Expansive Brahms, of almost architectural splendour

Press, 29 March 1982, Page 14

Expansive Brahms, of almost architectural splendour

Classical records . , review ...

ALLAN FRANCK

J. BRAHMS. Symphony No. 4 in E minor played by the Philharmonia Orchestra conducted by Herbert von Karajan. World Records cassette WIC 4283 from Columbia mono 33CX1361 (1956). This one dates roughly from the same golden age of recording as the Karajan/ Balakirev reviewed recently and marks the same excellence of quality from the doyen conductor — this time with Brahms just as readily as with other composers. As far as I'm concerned it is a world-beater and any serious collector need look no further than this ancient mono transfer, in all aspects a fine recording and as good as anything before or since. Sonically, it’s just as deceptive, possibly gaining a little from the benefits of technological advances, but very good anyway. The superb eloquence of Karajan was shadowed later with two other versions of the same work with the Berlin Philharmonic, but the nobility does not quite match the earlier version which has a degree of flair quite unique in its grandeur.

. This is Brahms at his expansive best, the climaxes formed with an architectural splendour and those magnificent syncopated phrases rolling out with such ease! There are no weak spots nor any patches which give this reviewer any room for qualms or reservations. Hearing this symphony now under these conditions is proof positive that Karajan’s finest hour, or decade, was most certainly the fifties. While it is agreed that the conductor has never really altered his' approach very much over the years some recordings do stand out because of their unique quality in one aspect or another and this just happens to be one of those. A must.

the' renaissance PLAYERS. Sybil’s Giggle and the Cat’s Fiddlesticks. Traditional pieces played by the Renaissance Players recorded in the Sydney Opera House by Australian CHERRY PIE label on L 37649 and L 37746. It would be a physical impossibility for any Australian group performing traditional airs' or instrumental pieces to overlook Waltzing Matilda in some shape or form, and so it comes about in transparent disguise, dressed as Matilda’s Waltze (for Gough). Even the rather coy introduction hints at the possibility but what with the confusion of instruments it is difficult to tell whether the group are really orchestrating a send-up or not. Ostensibly a giggle it actually tackles those traditional pieces with a dedication which is certainly not funny. Judging by the sheer volume of Renaissance music heard these days it would be reasonable to expect that there will be quite a stir of interest in the lineup comprising treble recorders, flutes, crumhorn, dulcimer, saz lute, mandora and jingling Johnny (what-

ever that is), among a myriad of other more orthodox instruments including the human voice, not the least.

But what strikes the listener most forcibly at the outset is the clarity and great presence of the Players. Very much in the high-quality class as other Cherry Pie recordings, these two are quite brilliant as it takes little imagination to feel as though you’re in the Opera House, unfettered by tape hiss or other mechanical refuse. Mention must be made of the fine male alto and the voices generally rank equal shares with the high standard of instrumental playing.

THE VIRTUOSO FLUTE. Julius Baker, flute with the Zagreb Soloists conducted by Antonio Janigro playing VIVALDI, Concerto in D, Concerto in C for Piccolo, MOZART, Andante for Flute and Orchestra K 315, Concerto No. 1 for Flute and Orchestra K 313. VANGUARD VSD 71153.

For sheer beauty of tone I would have to vote for Julius Baker. As regards technical brilliance there is not much in it when one has to consider Jean-Pierre Rampal or James Galway as well. All the great flute players have done these works at some time or another, especially the Mozart works.

Whatever the outcome of the latter argument none can possibly take away from Baker the fact that his is an attractive performance, ranking with the best and a record which will last for many playings and still retain its appeal. It was with the Zagreb Soloists that Galway shone so well after losing the services of his Irish Chamber Orchestra, so famous from a distance but so seldom heard anyway that comparisons are virtually out of the ques- “ tion. However, with such rich sound from the Zagreb players, it is satisfying enough to own a recording of I this calibre, with just the 1 right amount of ambience . J combined with a warmth which I have not always ’’ found with some discs bearing this label. While Galway would pos- ! sibly bemuse his listeners ( with his style of interpretation, Baker has a clear, unex- ' » aggerated technique which ! might be more appealing to - the out and out Mozartian. ; Another good one. j