Record Reviews

Press, Volume CI, Issue 29716, 9 January 1962, Page 3

Record Reviews

MOZART: Serenade No. * (Nottnrno) for Four Orchestras, K.’K; . Serenade No. t (Seteaau Notturna) in D, KJB39; “Laclo Silia,” KlSS—Overture; Incidental mnalc io “ThanuH. Konig in Aegypten,” K J4S—Four Interludes. Peter Maag conducting the London Sympony Orchestra. Decca mono LXTM.SS7O (IZin, 42s If ever a work demanded stereo it is the pteviouslyunrecorded Notturno for Four Orchestras, but the New Zealand distributors have committed the solecism of releasing only the mono version. The work is for four small orchestras, each consisting of strings and two horns, which are placed at increasing distances from each other. The nearest orchestra has most of the music, the others echoing its phrases in abbreviated form, the degree of abbreviation increasing with distance. The echo effect is apparent in mono, but only dynamically, not spatially. • However, devotees of Mozart should not overlook the record, as the Notturno for Four Orchestras is merely a pleasant piece, without the distinction of the delightful Serenata Notturna t the fine three-part overture to the early opera, “Lucio Silla” or the interludes from “King Thamos of Egypt.” King Thamos was a play set in Ancient Egypt and containing much mystical Masonic symbolism. Mozart’s incidental music which he himself valued highly looks forward 11 years to the Masonic music of “The Magic Flute,” and is often deeply impressive. The London Symphony plays finely and throughout the record Maag again shows himself to be a Mozart conductor of the first rank. The recorded sound is of excellent quality, and it is to be hoped that H.M.V. will also issue the stereo version. so that those with the equipment to play it can gain full enjoyment from this distinguished collection of unfamiliar Mozart.

TCHAIKOVSKY: Piano Concerto No. 1 In B-flat minor, Op. 23. WEBER: Concert Piece in F minor, Op. it. Claudio Arrau (piano) with Alceo GaUiera conducting the Philharmonia Oreheitra. World Record Club stereo STZ.I6S and mono TZ.165 (121 n 2«s «d). The more popular and longer work, the Tchaikovsky concerto will probably attract more attention to this record than Weber’s Konzertstuck. If so it will be a pity, for the Weber is a splendidly picturesque and colorful work and Arrau plays it marvellously. In the Tchaikovsky, on the other hand, there is little drama or excitement in his playing. There are masterly passages to be sure, but Arrau plays the work, especially the first movement—in a rather deliberate and unspontaneous manner that is perhaps the result of a desire to .avoid the sort of inflated performance it often receive?. The recording is superb in stereo and less immediate but full-toned in mono.

TCHAIKOVSKY: Symphony No. 4 in F minor. Op. 36. Herbert von Karajan conducting the Berlin Philharmonic Orchestra. World Record Club stereo STZ.IS6 and mono TZ.IS6 (12in. 26s 6d).

Both in stereo and mono, this is a magnificent recording, but the performance itself is rather strange. Karajan shapes and polishes each phrase with great care and expression, so that individual passages seem exceedingly vivid. The total effect, however, is to devitalise the symphony and intensify the neurotic elements of its character to an exaggerated degree. Simpler, more straightforward treatment is more in aceord with the general character of Tchaikovsky’s music. Some temperaments, however, may find the Karajin version extremely satisfying.

BEETHOVEN: Piano Sonata No. 3 in C minor, Op. 13 (“Pathetique”); Piano Sonata No. 14 in C-sharp minor, Op. 27, No. 2 (“Moonlight”). Wilhelm Backhaus (piano). Decca mono BRM. 3010 (lOin, 255).

Perhaps the two most popular of Beethoven’s 32 piano sonatas are coupled here, but otherwise the disc is without any special distinction. The recording is quite good, apart from a heavy background in the “Pathetique,” but Backhaus plays the music in a routine sort of way without much conviction. The heavy, prosaic opening of the “Moonlight* is characteristic of much of Backhaus’s work throughout.