ARTS AM) ENTERTAINMENT Discs: Mainly Tchaikovsky

Press, Volume CIV, Issue 30916, 24 November 1965, Page 15

ARTS AM) ENTERTAINMENT Discs: Mainly Tchaikovsky

Tchaikovsky is one of the popular composers and also one of the barely explored ones. His popularity stands on a handful of works—the last three symphonies, two concertos, some overtures, some ballets even though he wrote other attractive and melodic music. His admirers should have some curiosity about his other works and should welcome the new that Garry Graffman has recorded the other two piano concertos and that Lorin Maazel has recorded the first entire cycle of the symphonies with the Vienna Philharmonic.

The first of the cycle issued here is Symphony No 6 “Pathetique” on Decca stereo SXLM.6I64 (12in, 42s 6d.) No-one could say that this work has declined in popularity for this is the fifth version of it issued in New Zealand this year. Maazel’s Sixth is a fine one and indicates that the cycle

should be very interesting. His pace is fast and exciting, but neither frenzied nor beyond the articulation of the orchestra. There are some beautiful tones and the strands are clear and separate. However, there are a few lapses, especially the raucous brass in the development of the first movement. The march movement is taken briskly and the last is a model of control. It is well recorded. It now seems customary for winners of the Moscow Tchaikovksy Competition to record the Piano Concerto No 1. John Ogdon, a 1962 cowinner, has done his with Sir John Barbirolli and the Philharmonia on World stereo 5TZ.262 (12in, 28s 6d>. It is a soulful reading, with both virtuoso fireworks and gentlehued poetry. The recording is clear, but not full-bodied. However, the coupling with a good performance of Franck’s Symphonic Variations makes it a bargain. The only disc to report in the category of unexplored Tchaikovsky is one of excerpts

from “Eugene Onegin” on MK mono D. 64.63 (12in, 42s 6d). Tchaikovsky was a stagestruck composer and beside his often-heard ballets wrote 10 operas, works that are beautiful and melodic if now seldom performed outside Eastern Europe. Based on a poem by Pushkin, “Eugene Onegin” is full of simple and graceful song with tragic overtones. It is not noisy or dramatic, but more quiet and lyrical. The excerpts come from a Soviet recording of the late 1950’s and the soloists include Galina Vishnevskaya (s) and Yevgeny Belov (b), with the Bolshoi Theatre Orchestra conducted by Boris Khaikin. It is adequate vocally and musically stylish. Arthur Fiedler has made a thoroughly enjoyable new recording of “Swan Lake” excerpts with the Boston Pops on RCA Victor stereo LSC. 2688 (12in, 42s 6d). Most of it is from the second and third acts.

As it covers much the same ground as the bargain World Record Club “Swan Lake” that most collectors will be

familiar with, comparison is inevitable. The new one is a more sumptuous performance, a bigger, more polished and tonally richer orchestra with full strings and closely recorded. The playng is buoyant and gracious, though the fast pace of the general dance and third act introduction should have the feathers flying.

Another disc from the same musical forces, on RCA Victor stereo LSC27B9 (12in, 42s 6d), contains some light American works. “Grand Canyon Suite” is given a sotlnd performance; but the reviewer was more intrigued by Ferde Grofe’s admission that although the suite was inspired by the canyon, the inspiration for the donkey’s clip-clop of “On the Trail” came from a pile driver pounding incessantly outside his apartment, and the original “Cloudburst” happened in Wisconsin. Completing the disc are Bernstein’s “Candide” Overture, a decidedly superior Broadway piece, Jacques Press’s “Prelude and Fugue, in Jazz” and Jack Mason’s “Odalisque,” all entertaining works.