Various views of Mahler

Press, 30 January 1984, Page 14

Various views of Mahler

Classicalrecords review

ALLAN FRANCIS

MAHLER. Symphony No. 4 played by the Scottish National Orchestra conducted by Sir Alexander Gibson with Margaret Marshall, soprano. CHANDOS Digital ABRD 1025. At last I have put my almost prehistoric Reiner version of the Mahler 4th to rest and accepted both Karajan and or Abbado as the one to have (either would do), and these are two or three years older than the review disc. Nor could anyone discard the Ameling/Previn nor the Halban/Walter, but if we are getting down to one or two at the most, I think that the Abbado is still as satisfying as ever, apart from having the delicious bonus of the services of Frederica von Stade. Nothing much is wrong with Margaret Marshall’s clear, perfect sound either, but Sir Alexander Gibson’s view of Mahler is ice cold compared with the others mentioned. What the Scottish National Orchestra lacks in emotional depth is partly compensated for in the fine, almost aristocratic PlayingIt could be a matter of experience as well, a kind of maturity that comes only with the long association the European orchestras have enjoyed in the field. Abbado gets that introverted side of the work which is not present here; Gibson is more straightforward and uncomplicated, neither hinting at the darkness of the old van Beinum nor attaining the lovely string sound of Karajan. The recording aids Gibson’s cause considerably, another of the small-com-pany quality discs to make considerable impact among their big brothers. PROKOFIEV. Piano Concerto No. 3. TCHAIKOVSKY. Piano Concerto No. 1 played by Terence Judd, piano, with the Moscow 1 Philharmonic Orchestra conducted by Alexander Lazarev. CHANDOS ABR 1054. In one sense this takes me back to the style of concertos of the 50s and 60s wherein the soloist is featured so prominently that the orchestra is summarily relegated to a secondary role. Such is the case here. This situation arises through the prevailing circumstances, the live peformance plus the fact that the focus is naturally centred on the pianist, at the 1978 competitions in Moscow. On the other side of the coin the live performance has the advantage of spontaneity, a briskness which is exhilarating, if somewhat imperfect technically at times. However, if one wonders why the record should be in existence at all, it is obviously for the amazing talent of Terence Judd and certainly not for the acquisition of yet another Tchaikovsky Piano Concerto. The Prokofiev is another matter for all concerned.

ROSSENDALE MALE VOICE CHOIR. The Valley of Song conducted by Ernest Tomlinson. 17 numbers accompanied by instrumentalists and Florence Jackson, contralto. CHANDOS ABR 1023. Other factors aside, the Rossendale Choir possesses the one virtue which the New Zealand Youth Choir lacks, a breadth of variety and spaciousness that is life blood to all choirs. Freed of those plodding unimaginative arrangements, the British choir is a lesson to all and a breath of fresh air in the world of massed voices. If evidence of versatility is needed, it is no more apparent than in “Drunken Sailor” where the group weave around the melody in a series of rounds yet without losing sight of their course. Diction is perfect. Of course, it is not surprising when one considers the talents of the conductor, Ernest Tomlinson, who is noted as a composer, choral and orchestral arranger and musicologist of long standing. Among all his other achievements he has never lost sight of humour, hence the Flanders and Swann masterpiece, “Mud,” gets a brilliant treatment from the Choir — standing-ovation material in fact. The tenors are immaculate while the basses are allowed their “Coronation Street” accents, and with very good effect, to give a richness to their lines, and character to the whole project. Other tracks worthy of mention are “Phil the Fluter’s Ball,” “I Gave My Love a Cherry,” “There’s Nothing Like A Dame,” “Yesterday,” “Blow the Wind Southerly,” and “Mad Dogs and Englishmen.” CLASSICAL FAVOURITES IN DIGITAL VOL. 2 Franck Pourcel conducts the L.S.O. with 12 standard classics. EMI issue released by WORLD RECORDS. It is becoming increasingly difficult to enthuse over these bits-and-pieces recordings when the market must surely have been saturated long ago both in mono and stereo and now in digital. However, they still roll out from the popular conductors such as Ron Goodwin and Frank Pourcel, who obviously still find a market for their selfarranged merchandise, worthy or otherwise. Yet another “Also Sprach Zarathustra,” Handel’s “Largo,” “La Danza,” “Can Can,” Braham’s “Valse Op. 39,” and another slightly dreary “Moment Musical.” I haven’t seen Vol. 1 but I could guess the titles without seeking any prize.