In Mozart’s shadow

Press, 2 December 1981, Page 23

In Mozart’s shadow

Classical records review

ALLAN FRANCIS

HUMMEL. Piano Concerto in A minor. Double Concerto in G major for piano and violin. Martin Galling, piano. Susanne Lautenbacher, violin. Turnabout Vox TV 34028 s. Hummel’s two years spent with Mozart left such a deeply imbedded mark on the young composer that it seems that everything he wrote bore the stamp of the great man; not necessarily as profound but certainly of some importance in the world of piano music. In his day he was considered to be the equal of Beethoven, but time has diminished this view and for better or worse, he is now little but a name. Many piano pieces still remain, however, and the pair under review are as fine examples as any of his talent. Indeed, listening to either of the concertos, one might be forgiven for plumping for Mozart as being the author - early Mozart, perhaps, but certainly full of ideas and facile inspiration, leaning heavily and unashamedly on Mozart for technique and expression. The Stuttgart Philharmonic is obviously well versed in the idiom and provides a splendid vehicle for the soloists. Neither take their full share of the limelight, being recessed back in the depths of the .orchestra, a state ofaffairs which the composer obviously shares with Beethoven. .• ■ Even the Double Concerto is barely within the bounds of two instruments, discussing a common, subject, rather than an occasional chat, about a matter of passing interest. Very pleasant to say the least, and certainly far

and away better value than a lot of more well-known pieces.

KARAJAN IN CONCERT. Herbert von Karajan conducting the Berlin Philharmonic Orchestra playing six selections by Wagner, Brahms, Beethoven, Schubert, J. Strauss and Dvorak. World Records W14278 from EMI catalogue. (HMV SXLP 30506). A top-grade sampler from a top-class conductor, one who rarely suffers lapses (but there is one in the Schubert Rosamunde Overture), giving a programme dating from as far back as 1971 and as recent as 1979, all with the Berlin Philharmonic and surely as good as anything available anywhere. With almost a surfeit of recording dates to choose from, it is small wonder that it is so easy to skim the cream off the top of his many attempts. The Flying Dutchman Overture is powerhouse stuff and the Beethoven Fidelio Overture is taken from the complete set (1971). The newest piece is the Dvorak Slavonic Dance in G minor, but it would be hard to tell from the sound any age difference; it’s all so carefully vetted that it could have been recorded yesterday. Generally, the performances are taut, with even the old Gypsy Baron given character beyond the composer’s wildest dreams. This is Viennese charm with steel reinforcements, so that the listener is aware of hidden strength not far below the surface. Brahm’s Tragic Overture gets a characteristically gutsy treatment to finish the programme. Mention must

be made of the superb liner notes; quite a gem of insight into the man himself, through the eyes of Richard Osborne — “we can work patiently,. seriously, with great joy, always.” SHOSTAKOVICH. String Quartets 3 and 13 played by the Borodin Quartet on World Records WI 4031 from EMI/Melodiya SLS 879 (1974).

For reasons unknown the Borodin Quartet stopped short at No. 13, leaving the final two in the series incomplete. The set listed above, from which these are taken covers 1 to 13 only and a fine job they did. The Fitzwilliam Quartet have subsequently produced the whole cycle, a set reputed to be on a par with the Borodin version. However, as the quality of the existing one is as good as I personally would wish for, there would be little reason to start again on a rival version in the unlikely event of bettering the older set. The Quartet No. 13 is reputed to be the peak of the cycle, sharply defined by the Borodin players and reaching a climax in a cry of anguish that defies description. Shostakovich gives the lead to the cellist in a work which consists of a central adagio, flanked by two thematically related aflegrettos. Obviously very much on their home ground the Quartet play this one and the third with elegance and finely tuned phrasing. The group play with an intensity rarely equalled outside of Russia with the melancholy pensiveness of the slow movement of the third beautifully shaped, the strutting gestures of the second graphically captured.

Followers' of Shostakovich’s personal music would never need look further than this one.