Something to sing about

Press, 20 September 1982, Page 14

Something to sing about

FESTIVAL SINGERS. Servant Songs recorded live with the Extended Choir and audience during Easter Festival 1982. FESTIVITY FP 2003.

This is the second recording I’ve had the pleasure of reviewing and the most vivid impression of this choir is that they obviously enjoy their work. This latest batch of songs, leaning heavily on the secular, confirms initial thoughts. The great care which has been taken with every detail is also appreciated.

Whilst respecting the advertising rights of certain religions, I must say that the attitude of the “jolly” hymn has a lot going for it and this is the attitude of the choir’s opener,/ “Sing and Shout.” The sound is immediate, the articulation is perfect and the backing is firm without being intrusive. William Southgate once more takes a good deal' of responsibility for the instrumental arrangements and a great many others perform tasks vital to the success of the venture but it is Guy Jansen who is the driving force, his trademark being unmistakeable in the quality and finesse of the choir’s ultimate performance. There is a breathiness and a lift which are rare attributes indeed in a group of this nature, or for that matter many higher-ranking choirs. The soloists are profi-

cient without taking away any of the spotlight from the whole. Graham Wise and Frank Carter blend beautifully and Nicola Jansen must be a daughter of the conductor.

Above all else, the Festival Singers generate a pleasure which is quite infectious. They should go places, and deserve every bit of their success.

CARL ORFF. Carmina Burana. Eugen Jochum conducting the Berlin German Orchestra and Chorus with Gundula Janowitz, Dietrich Fischer-Dieskau and the Schoenberger Bov’s Choir. WORLD RECORDS WQ4099 from DG 923 062. World Records shows remarkable bravery producing this ancient version of such a popular work, especially at a time when the competition is tough. Barely have the last resounding chords of Muti's mind-shattering HMV account died away when the club modestly brings out its 1968 Jochum version in the hope it will stillstand alongside Previn. Ozawa. Burgos and the Muti showpiece. It is on the open market, too, which means that Fischer-Dieskau has to compete with Allen, Milnes, Wolansky and Summers respectively. He probably does but there are many other factors to consider.

Whilst no-one could be a

more ardent supporter of Eugen Jochum, I feel his forte lies more in the symphonic field than in this more Latinesque. almost flashy type of composition. However, he does raise much extrovert pleasure out of the bouncy, good-humoured choruses and the orchestra rises nobly. Gundula Janowitz has to foot it with Lucia Popp in the Burgos recording and Sheila Armstrong in the Previn set. a comparison which raises some doubts, whereas in the tenor role, Gerhard Stolze could steal the honours for Jochum. And who would dare put down Fischer-Dieskau?

Jochum brings a certain amount of nobility to his reading of the piece, but for sheer unrestrained pleasure I would opt for Muti.or Previn.

DEBUSSY. Images, Prelude a I’apres-midi d’un faune. LSO conducted bv Andre Previn. WORLD RECORDS W14526 from HMV Digital ASD 3804.

Yet another famous first. This is the initial essay by EMI into the digital world and what a smashing success for the company and Previn! Coming so soon after Haitink’s magnificent analogue version of “Images and Danses" which swept all before it in 1979, the company took a perilous gamble which, fortunatelv for it, paid off.

Classicalrecords ALLAN FRANCIS

No wonder Previn smiles. Haitink was expected to hold the honours for some time to come after his justly acclainmed Philips recording, but within months a successor has snatched the crown and here it is.

All the opulence which Debussy lavished on these pieces has been captured in a manner never heard before. There is a refinement, clarity of texture, natural perspective and depth which makes the listener feel certain that it couldn't be done any better. Previn evokes a pungent atmosphere which may leave some listeners with a few niggling doubts but as the argument is at such a high level of artistic achievement there must be a good deal of hair-splitting over what way you like to hear your Debussy.

Some have described Previn's "Iberia" as smudgy, partly because of his languorous rhythms, yet surely this is what the composer intended. It would be foolish to damn the Haitink as being inferior on all counts, because it isn't, but for sheer beauty of sound EMI (and Previn) can take a bow for a magnificent effort.