a conductor are a love of powerful orchestral sonorities and great vitality and drive. This issue confirms that impression. They are qualities particularly suited to the three Russian works, which receive- exciting, bustling performances. The “Russian and laid, milla” Overture is taken aLyy-h a terrific pace that at tiSw it comes perilously close to being scrambled. The Humperdinck Overture suffers frqm a lack of tenderness in the Evening Prayer theme, but is otherwise successful. Mendelssohn's delicate fantasies. however, do not come within the dynamic Silvestri's orbit, although the theme associated with Bottom and the rustics is driven along excitingly. The sonic virtues of the disc are similar to the interpretative ones — brilliance, power and sonority.

LISZT: Piano Sonata in B minor. Piano Concerto No. * In A major. Witold Malcnxynski (piano), with Walter Suisklnd conductins the Phllharmonla Orchestra. World Record Club mono TZ.122 (Irin). It is probably the concerto which will attract most attention to this record, but the sonata is the finer work, one of Liszt’s masterpieces. Cast in one huge movement, with three main sections, it is one of the key works of 19th century romanticism, calling for a great range of expression which few pianists are equipped to recreate. Malcuzynski is better in the lyrical than the bravura sections. He is equal to the sonata’s greet technical demands, but his playing lacks the electrifying qualAy associated with great Liszt pianists—such as Cziffra or Brendel—and consequently he is unable to dispel an atmosphere of bombast in places. He gives an accomplished and muslcianly account of the concerto, but again more fire and

glitter would not have been amiss. Neither work was recorded particularly recently, but the sound on both sides is quite acceptable, although the copy reviewed had some patches of noisy surface. BEETHOVEN: Symphony No. 8 In F major, op. 68 (“Pastoral”). Herbert von Karajan conducting the Phllharmonla Orchestra. World Record Club mono TZ.121 (izin).

This recording is also not particularly recent, but it still seems admirably rich and clear. Furthermore, it reproduces a very fine performance. Karajan takes a broad, spacious view of the “Pastoral.” A notably fender first movement exemplifies the rich lyricism which prevails in his conception. But this lyricism does not preclude a Storm of great power. The Philharmonia is in its best form, playing with great tonal beauty.