‘Messiah’s’ continuing facelift

Press, 21 December 1981, Page 17

‘Messiah’s’ continuing facelift

Classical records review

HANDEL. “Messiah” with Elizabeth Harwood, Janet Baker, Paul Esswood, Robert Tear, Raimund Herinci, Ambrosian Singers. The ECO conducted by Charles Mackerras. World Records W1 1797/3 from SLS774 (1967).

That the “Messiah” is as traditional as the Christmas turkey in no way detracts from the immense appeal the masterpiece still continues to attract at this time of the year.

It makes little difference that the work may never have been intended as a particularly Christmassy celebration, but the old warhorse has now changed pace somewhat and dropped off a few trappings, to become almost a “new” “Messiah.”

The change began in 1966 with the redoubtable Colin Davis, (Philips 6703 001) who showed the work in lighter textures and faster tempos. Leppard, Willcocks and Marriner all followed the same path which hung on to some old traditions but made some interesting compromise. The complete breakthrough was left to Christopher Hogwood in 1980 with an all male choir with women soloists, an orchestra of “authentic" instruments and the correct number of singers and instruments, simply as it was in the beginning (Decca D189D3). I would therefore question the wisdom of World Records in issuing the Mackerras version when the more venturesome set is now available.

The comparable issue from Neville Marriner is equally acceptable as the review set, having the ser-

vices of Elly Ameling and Anna Reynolds and “based” on the 1743 performance (DIBD3). Under the amended rules of the game, the choir now totals about 30, the orchestra is 38 and there are countless variations to the score as we have come to know it.

So many excitements and so many surprises. What an impact this would have made by exploring fresh fields in such a delightful manner in place of the rumbustiousness we have doubtless enjoyed over the years — and Thomas Beecham was as guilty as the next — when dramatic impact could be just as great with smaller resources and finer writing!

While the efforts of Dame Janet Baker, Elizabeth Harwood, Paul Esswood etc. are quite superb, the version still remains a quasi-traditional compromise between two worlds. If Christopher Hogwood hadn’t come up with the real thing last year, then either the review set or the Marriner would have been fine.

ELGAR. "Enigma” Variations. VAUGHAN WILLIAMS. Thomas Tallis, “Wasps” Overture. LSO conducted by Andre Previn. World Records W14152 from HMV ASD 3857.

There are recordings of Elgar’s famous Variations spread over some 30 years still available in the catalogue and broadly the interpretations fall into two widely varying camps. Conductors choose the exciting, up-tempo version of Beecham or Mehta, or the noble, refined .gestures of Monteux or Jochum.

Previn selects the latter, curiously enough, where one might have expected fireworks. Slow passages, particularly in. Nimrod, are the order of the day.

Even more curious is the fact that the most attractive recordings have all come from those outside of British origin — Silvestri, Monteux, Jochum or Previn.

Georg Solti too, has produced a particularly impressive version on SXL 6795 as does Daniel Barenboim. Previn’s view is therefore not quite his own, rather leaning on the older men for his inspiration. Selecting two of the popular pieces of Vaughan Williams is a happy choice for Previn. The “Wasps,” above all else, has been one of Previn’s strong points

over the years. This one is as good as that recorded in 1972 (early days for Previn), and a sparkling effort it was at that time. The Tallis Fantasia highlights the rich string tone of. the HMV sound, building to a fitting climax after, fairly slow beginnings. A good, all round record, if lacking Previn’s idiomatic touch.

CHOPIN. The Four Scherzos. Gabriel Tacchino, pianist on World Records WE 4160 from the French Pathe Marconi label.

This one is uncomfortably reminiscent of the wad of Polish pianists playing their beloved composer in singularly dead monotones in a series that seemed to go on forever. The same bland bass

ALLAN FRANCIS

tones and impersonal reading which is destined to cure any budding romantic Chopinist instantly.

As an academic exercise this excursion into the four Scherzos would doubtless rate highly, and there are even hints of Malcuzynski here and there, especially in the fast passages. But in the tender moments, the French flair for the romantic does creep into the act. Gabriel Tacchino wouldn’t replace Rubinstein or Ashkenazy but it has its moments.