RECORDS Menuhin’s Brandenburgs

Press, Volume CI, Issue 29746, 13 February 1962, Page 11

RECORDS Menuhin’s Brandenburgs

J. S. BACH: Brandenburg Concertos, Nos. 1-6. Yehudi Menuhin conducting the Bath Festival Chamber Orchestra. H.M.V. mono MALP. 1755/6 (two 121 n, 85s). Were there any doubt about Yehudi Menuhin’s musical genius, as distinct from his virtuosity as a violinist, these recordings would provide overwhelming confirmation of his interpretative gifts, for they are surely the finest versions of the Brandenburgs yet committed to microgroove. His greatest asset is a firm, yet light and dancing sense of rhythm. All too often the Brandenburgs are presented with a Teutonic jackboot tread; even Paul Sacher’s fine versions with the Basle Chamber Orchestra on Philips sound heavy-footed by comparison with Menuhin. Then —and this would not be evident without H.M.V.’s superb engineering—he obtains marvellous clarity of phrasing and timbre from his players, some of whom are very well known. The performances are on an authentic chamber music scale and Bach’s wishes in instrumentation have been followed as closely as practicable, the only departure from the score being the use in No. 1 of modern valve horns (brilliantly played) instead of the comi di caccia, or hunting horns, of Bach's day. Thus there are recorders in No. 2. violas da gamba in No. 6 and a violino piccolo in No. 1. The violino piccolo, played by Menuhin himself —he participates in every concerto as violinist or violist —is a small violin tuned a third higher than the normal violin. The gentle cooing of the recorders sounds absolutely right; those who think flutes will do just as well should listen to the opening of No. 4. The continuo, of course, is provided by a harpsichord, while in No. 5 the solo harpsichord part is magnificently played by George Malcolm, who makes a special appearance. Something of a problem has always been posed by No. 3, which Bach left as two allegro movements separated only by two chords. Various solutions have been tried, such as an improvisation on the harpsichord. Menuhin interpolates an arrangement by Benjamin Britten for violin, viola and continuo of the slow movement from Bach’s Trio Sonata No. 6 for organ, 8WV.530. It is a convincing solution, and is certainly preferable to the mere sounding of the chords. In the outer movements the nine-part string texture is wonderfully transparent because of Menuhin’s care for the inner parts. But trans-

parency of texture and fine shaping are everywhere evident throughout the 'set and one could go on for a long time listing individual felicities. It is enough to say that Menuhin’s mastery in performance removes the dirty varnish from these masterpieces and one’s admiration for them is renewed and intensified.

SCHUMANN: Piano Concerto tn A minor, Op. 54. Van Cliburn (piano) with Fritz Reiner conducting the Chicago Symphony Orchestra. R.C.A. mono R5L.3611 (12in, 42s 6d).

Van Clibum has been much admired for the romantic feeling of his playing, but that is the very quality that is missing from his performance of this concerto, and it is a loss the work cannot sustain. There is plenty of energy in his playing of the first movement, but his handling of the music is rather superficial and lacking conviction. The last two movements remain quite earthbound, and the performance plods, except when Reiner’s share of the partnership becomes dominant. A much more incisive and intense performance of the Schumann Piano Concerto is given on R.C.A. R5L.3558 by Artur Rubinstein, and this remains the first choice. The Van Clibum version is very well recorded.

CHARLES MUNCH conducting the Boston Symphony Orchestra: Poeme (Chausson); Introduction and Rondo Capriccioso (Saint-Saens); “Romeo and Juliet’’ (Berlioz)—Great festivities in Capulet’s palace; larve scene. With David Oistrakh (violin) in the Chausson and Saint-Saens works. R.C.A. mono R5L.3607 (12in, 42s 6d).

The Oistrakh recordings date from his first visit to America a few years ago and they show him in fine form. The quiet rapture of Chausson’s Poeme is especially well suited to his romantic style. The sleeve note, incidentally, goes rather too far in claiming that Chausson's fame rests on this work; that position belongs rather to his fine songs. The second side of the record is devoted to two orchestral interludes from Berlioz’s “dramatic symphony.” These portions are high points in the long and uneven work and they are very welcome additions to the catalogue. especially in performances by such a Berlioz expert as Munch. The orchestra plays superbly and the recording is good, although the balance on the first side unduly favours Oistrakh's violin. <,