Disappointing record

Press, 3 September 1984, Page 19

Disappointing record

Classical records review

ALLAN FRANCIS

DVORAK. String Serendade in E major Op. 22. Wind Serenade in D major Op. 44. Sir Charles Mackerras conducts the E.C.O. WORLD RECORDS WE 5626.

Eager anticipation here was alas, not fulfilled. One expects such a lot from this lyrical work on side 1, plus the equally enchanting “Wind Serenade” on side 2 and normally the presence of the English Chamber Orchestra is a guarantee of success.

It was pleasant enough for routine readings and assuredly some idle conversation during the performances would not affect the over-all result, but one expects so much now from resources such as these, especially after Leppard’s earlier springy recording from 1977.

This present stiff, uncompromising version from Mackerras would make no friends and despite the digital sound, the strings are shrill and equally cool.

Partly compensating, the “Wind Serenade” comes off better than expected, although Neville Marriner’s 1982 is far superior in practically every way. Karajan too, produced a polished version of the “String Serenade” in 1981, but it lacks charm even if it is far more polished than this present issue.

The coupling is ideal and the individual playing by the musicians is beyond criticism, but the Marriner outshines it in all other departments.

BEETHOVEN. Quartets Op. 127 and 135 played by the Alban Berg Quartet. WORLD RECORDS WI 5503. WORLD RECORDS WI 5503 from EMI.

With the delicious sound of the early and middle Quartets still leaving a deep impression in one’s mind, the same brilliance is sustained in numbers 12 and 16 by the Alban Berg Quartet. There is still the sharpness of recorded sound that marked the earlier recordings, as opposed to the warmth of the Quartetto Italiano, so one is faced with the simple decision of personal preference on that account.

Elsewhere, the actual performance is so vibrantly expressive that the balance is tilted heavily in favour of the Alban Berg players. These are lyrical works, full of passion and muscial greatness and place emphasis on unity.

The high spirits are captured here with style that is hard to match and is consequently a “must” for all concerned with this particular genre.

CHOPIN. Sonata No. 2. Scherzo Op. 39. Polonaises Op. 40. Mazurkas Op. 41' played by Vladimir Ashkenazy, piano. WORLD RECORDS issue from DECCA SXL 6995.

Only Ashkenazy has the originality to create a programme of such perceptible contrasts as this and it must be to his credit to show all sides of the composer’s genius to the best advantage. His playing is superb, as usual, his interpretations of the vastly overplayed “A major Polonaise” is something to be marvelled at, while the less familiar peices get treatment that suggests Rubinstein at his best.

The major work, the “B flat Sonata,” again reflects the pianist’s masterly skill to transform what can be a very dull piece in some hands. The recorded sound is superb.

MAHLER. Des Knaben Wunderhom. Elisabeth Schwarzkopf, soprano. Dietrich Fischer Dieskau, baritone. George Szell conducts the L.S.O. WORLD RECORDS WI 5506.

This very fine collection of songs is now the sole recorded property of

Maureen Forrester, Dame Janet Baker (now deleted), Jessye Norman, Frederica von Stade, Norma Proctor and Elisabeth Schwarzkopf — plus of course, the corresponding male voices in each case.

The review recording,, along with the Baker version, is also deleted but certainly warrants re-issue. All the versions are completely different and all rate highly in their various approaches.

I have not heard the Jessye Norman set, nor for that matter, the two excerpts by Miss Stade but the two older recordings were much played in the 60s, and this fact appeared to ward off other attempts at the time.

Elisabeth Schwarzkopf is in fine voice under the encouragement from her husband, Walter Legge, so here too, is yet another import-, ant factor in the success of the venture. True to type, the producer retains his happy knack of being able to produce masterpiece versions with a flair that borders on genius. I have always preferred Fischer-Dieskau to John Shirley-Quirk and his lusty singing here gives a far more masculine performance than the Englishman. Geraint Evans, in the Baker set, is in a class of his own. Some may find the detailed account by Szell a bit much but for my money, this is still the definitive set.