The accepted or the authentic

Press, 5 August 1981, Page 19

The accepted or the authentic

C'Lissical records review

ALLAN FRANCIS

MOZART. Symphonies 38 and 39. Original instruments in the eighteenth century manner played by the Collegium Aureum directed by Franz Joseph Maier on World Records WR 3517 from Harmonia Mundi 1C065 99786.

A massive controversy is now gathering force over the question as to whether we should have our symphonies magnified in the grand manner of Bohm or minimised by Britten,T Barenboim or the Collegium Aureum. Over the years all seventeenth and eighteenth century works have been added to, both in texture and numerically (instrumentally). until the original concept is lost. That the composer “would have loved it” is an assumption which is highly debatable, for though we are assured that the conductor loves it, any statement about the composer's opinions is usually a reflection of the listener’s personal views. The use of original instruments has . unquestionably given a fresh look at composers’ intentions, the music rising freely from a small group of players and a refined quality to the score which is less apparent in the full symphony orchestra.

On the other hand there is a noticeable weakness in the bass, so one is tempted to augment the bottom end of the orchestra and once more the cycle is under way. Karl Bohm, with all his magisterial control, gave readings which were spacious and impressive, while Sir Thomas Beecham always had a whale of a time.

The Collegium Aureum have doubtless got close to the mark with their current version and their efforts towards authenticity should be respected, blit they sound awfully dry. For my money, Barenboim

and the English Chamber Orchestra is more attractive on HMV ASD 2424, with all the delicacy to satisfy the purist yet lacking the arthritic tone of the Collegium.

There are clearer textures with a smaller orchestra, which even Karajan cannot match with his quicksilver brightness and almost gimmicky techniques. I hold the utmost respect for the Collegium with the great Handel CbnCerti Grossi, but for all their skill with original instruments thej' have not yet captured the intricate delicacy of Mozart. A little patience would produce a better version than this one.

FRENCH MUSIC FOR HARP. Annie Challan, harp with various groups on World Records WE 1256 from EMI catalogue (1965);

This is one of those delightful recordings which finds its way on to any turntable without much dissent from anyone. Four pieces of just the right length from Ravel, Debussy, Pierne and Faure make up a programme completely free of weak Spots, although some reviewers find Ravel’s Introduction and Allegro not totally convincing. Personally, I feel the string phrases and the woodwind responses are beautifully shaped as is the Pierne Concertstuck for Harp and Orchestra. Debussy’s Danses sacree and profane will be familiar to most listeners and equally as attractive in this arrangement as most available.

Faure is his usual wellmannered self with the Impromptu Op 86, a piece for solo harp which again reflects all the composer's gentlemanly qualities. Some difficulty might be experienced by those trying to get this one other than

trom tne world Record Club as it is not available through normal retail sources and possibly has never been introduced into the general catalogue. VERDI. Nabucco. Riccardo Muti conducting the Philharmonia Orchestra and Ambrosian Choir with Renata Scotto, soprano. Matteo, baritone. Veriano Luchetti, tenor. Nicolai Ghiaurov, bass etc. World Records WI 3520/3 (3 discs) from Angel SCL 3864. This is the least of Muti's great series of Verdi operas from Aida, to Macßeth and others, which have received

almost unqualified praise. Nabucco, unfortunately, breaks the pattern with coming on too strong in the wrong places and a slight failure of the Ambrosian Choir to match the Vienna State Opera Chorus, for instance. Nabucco is not a favourite of mine but I do prefer the older Gardelli set from the sixties, one which seems to insinuate itself into greater credibility. Ah interesting feature of the review set is Renata Scotto’s Abigaille. One is conscious of her effort to fill the part, whereas her rival,

M. Souliotis lives the important foie without effort but particularly thrilling. The usual Miiti fire is there, extracting all the power from the Philharirioriia as usual, but if one had not heard the Gardelli account it would have been easy to recommend the Muti without question.