The year 1981 in retrospect

Press, 23 November 1981, Page 15

The year 1981 in retrospect

In a year which'has seen the full development of digital recording of both records and cassettes, there has been a surge of interest in older recordings, mainly because the collector is how in a position to stand back and assess values past and present. in a fairly well-bal-anced view of the industry. Reissues of past masters have enjoyed a remarkable success despite the high standard of new recordings, while the product of modern artists and conductors is sometimes breathtaking both technically and artistically. .Japanese recordings have made their mark and most companies have benefited from new technology. The industry has suffered from rising costs and taxes and these, in turn, have been passed on to the buyer; so that while it may be a luxury to own a Karajan digital, it must not be overlooked that there are still many fine 20 and 30-year-old versions of old favourites comparable to the best available. Never has the collector been in a better position to sit back and pick from a selection so widely varying in price and style as in 1981. And this promises to be the pattern for 1982. Taking “the most sublime noise in the world" (Beethoven's sth Symphony), as an example there are'lB versions currently on hand, ranging from Toscanini's 1952 recording up to Bernstein's 1980 version, with all the Previns, Kleibers, BOehms. Loratis et al in between.

But the plum is the Eugen Jochum complete symphony package now issued by World Records on WI 3754-8 from HMV SLS 5178-8, which takes the crown for the year, both in the orchestral section and

the over-all title. One is at a loss for superlatives with this one.

The Polygram package of the Mozart Symphonies 28 to 41 on DG 2721 220 looked a likely winner until September when the Jochum turned up. Opera? Beethoven’s Fidelio on WRC WI 2210-3 heads the list with Karajan’s Boheme on Decca SET 565-6 and Elijah on WE 2057-3 run close.

Vocally, Pavarotti still retains his'laurels quite easily with his two Decca releases, SXL 6649 and 7504, but the ladies lead with Kathleen Ferrier on WRC CO 530 singing Manler, while Elisabeth Schwarzkopf on WI 3514 and Elly Ameling with her crystal clear Schubert are absolutely essential. In the piano section, both the Emperor Concerto and Tchaikovsky’s Ist have been the target of stiff competition, but Pollini scored with his coldly representative account on DG, with midpriced versions from Barenboim on HQS 9505 and Arrau on Philips 6580 094 taking full care of the Emperor. Martha Agerich took honours with the Tchaikovsky Concerto while an interesting newcomer, Andrei Gavrilov gives a rather odd account of the work on EMI ASD 3818.

Variable though it was. Gigli on WRC WI 3877-3 wins the historical title, the bad strangely enough, stressing the good. A short step of several centuries further back brings up the knotty argument of the use of authentic instruments, centering around the Collegium Aureum and the good work by Christopher Hogwood. When the ear has been accustomed to 20th century instruments and the more sophisticated finesse, the

Classical records review ALLAN FRANCIS

authentic is apt to be no more than a passing curiosity. The exception may be Neville Marriner’s Messiah, but this was certainly not played on 18th century instruments. In the chamber orchestra class, Neville Marriner scored heavily with the Handel Concertos' (a Due Cori) on HMV OASD 3182, while disappointments of the year vie closely between Chung’s heavy account of the Beethoven Violin Concerto and Mozart’s Flute Concertos on WRC 3576. The Kings’ Singers were out of character with the excursion into “swing” on WM 2264. Gerald Moore was dull talking about himself on WE 3251 and despite the unquestioned popularity of Richard Clayderman I still stick to my opinion of last year. Mid-road winner's were Blossom Dearie on all her recordings from Polygram. Moving a shade left, the Pablo series from this company are immaculate. Guitarist, Joe Pass, trumpet from Freddie Hubbard, plus Lionel Hampton turned in some exciting jazz spots. There are some great expectations from our Kiwi Record company, following their link with Radio New Zealand. Feelings of sitting on a volcano emanate from. that quarter with Malcolm McNeill coming up, Cristina Ortiz likewise; new artists, new horizons, the record scene is never static. There is certainly no room for pessimism.