RECORDS True Haydn Spirit From Monteux

Press, Volume C, Issue 29604, 29 August 1961, Page 9

RECORDS True Haydn Spirit From Monteux

HAYDN: Symphony No. M ta G (“SorpriM”). Symphony No 141 tn d (“Clock”). Pierre Monteux conducting the Vienna Philharmonic Orchestra. RCA stereo MLS. 35M <l2ta.). At 88, Pierre Monteux is. in many ways the most remarkable conductor active today. It is not merely the quality of his work in a particular field that impresses, but the remarkably wide range of his interpretative sympathies. He is able to present with equal understanding the music of such widely. differing composers as Berlioz, Brahms, Ravel, Tchaikovsky and Stravinsky, to name a few. Now he is revealed as a masterly interpreter of Haydn, with two readings at incomparable vitality and depth. He brings to ibis music not only the expected GaHic virtues of textural clarity, balance and rhythmic vitality, but he has a closer understanding of the true Haydn spirit than even Beecham. There is not a trace erf sentimentality or romanticism in the slow movements—which gain in gravity as a result. The minuets are splendidly alert, without a trace at the pomp which often became unsuitably prominent in Beecham’s handling of a Haydn minuet, and the finales are magnificently ■ alert and spirited. RCAi recording engineers have captured the silken string tone and beautifuMyarttaulated playing of the Vienna Philharmonic in superbly transparent, widelyspaced stereo. This disc must rank as the finest available recording of Haydn symphonies. BEETHOVEN: Symphony No. SlnF, Op. M (“Pastoral"). Pierre Monteux conducting the Vienna Philharmonic Orchestra. RCA Stereo MLS. 3571 (12111.). After his Haydn, Monteux’s “Pastoral” is something of a disappointment. It is a fine performance—there is none better available in stereo-hut it does

not catch fire with the spirit of greatness as do the mono versions by Bruno Walter and Toscanini. The first and second movements are just a little lacking in rhythmic vitality; the Peasants Merrymaking movement is very fine—with much made erf the comic bassoon but the storm, although a powerful outburst, lacks tension. Similarly the opening of the finale is beautifully gentle and serene, but the full chorus of thanksgiving does not produce a truly climactic sweep. The playing of the Vienna Philharmonic, and notably the woodwind soloists, is very fine and the stereo is dear and spacious, although the copy reviewed had persistently fizzy surface. SIBELIUS. Symphony No. 2 in D major, Op. 43. Tauno Hannlkainen conducting the Sinfonia of London. World Record Club stereo STZ. 142 and mono TZ. 142 (12in.). The World Record Club has performed a grand service to record collectors by introducing to them the Finnish conductor, Tauno Hannikainen, who on evidence of his disc is a supreme interpreter of Sibelius, whose protege he is. Hannikainen left a post as assistant conductor of the Chicago Symphony Orchestra to return home, at the wish of Sibelius, to become conductor of the Helsinki City Orchestra. He gives a great performance of this symphony, a performance which is broadly romantic in its outlook but is classically integrated in form, so that it never becomes episodic. The last movement is particularly fine—the excitement rises electrifyingly. The Sinfonia of London plays splendidly and the sound, if a trifle dry, is superbly clear, especially in the spacious stereo version. The dub has scheduled for release Hannikainen's version of Sibelius’s Fifth Symphony; after hearing this record, devotees of Sibelius will hope for a complete cycle. Anyone who has not yet investigated Sibelius’ music could not do better than start with this record. SULLIVAN: “The Mikado" —excerpts. Elisabeth Harwood (soprano), Noreen Willett (contralto). Edward Darling (tenor), David Crott (baritone), John Gower and William Dickie (basses) with other soloists and Alexander Faris conducting the Linden Singers and the Westminster Symphony Orchestra. World Record Club stereo SEZ. 1022 and mono EZ. 1022 (12in.). SULLIVAN: “The Gondoliers”—excerpts. Elisabeth Harwood, Ursula Connors (sopranos), Noreen Willett, Ruth Little (cdntraltos), Duncan Robertson, Edward Darling (tenors), David Croft, Christopher Keyte (baritones), William Dickie (bass) with Alexander Faris conducting the Linden Singers and the Westminster Symphony Orchestra. World Record Club stereo SEZ. 1023 and mono EZ. 1023 (12t0.). A disappointing pair erf records these. With- the lapse of copyright on the Savoy operas there will inevitably be attempts to give Gilbert and Sullivan a fresh interpretation or even to rediscover the source of the now somewhat corrupted D’Oyley Carte tradition of performance. These performances avoid the traditional “business” and mannerisms, but no-one seems sure what to put in their place; certainly the embarrassed giggUe with which the Covent Garden bass, William Dickie, replaces the traditional sadistic laugh in the Mikado’s song won’t do. Furthermore, with the exception of Elisabeth Harwood who is a fairly good Yum-Yum, Dickie is the onlysoloist in “The Mikado” excerpts with a really adequate voice. Neither the Pooh-Bah (John Gower) nor the Kartisha (Noreen Willett) sounds sufficiently imposing, while Edward Darling has not enough metal in has voice to make the most of NankiPoo's entrance song. But the greatest failure is David Croft, who gives a completely characterless performance as Ko-Ko; he lacks voice and has little sense of either musical or verbal comedy. Croft is no more successful as the Duke of Plaza-Toro, delivering his lines in a flat, rfiythmless way, but otherwise the “Gondoliers” excerpts are more successful. Robertson and Keyte are a capable pair of Gondolieri and the remaining parts in the sextet erf lovers are fairly well done. The chorus singing is, good in both records. The young Sadler’s Wells conductor, Faris handles the lyrical music well, but the fest numbers are apt to degenerate into a rum-turn. The sound is very dear, especially in the stereo “Gondoliers,” but in the “Mikado” disc -there is a good deal of hardening at climaxes, especially in the stereo version. In both works, singers are sometimes excessively close to the microphone.