Sibelius’ lesser works

Press, 27 February 1984, Page 18

Sibelius’ lesser works

SIBELIUS. Paavo conducts the Bournemouth SO with various works of Sibelius. WORLD RECORDS WE 5077

At last a few of the lesser played works from the pen of the Finnish composer, including of course, the old “Karelia Suite,” an inevitable moment of weakness by the recording company, no doubt wary of putting out an entire LP of nonwarhorses. The collection includes the “Incidental Music from King Christian Suite,” “Spring Song” and “Scenes historiques” Op. 25. There is nothing flash about the Bournemouth Symphony, nor indeed the conductor, Paavo Berglund. His interpretations are fairly run of the mill, a sort of N.Z. Symphony Orchestra Night at the Proms standard and nothing to have one on the edge of the seat. Nevertheless, there is much fine music in the pieces chosen from what appears to be a random collation v of Sibelius from a much larger set involving other composers. It is a relief though, not to have another “Finlandia” or “Legends.” Unfortunately, there is also very little sparkle in Berglund’s “Spring” but there are moments of the true lyric quality in the “King Christian Suite.” I did

Classical records, review ALLAN FRANCIS

not play the “Karelia.” STRATHSPEY TRIO. Music for You. 14 tracks by the Timaru group comprising Joan Peyton, Elizabeth and Bruce Strathearn. KIWI PACIFIC Records TRL 038. This is a pleasant collection of mid-road songs which should appeal to a wide audience, despite the odd duff note and variable harmony quality. It has all the air of a cosy sing around the fireside type of session, with three people doing what they obviously enjoy and wishing to share it with others. Most of the arrangements, particularly with the older songs (“I Love Thee,” “Romance,” “When Love is Kind” etc) are extremely well done but the newer ones appear to stretch the resources of the group.

Numbers such as “Talk to the Animals” seem almost out of place; the Trio are more at home with the ballad. Other numbers include “Touch the Wind,” “Virgins Slumber Song,” “In

the Stable,” “Sounds of Silence” and “Softly as I Leave You.” GREAT PIANISTS OF THE WORLD. Nine pianists play various pieces dating from recording dates 1933 to 1948. HMV Treasury. WORLD RECORDS WE 546.

If one can put aside the recording limitations of these “voices” from the past, then the superb playing more than compensates for any disadvantages. Again, Artur Schnabel shows just what a superb stylist he was when placed in close comparison with many of his contemporaries. His Schubert is just as sublimely lyrical as his Beethoven, and the “Impromptu Op. 3” in particular, affirms this conclusion.

Inevitably, collections like these dash many misconceptions one may have developed over the years. Edwin Fischer’s “Rondo Alla Turka” is equally as irritating in 1983 as it was in 1933, so those wishing to denigrate Mozart will find plenty of ammunition here. On the other hand, Scarlatti’s “Sonata L 387” has much fire and sparkle from Myra Hess in 1940, while the grand ejd man, Wilhelm Backhaus, would possibly be at the peak of his genius in 1936 with his Brahms offerings. That equally legendary figure, Alfred Cortot, plays

two Chopin pieces, whileDinu Lipatti is curiously diverted into Ravel with a snippet from ‘‘Miroirs.’ Walker Gieseking plays, not Beethoven, but two ’ selections from Debussy and finally Egon Petri has a verv modern-sounding “Faust Waltz.”

It is a fascinating pot pourri of widely varying works, a record I would forecast as being a much played one, and not merely for its novelty appeal. JULIAN BYZANTINE. Classical Guitar with pieces; by Falla, Albeniz, Torroba,Tarrega, Lauro, Villa Lobos, " Rodrigo, Borges, Granados ; and Malats. WORLD RECORDS WM 4747. ;

One could be forgiven for thinking that this is Bream running off his best ■ pieces for another label under another name, but this is not the case.

Not only is the technique familiar, but also the repertoire — and the sound. Imitation is the highest compliment, so they say, so this packed programme endeavours to take in the widest and most generous selection* possible. To say that we have here ■ the workingman’s Julian ' Bream might do some injustice to Byzantine, but it; does serve to illustrate that ■ we are listening to one who worships at the shrine and . does it very well indeed.