Well-Planned Discs

Press, Volume CVI, Issue 31117, 21 July 1966, Page 13

Well-Planned Discs

Some well-planned recordings lead to fascinating musical byways. “Julian Bream in Concert,” for instance, is devoted to lute music by Elizabethan composers. On one side there are lute solos by Dowland and Byrd, those of the latter only recently discovered, and on the other are six songs by Dowland in which Bream accompanies the tenor Peter Pears. Bream’s reported intentions in playing this music may be like those of the Peter Sellers “Trumpet Volunteer” player—“wanting to make the old stuff sound alive”—but his resources are infinitely more musicianly. His playing of his difficult instrument is rhythmically lively and abounding in colourful nuance. The performances and recording have a concert Intimacy. Before each bracket of solos there is a brief, chatty and rather interesting introduction.

In the Dowland songs, the mood is more sorrowful, and though Pears needs a while to "warm up,” they are very finely done. Texts of the songs are provided. This excellently produced recording, RCA Victor stereo L5C.2819 (42s 6d), deserves a place in many collections. GOETHE SETTINGS

A second disc approaches lieder with the poet in mind. Decca stereo SXLM.6I6I (42s 6d) offers Goethe settings by Schubert and Schumann, sung by Herman Prey (b), with Karl Engel (pno). Goethe’s verse attracted several composers, among them Mozart, who set “Das Veilchen,” Schubert who set some 70 poems, Schumann about 20. and Wolf about 36.

Although some of the songs will be known, such as “An Schwager Kronos” and “Heidenroslein,” there should be a good number of discoveries here.

Prey, with his huge yet elegant, warm, rich baritone, is rather fascinating because of his superb control, and his interpretations are very satisfying. Texts and translations are provided so that the disc should be attractive even to those with a passing Interest in lieder. FAURE SONGS

Gerard Souzay says it is a pity that so many audiences still remain deaf to the message of the best of Faure for “his most beautiful passages are of vital importance in the history of music.” He suggests that if there is ■ “Faure misunderstanding” it would lie in the fact “that his art with its subtle per-

fumes, waits for us to visit it in its half-shades, rather than stepping forward to show itself in the full light of day.” The French baritone continues his advocacy in “Mandoline” and other Faure songs, on Philips stereo 835,286 AY (42s 6d), with Dalton Baldwin (piano). He is rather persuasive. An oddity is the presence of some French texts without translation, and of English paraphrasing where French texts are not available. RIVALS IN BACH The other week a recording of C.P.E. Bach’s D minor Flute Concerto on Harmonia Mundi, with Jean-Pierre Rampal blowing and Pierre Boulez conducting, was highly praised. The same work has now been put out by the World Record Club on stereo 5RZ.6154 (325) with Kurt Redel as editor, cadenza writer, flautist, and conductor of the Munich Pro Arte Cham-

ber Orchestra. It is another delightful performance and also recommended. Rampal and Boulez are more urbane in their approach, and produce a closeknit, livelier sound. Their final allegro just zooms away at a tremendously exhilarating pace. Redei, on the other hand, is more scholarly, and drier in the orchestral pant, but his flute playing is rapturous and doesn’t miss a nuance of feeling. The coupling of the Boulez disc is another dashing concerto by C. P. E. Bach, while the Redel disc, the first of a series devoted to music by Bach’s sons, has two charming baroque symphonies, one for flute and oboe by W. F. Bach, and No. 2 in E flat major by J. C. Bach. GENUINE CARMEN Regina Resnik has a special Importance as Carmen in a selection of highlights from the Bizet opera on Decca mono LXTM.6IS6 (42s 6d, also stereo) for she is the only stereophonic Carmen to have sung the role on stage. The others—de Los Angeles, Callas, Price—learned their parts for recordings, but Resnik developed her interpretation over the years in the great opera houses. It is a very attractively sung Carmen. Resnik approaches the famous arias in a light, delicate and seductive way. There is a little reserve—burning fire instead of the blaze—though at times it would be to avoid the tremelo she develops at full volume. The cast includes Tom Krause as a strapping Escamillo, Mario del Monaco as an odd Jose, and Joan Sutherland as a charming if barely intelligible Micaela, while Thomas Schippers conducts the Swiss Romande in a lively untraditional way, and the recording is fine. “South of the Border” contains music in Latin American style played by the Monte Carlo Light Symphony and recorded in the “stereo musicale” technique on Polydor stereo SLPM. 238003 (39s 6d). The arrangements by Erwin Halletz range from “Brazil” and “Bonanza” to “Tico Tico” and give every instrument plenty of turns so that the multiple microphones are used to advantage. Although the result is hardly sophisticated enough to appeal to Latin American or hi-fi fans, the dazzling sound is impressive in its clarity and robustness and would perhaps make a welcome change for pop buyers.