Famous fights, familiar tunes

Press, 4 June 1984, Page 11

Famous fights, familiar tunes

Classical records review

ALLAN FRANCIS

BEETHOVEN. Wellington's Victory. Op. 91. TCHAIKOVSKY. 1812 Overture. Herbert von Karajan conducts the 8.P.0. DG 2535 125. Helped enormously by the rousing strains of "Land of Hope and Glory" and “For He’s a Jolly Good Fellow." Karajan presses hard to a British victory over the French. Drums, trumpets and guns also do their bit in what must be the two most programmatic battles in the history of music. When the tumult has died the resources of Beethoven's writing take up the banner to put the final seal on the victory. Karajan’s 1969 versions of these pieces for armchair conductors are a trifle thick in recorded sound but otherwise just as exciting. The notable exception is perhaps Haitink's 1812, now deleted for reasons unknown. It takes a bare 14 minutes to rout the French in 1813 whereas the Russians take a full minute longer. During the uncertain moments with Wellington, hopeful sounds of “Rule Brittania” emerge and in the final essay, when victory is assured, “God Save the King” makes its heroic appearance. While length of time may be of little moment in battle, it is of some significance when buying records. Less than a half hour’s

playing time is not enough. To his credit. Karajan never resorts to artificial devices at any stage, all the sounds of battle being purely musical. There are no cannons, no rifles, so one assumes that his interpretation stresses the music rather than the gimmickry. BRUCKNER. Symphony No. 9 played by the Dresden State Orchestra, conducted by Eugen Jochum. WORLD RECORDS WI 5151. All three principal Bruckner conductors, Karajan, Haitink and Jochum, first recorded the 9th Symphony in the mid-sixties and the logical sequels have all, more or less, fallen at the same time. I have been mightily impressed with Karajan’s lat-ter-day accounts of Bruckner, although traditionally the nobility of Jochum’s readings has always touched a chord that extends into Beethoven and Sibelius. Music of this nature benefits enormously from improved sound techniques so all three conductors have gained here. However, the over-all merits have also increased accordingly.

Karajan is still lithe and persuasive while Jochum is still grand and powerful. What trips up many (including Haitink), is the long harmony line but both other conductors cope with this most effectively. This, in turn, is vital in the continuity of the music. Where Giulini and Haitink hang fire in the huge exposition in the first movement, Karajan and Jochum stride manfully over the ascents. This is powerful stuff. Karajan, in particular, copes with the demands of the music so well that I am compelled to give him the honours but Jochum is a close second. WALTON. Symphony No. 1 played by the Philharmonia Orchestra conducted by Bernard Haitink. WORLD RECORDS WE 5224. Another which benefits from sound techniques is this troubled symphony of Walton which has been produced in honour of the composer’s birthday. Haitink has not been persuaded into rushed tempos but loses nothing on that score. It may be easy to be wooed by Andre Previn’s springy rhythms, especially in the Scherzo, but in the end Haitink produces a level-headed account which I imagine will wear better than most. This includes the uncertain reading by the composer himself, wlio appears to transmit his difficulties in writing over to

the actual performance. The work reflects personal problems as well as troubled times in the early 30s and. so far. I have yet to hear a more convincing performance than the review disc. At the other end of the scale is Boult's frantic version, now happily deleted from the catalogue Haitink does ample justice to a symphony which also must represent a peak in English composition. DVORAK. Symphony No. 9 "From the New World” played by the L.P.0., conductor, Zdenek Macal, and recorded in the Watford Town Hall. World Records WE 5619. Those seeking a crisp, unsentimental version of the “New World" need look no further. This one has all the attributes in what could be the best-sounding recording to date. In a highly competitive field, this Czech-conducted version has a perception that is highly gratifying, a simplicity that is too often clouded by over-smart interpretations, a clean-cut line that is brief and telling. What lifts the whole venture well above its manyrivals is the splendidly reverberant sound quality. Everyone loves to have this most standard of standards bouncing along in fine style and nothing could be more stylish than this digitally processed version. In short, it is expressive, strong and direct.