RECORDS Russian Favourites For Orchestra

Press, Volume C, Issue 29634, 3 October 1961, Page 9

RECORDS Russian Favourites For Orchestra

TCHAIKOVSKY: Caprtceto Italian, Op. «. Striax Quartet No. 1 la D major, Op. 11—Andanta eantabiie (an. SckmM). GLINKA: iota Araroneu. rimskyKorsakov: “The Tala of the Tear Saltan"—Suite. Paul Kletakl conducting the FMlharmonta Oreheetra. H.M.V. mono. MALPJSH (Ute, «ta M). Vocalexerptafrom RimskyKorsakov's IS operas art very seldom recorded, but orchestral suites and extract! from them seem to enjoy considerable popularity on record* Rimsky did not include in hit "Tsar Saltan” Suite the beat known number in the opera—The Flight of the Bumble Bee—but ths three sections of the suite, each preceded by a fanfare are most enjoyable. Ths other unfamiliar piece on th* record is Glinka's Jota Aragonese, a pioneer musical impression of Spain which ii quite captivating. In these works, as is the familial Tchaikovsky pieces. the orchestra's playing is of the highest class. There is pc suggestion of the routine about Kletzki’s conducting: his performances are so polished and fresh that ever the Capriccio Italien car arouse the excitement of ? first hearing. The recording h superb in its range, depth and power. It also lets us heai a wonderful anti-climax ir the Capriccio Italien: in the pause which follows the firsl portentous questioning figure after the bugle call someone kicks his music stand. Nevertheless, this is one of the beet orchestral concert record! Ifice • long time TCHAIKOVSKY: «ymaheay Me. 1 te c mine* op. I ITpiiwhi Rastas*). MCB- - SOHGBKY: “A MigM Ml the Bare Maeatain.** Cano Marta . (Mattel ns Sin Ifa i the Hill‘hiraweta OniiSra. Wette Baeerd Ctafc stares. STZJ4S S acne ttJAS (Uta). "Little Russian- meam Ukrainian and the sub-titts is a'reference to Tchaikovsky’s use of Ukrainian folk tunes, not to the wottl dimensions which are thorn of a normal symphony. Th« Philharmonic is again in its best focift BOd CrtalmTi fim

conducting is notable fat a very lively account of the scherzo; The Mussorgsky tone-poem which filial up the second side is also performed so as to generate a good deal of excitement This disc is a case where the mime version seems preferable to the stereo, in which the instrumental perspectives go astray, a The violins, especially, lack it prominence in the stereo a version. Otherwise the sound y is fine. n (t TCHAIKOVSKY: Sym- » jhoay No. Sla B minor. Op. to. Wilhelm Sehuehter i- eendwOas the North-West it German PhUharmenlc Or- • «xx>Jsee» B (uiX - ns’wJ’’ K Only « lively account of e the finale raises Schuchter's e performance above a fairly i- routine level The Hamburg d orchestra plays well and is there is no lack of fervour in ie Schuchter’s phrasing, but his ir outlook, on the symphony is e exclusively rhapsodic and the e work tends to sprawl Shape- *> lesaly. The recorded sound * is suggestive of an empty t; hall but apart from some I- occasional harshness in the n violins, is agreeable. At its n bargain price the record is a worth considering. d BKAHMS: Plano Ceaeerto j. No. 2hi B tot. Op. S 3. Louis „ Kestner (piano) with Sir n Adrian Boult conduetlns the C Philharmouia Orchestra, st World Beeord Club mono. * HUM (Irin). e Kentner’s performance of "■ this concerto is at the oppo•t rite pole to the one by Emil » Giiels (on R.CA.) reviewed recently. Whereas Gilels stressed the monumentality and power of the work, Keritner who does not command the sum massive tone as Gilels isnpharism the concerto’s lyrical elements. It is an equally valid viewpoint. although it cannot jusis tify acme rather sluggish and e untidy rhythm in the scherzo, r- Kentner really come# into his k own in the finale, where his ’» light-toned sprightly playing • is meet enjoyable. Boult e lends expert support and the es recording is clear and well « balanoed in both its tarns.