Warm, companionable piece

Press, 23 April 1983, Page 14

Warm, companionable piece

RODRIGO. Concierto como un divertimento. LALO. Cello,concerto in D minor. Julian Lloyd Webber, cello with the L.P.O. conducted by Jesus Lopez-Cobos. RCA RED SEAL RL 25420 (German pressing). Backed by the familiar, stern sounds of the Lalo Cello Concerto is Rodrigo’s commissioned Cello Concerto — a warm, companiable piece designed for the cellist. It is easy to make instant friendship with this work, one immediately presumes it is the composer’s first essay into this field. It is preceded, however, by his Concierto en modo galante dating from 1949, one reputed to be not quite as Spanish as the latest work, nor as tenderly sinuous. The contrast between the two works on the disc is almost incongruous and it raises the question as to why the first cello concerto could not have made a more suitable “filler” if that is what was needed. Still, even if the Lalo may be neglected in favour of the Rodrigo no-one will worry too much; Tortelier’s 1976 version will always be on hand for those seeking the definitive account of Lalo’s intense composition. Rodrigo weaves a deceptively simple, gentle pattern of engaging melody with the soloist strumming a bolero rhythm, eventually fostering that warm air of Spanish charm which prevails throughout. Nice little snatches of Ravel/Gershwin devices pop up in unexpected places, particularly with the

Classical records review ALLAN FRANCIS ’

combination of xylophone and celeste. This one will find its way on to the turntable more frequently than most and still be a durable quantity. PLACIDO DOMINGO. Arias from Tosca, Rigoletto, Il Trovatore, Martha, Lohengrin, Xerxes, La Navarraise, Eugene Onegin, Andre Chenier and La Jnive. Placido Domingo, tenor with various orchestras. RCA ARLI 4414. This one represents the second volume of arias for RCA, the first of which I haven’t heard; but I imagine to be a fairly routine crosssection of standard pieces, bordering on a smattering of the less familiar. In the latter category must come Halevy’s “La Juive” and the fine Giordano excerpt, “Come un bel di, di maggio” from Andrea Chenier. “Lenski’s Aria” from Eugene Onegin is by far one of the most listenable pieces and incidentally one of the most generous. As it is now impossible not to keep drawing comparisons with Pavarotti, I have given up trying to ignore one at the expense of the other. The only conclusion I have come to now is that Domingo in 1983 would find it hard to head off Pavarotti in 1976 and there the endless highs and lows of both tenors must inevitably form the stalemate.

Meantime, while Pavarotti is enduring a slight recession, Domingo has never been in better voice, his control is superb and the vocal sound is firm and well-rounded — perhaps from better management? These 10 arias will please opera lovers of all age groups so perhaps more interesting comparisons can be drawn from other singers from the past who have made some of these hardy annuals very much their own, for instance, Handel’s “Ombra mai fu” or “M’appari” from Flotow’s Martha. KOTO HANDEL. The New Koto Ensemble of Tokyo conducted by Yoshikazu Fukumura. WORLD RECORDS Cassette WCC 5102. Those tempted to dismiss Japanese Handel out of hand might change their minds after hearing these crisp performances of excerpts from “Water Music” and “Fireworks Music” played on essentially Japanese stringed instruments. After the impact of their initial debut with Koto Vivaldi, which showed a high degree of flair, Koto Handel is almost as successful considering that Vivaldi would undoubtedly be a better medium for the group to work with. My only criticism would be the short measure — five pieces on one side and four on the other is stingy by any reckoning. JAMES GALWAY. Song of the Seashore. Tokyo String Orchestra conducted by Hiroyuki Iwaki play Japan-

ese melodies. RCA VRLI 7324. Speaking of the koto, there could be no finer example to date of the blending of opposing cultures than Galway’s flute and the delicious simplicity of koto and harp in the form of these 11 “folk” melodies and two traditional pieces. In any language this would speak volumes for the eloquence of uncomplicated design combined with superb taste. James Galway has had countless settings for his particular skills though I doubt whether he has been shown to better advantage than here. Of the delicacy which is. significant in all these pieces, there is nowhere more telling than in the title track, a haunting little tune that marks the very best of a fine collection.