Horowitz strikes gold with Rachmaninov

Press, 24 June 1981, Page 19

Horowitz strikes gold with Rachmaninov

Classicalreconls review

ALLAN FRANCIS

RACHMANINOV. Piano Con certo No 3 in D; Vladimir Horowitz soloist with the New’ York Philharmonic conducted bv Eugene Ormandy. RCA Red Seal RL 12633 - live performance on 8.1.78. This 50th anniversary performance of the famous pianist's association with the NY Philharmonic also marks the third and unquestionably most successful recording of Rachmaninov's 3rd Piano Concerto. Spread between the years 1930, 1951, and up to the golden jubilee concert, the various interpretations register the pianist’s progression towards what must be the definitive version. A lot depends on how one prefers Rachmaninov to be treated and this one is a serious, classical view, discarding the sugary romanticism which often leaves the composer in the area of superficial or a second line innovator. One thing missing with the latest, issue is the booklet illuminating the programme plus reflections, which accompanied the original recording. I enjoyed the comprehensive notes immensely, but I guess that this little .luxury is a victim of inflation. Horowitz’ razor-sharp playing shows great understanding of the composer’s thoughts and he has observed ' his wishes to the letter, without exception, as well as rejecting any cuts. It is a performance which bears no comparison with any other. An interpretation which stands alone, even against Ashkenazy or Berman. Ormandy is equal to the task of providing the noble accompaniment to this mag-

nificent effort, where sensitivity from the orchestra makes a significant contribution. There is no bombast, nor heavy chordal playing, simply a classical masterpiece. MAHLER. Symphony No 4 in G major. Frederica von Stade, mezzo. Vienna Philharmonic conducted by Claudio Abbado on DG 2530 966. My only comparative account of this symphony is the long deleted Reiner/Chicago Symphony Orchestra RCA recording on the budget VICS 1406, which I enjoy very much, but it seems I am very much alone in this particular choice. Granted that Lisa Della Casa is well below the level of Frederica von Stade as the soloist and Reiner 'is a self-confessed amateur with Mahler, the end result was a curiously compelling account which is still in reckoning with the highly rated Abbado version under review. Again it is the slow* movement which is the bone of contention, as it is with the Reiner. He observes Mahler's wishes where Abbado refashions the piece contrary to the composer's intentions. All movements are played much slower than indicated, especially the third, but the result is of the utmost purity and eloquence. His Scherzo is equally well shaped — full of gaiety and childish nightmare. The tone of the Chicago strings apparently cannot match those of the VPO, when that recording was made in 1975 under Levine, and I daresay the German recording is superior in many other aspects as well. While listed as “a symphony of heavenly life,” it is

really an uneven work, full of Olympic grandiloquence and noble pathos, and the VPO capture this mixture of moods to perfection, if contrary to Mahler's specifications. It is a typical example of the modern conductor’s personal reading of a symphony which leaves a lot of room for interesting variations. JAMES GALWAY PLAYS STAMITZ. Flute Concertos in D and G plus the Sonata in A major (unaccompanied) by C.P.E. Bach. New Irish Orchestra conducted by Andre Prieur on RCA ARL 3858. Tha’t this recording took place is a great insight into James Galway’s character and his attitude towards music. Despite his hard road to success, he is not overly concerned with the box office appeal of what he does, rather playing exactly what he enjoys. There is precious little Stamitz on disc, but these two make very pleasant listening, if only for some they may sound like early Mozart and the fact that the G major is infinitely superior to the D. At long last, too, we have the opportunity of hearing Galway’s beloved New Irish Chamber Orchestra who give such superb support to the full rounded tone of the flautist who provides ample reason for digging into the works of an obscure composer. It may be one of the quirks of Galway’s engaging personality, but the Sonata of C.P.E. Bach comes off best of all. Here Galway is at his brilliant best with a performance of compelling spontaneity. This is the sort of

stuff which shows Galway's special gifts, to supplement what he does on the master classes on TV. With the free hand he enjoys with RCA it is to be hoped that further releases will continue in the style of recording of this one. uai Bl !■ 111 ■uni iniiimwwmi i