The cream of French skills

Press, 5 September 1983, Page 14

The cream of French skills

Classical records review

ALLAN FRANCIS

SAINT-SAENS. Symphony No. 3 in C minor Opus 78 “Organ”. Peter Harford, organ. Charles Dutoit conducts the Montreal Symphony Orchestra. DECCA digital SXDL 7590. A French composition in the very best grand style played in the best possible manner sums up this auspicious issue. Apart from the fact that this is possibly the most popular of SaintSaens’ symphonies, it is played here as though it has never been performed before and Charles Dutoit is showing us something new. Both Monteux and Beecham had this gift, a rare asset indeed, and one which lifts works like these from the possible danger of being ordinary to that of impressive grandeur. To a lesser degree, Paray and Fremaux could sometimes work the oracle too.

Some of the credit must go to the digital sound; the full, rich sound of the work is amply conveyed by the warmth and breadth of the new techniqiie. Passages with the organ and strings are very telling under these circumstances, while the power of the Scherzo reaches heights not too often reached in analogue versions.

Barenboim does though, in his DG recording, but Karajan misses the mark with his frenetic speeds once more. One cannot but admire the composer’s ingenuity with his departure from the accepted symphonic form, his great verve and his orchestral skill which must compare with that of his countryman, Ravel, in brilliance.

All this adds up to a satisfying issue, one which can so deftly replace most of one’s older versions and in the end is the product of the conductor’s insight into a work of many moods and colour.

GRIEG. Peer Gynt Suites 1 and 2. Wedding Day at Troldhaugen. Homage March Op. 56 played by the Nordmark S.O. conducted by Heinrich Steiner. DEUTSCHE 2535 177.

Still using the principle of each sticking to his own, this batch of run-of-the-mill pieces by Grieg comes up remarkably well under these conditions played by the Nordmark Orchestra.

Alternating with the Bamberg Orchestra (not a top-line one by any standards), all the pieces are pleasantly atmospheric without being any milestones in the annals of music. Without the introduction of his symphony Grieg might have slipped into relative obscurity but treated as they are here they are more than adequate reminders of the singularly fresh quality of his standard compositions. FRANZ LISZT. Orcfetrai Works Volume 3. The Ideals,

Festival Sounds. Kurt Masur conducts the Gewand haus Orchestra of Leipzig. WORLD RECORDS WI 4864 from the EMI Electrola catalogue.

This is the third and final in what was the complete set embracing most of Liszt’s orchestral output. It is the most representative of his work in that field and generally makes good listening. All the excitement, which made such an impact when first heard in the 1850 s, is still as potent in the 1980 s despite the fact that some pieces have worn better than others; few would rush for another copy of “Mazeppa” but the “Dante Symphony” might have been overlooked but for this admirable issue. Whereas Volume 2 mopped up some of the lesser lights, Volume 3 makes strong strides into the most exhilarating and far more worthy areas of Liszt’s works. “Festival Sounds” is all that the title suggests. Many composers have their own ideas on the subject and Liszt was not among the least in creating a carnival atmosphere. It takes a whole side and explores all the kaleidoscope effects of the fair.

“Ideals,” on the other hand, traces the hopes and aspirations of the mind. Based on one of Schiller’s poems (a rich source of inspiration for many composers!), the tone poem moves swiftly from youthful striving to disappointment to maturity. Seldom has Liszt been so graphic and this piece must rate alongside his “Dante Symphony” in quality. The Gewandhaus Orchestra is especially good, too.

VIVALDI. Four Seasons. Claudio Abbado conducts the LS.O. Gidon Kremer, violin. Deutsche Grammophon 2531 287.

Now boasting some 31 versions in the current catalogue, Vivaldi’s most popular work has yet another disciple in the form of this full orchestral recording under the capable guidance of Claudio Abbado.

As expected, the L.S.O. gives warmth to the work whereas the chamber versions are apt to be crisper and cooler. The soloist, Gidon Kremer, adds to the soporific effects of summer and indeed carries this heart-felt glow through to autumn.

Even winter fails to generate the intense cold which one might expect. It is a leisurely account, skilfully performed, of a work which is now rapidly becoming in danger of over-exposure.