RECORDS Bruckner's Ninth

Press, Volume CI, Issue 29859, 27 June 1962, Page 18

RECORDS Bruckner's Ninth

BRVCKNER: Symphony No. 9 in l> minor. Bruno Walter condnllns the Columbia Symphony Orchestra. Coronet mono KLC.2744 (I2in, 42s Sd). The music of Anton Bruckner (1824-18961 had no greater champion in this century Than the late Bruno Walter and the appearance of his recent, long-awaited recording of Bruckner's last symphony in Philips' Limited Editions series should not be overlooked by the discr ruinating collector. Bruckner died before he had completed his ninth symphony—it ends with an adagio—and it was not until 1905 that it had its first performance, in the edition of the conductor and Bruckner enthirsiast. Ferdinand Loewe Loewe was thought to have merely tidied up the work for performance. but when the original score came to light it was found that he had radically altered the music. It was also found that, apart ! from the lack of a fourth ! movement, the original score : was by no means unfinished land a dispute began which i was not resolved until a I unique concert was given at which both versions were played and the expert audience voted overwhelmingly I for the original. Even so. some conductors continue to play heavily-arranged versions of Bruckner's symphonies. But Bruno Walter here uses an edition which restores the original score. It was largely due to Walter's authority with them that ißruckner's symphonies came i to equal those of Brahms in popularity with German audiences. and in his hands, this is a work of great nobility and expressiveness The long, leisurely, outer movements flow on with tranquillity and warmth, and the gigantic I scherzo is powerful indeed I Bruno Walter was the last direct link with the romantic I era of Viennese music before decadence set in—the remote era of Brahms. Bruckner and Wolf—and his interpretations of the music of his youth are irreplaceable. The recording, like the playing, is first-class, although a higher than usual volume setting is needed. i. S. BACH: Italian Concerto in F major; Partita No. 1 in B-flat major; Partita No. 2 in C minor. Glenn Gould (piano). Coronet mono KLC.2733 (12ln, 42s 6d). A curious groaning sound can be heard underlying much of the music on this i disc. It is the young Canajdian pianist’s celebrated sing- : ing. As well as singing while he plays, Glenn Gould likes to sit knees crossed, on a low, folding stool and to sip from a glass of water that stands on the piano. However. what concerns listeners

to his records is his playing, and that is almost as indiv;, dual as his platform manner. He does not attempt to subdue the piano—unlike soma other Bach pianists. who often succeed in subduing the music as well—and his tone is clear and full. His singing is a reflection of his continuing concern for melodic phrasing, which is heard at its best in the unusually slow and sustained middle movement of the Italian Concerto. Add to this great ?hythmic vitality and immense conviction and the result is some of the most exciting Bach to be heard on records. Goulds vocalism is no barrier to concentration on and enjoyment of his pianistic powers. The recording is very good, and the disc is another in the Limited Editions series. BRAHMS: Symphony No. 3 In F major, Op.M. Variations on a Theme of Haydn. 0p.36a ("St. Antoni Chorale"). Erl.h Leln.dorf conduelins the Philhannonia Orchestra. World Record Club stereo SZT.I67 and mono TZ.167 (Ilin. 26s 6dl Other conductors may arouse more excitement with vivid handling of detail or give more monumental performances of Brahms’ Third, but Leinsdorf’s sober version has its own merits of balance and control. The Philharmonia plays very well, both in the symphony and in the clean-lined, rather brisk performance of the "St. Antoni” Variations that fills up the second side. The sound in both forms offers a nice blend of spaciousness and solidity. OFFENBACH: "La Vie Parlsiennc"—excerpts. June Brnnhill, Anna Poliak. Kevin Stiller and other soloists with Alexander Farts conducting the Sadler's Wells Orchestra. HMV stereo CSDM.I37S (12in, 39s 6d). Mono also available. Imagine, if you can. “The Mikado” in French. The result would distort Gilbert and Sullivan as much as Offenbach is distorted by being translated into English. Offenbach, being a foreigner (his real name was Eberst and he came from Cologne) realised what odd sounds the French make and much of the comic effect of his music lies in the way it points up the sounds of the French text. Translated, the meaning of the jokes comes over. but the whole thing sounds flat. The light-voiced Sadler's Wells singers have lots of enthusiasm, but none of them really have the measure of the style, except perhaps John Kentish. The recording is rather rough, and the sleeve note, which lauds the performance, dates the operetta 30 years too late and 16 years after Offenbach's death.