Arthur Fiedler's best

Press, 30 July 1980, Page 15

Arthur Fiedler's best

ClassicalKcorik

ALLAN FRANCIS

Arthur Fiedler Various on DG 2721-218 (Cassette 3378-092) 6 disc set. Arthur Fiedler, despite the controversial nature of his career and his music, his 50 years (almost) association with the Boston Pops, his hyperactive 85 years (almost) making music, still remains very much a live figure infused with the grand old man image.

Although very much the irascible musician in reality, he was always open to being accused of having questionable taste, but he will undoubtedly stay with us for years to come because of the very medium he exploited so efficiently. One recording company, forgiveably, had him celebrating his 85th birthday in hospital (whereas he never quite made it) and issued a two-disc set in anticipation. However, DG went one better — or rather four better — by compiling a classy six-disc set which shuns all his perpendicular pops from the Beatles and Andrews Sisters et al, and simply restates the “better” bits solely between the boundaries of Johann Strauss and Shostakovich, This provides a very musical programme which could

not possibly offend anyone and will please many. Fiedler, the trooper, squares his shoulders and rides again many of his warhorses — Stars and Stripes. Blue Danube and 76 . Trombones, but balances up with a first-rate selection of four seldomheard overtures (by Sullivan, Shostakovich, Copland, and Goldmark) and some choice Stravinsky, Ginestra, the 1812 (with cannon), and ballet music, in which Fiedler had few peers. There are some hefty duplications, another Bolero, and some dispensable items, but there is still a lot of music. The purists may dispute his “common touch,” but no-one could deny that Fiedler, as a crusty Bostonian Thomas Beecham, has reached the pinnacle of fame by bringing home the classics to the people in such palatable form. This is the best yet. Beethoven Violin Sonatas 2 and 3. Barenboim

and Zukerman on World Records WE 2870 (Formerly part of HMV set SLS 871). This recording was made at the time shortly before Barenboim had reached the transition period to take up conducting, when he was an ardent, scintillating pianist working his way through the keyboard works of Mozart and Beethoven. It was also a time when the balance of power in violin sonatas rested with the violinist. Barenboim, following the composer’s instructions, changed all that. Perhaps too much so, because here he not only dominates the partnership; he has subjected Zukerman to an almost servile position, beautifully poised and well mannered though his playing unquestionably is.

Being part of a package deal,'it follows the pattern that all such sets have; it has ups and downs, but it is obvious from the review disc that the standard never falls below a bubbling vitality from Barenboim and superb elegance from Zukerman. Since then, a more venturesome and better-bal-anced duo, Perlman and Ashkenazy, have inclined to overshadow most

others, including Oistrakh and Grumiaux, both of whom are so recklessly brilliant anyway they tended automatically to assume the role of the senior partner on their respective performance.

The review disc is still excellent, if not the definitive performance. Schumann —Fantasy in C Major, Symphonic Studies Op. 13. Vladimir Ashkenazy on World Records STZ 974 (Formerly Decca SXL 6214).

About the same time as this recording reached the public for the first time a similar coupling from Alfred Brendel was issued, and for once it was a comparatively easy decision in Ashkenazy’s favour.

The price drop on the Brendel disc did little to tip the scales in the other direction, but there was some stiff competition from Maurizio Pollini and Wilhem .Kempff.

The warm tone on the review disc, the expansive reading, especially in the Studies, and the full-heart-ed climaxes in the Fantasy, still give Ashkenazy a firm hold on the market today, when the only similar coupling is still the cold-sounding Brendel.