Delicately judged work

Press, 10 September 1984, Page 18

Delicately judged work

MOZART. Piano Concertos Nos. 26 and 27 played by Rafael Orozco, piano, with Charles Dutoit conducting the E.C.O. EMI CFP 40357. Part of the series of recordings and paintings sponsored by John Harvey and Sons, Ltd, this delicately judged performance is considerably enhanced by the presence of the English Chamber Orchestra and the fine generalship of Charles Dutoit. ?' '" - The soloist, Rafael Orozco, who makes his first appearance as far as I am concerned, was the winner of the 1966 Leeds International Piano Competition and obviously shows above average talent in his chosen field. Perhaps not in the same category as Pollini or Askenazy but aptly dignified in the middle of the road fashion, Orozco makes interesting, if not vital, listen-

ing. My preference for these late works goes to Alfred Brendel, whose sparkling version of the “B Flat Concerto” makes such impact on CD for Philips. There is nothing quite as stimulating here, the tempos are far slower, the over-all reading more studied and his phrasing carefully noted; Orozco takes no chances whatever.

Where Pollini dashes off these works with reckless ease or Barenboim likewise infuses a youthful vitality,

are aware that here we have a successor that is well qualified to assume the crown of supremacy.

Charles Dutoit chooses to give a more impressionistic the review recording is neither adventurous nor particularly charming. Even in the final Allegro, the soloist allows himself, only a controlled measure of exuberance. Neither work gets much ornamentation but then this spartan view is favoured by many. For a budget disc it is. good value for money but in all fairness it cannot reasonably compete with the big guns. RESPIGHI. Pines of Rome. Fountains of Rome. Feste Romane. Charles Dutoit conducts the Montreal S.O. WORLD RECORDS issue from DECCA SXDL 7591.

While many bemoan the deletion of the brilliant Ozawa DG recording from a mere four years ago, few reading. His attack, though not as vigorous as the Ozawa performance, is equally convincing. However, where Dutoit really scores is in capturing the joyful exuberance in all pieces, but particularly in the “Feste Romane.”

While nothing can disturb the particular brand of magic that Toscanini managed to weave, advanced recording techniques, plus the personal brand of colour each successive conductor

brings to these works tend to diminish the older recording (1953). Charles Dutoit and the Montreal Orchestra have succeeded in turning out some first-class perform-* ances in the last few years and the review disc is yet another in a long chain of victories. His church bells have no hint of doom; the sepulchral shades along the Appian Way are a shade less sinister then elsewhere. Warmth, as heralded by the horns, and joy are the uppermost factors here. The spaciousness of the digital recording is apparent after the limitations Monteaux and Toscanini had to face. PONCE. Concierto del Sur CHAVEZ. Zarabanda for Strings. SOLER. Tres Sonia- : tas. Alfonso Moreno, guitar. Enrique Batiz conducts the Orquesta del Estade de Mexico. WORLD RECORDS WE 5651. At last here is a suitable successor to the not so satisfactory John Williams version of the Ponce “Concerto” as well as the rarely recorded snippets from Chavez and Soler. Where Williams was tight-lipped in his European view of these passionate pieces, Moreno is unashamed in his . intensely romantic approach. Ponce, after all, is reputed to be the founder of musical ■ nationalism in Mexico and

Classical records review

ALLAN FRANCIS

there is much scope-- fop." musical flag waving. Enrique Batiz is also be- “ coming something of a specialist in this idiom, so , his support is equally .valu- JJ able. - ....,■' ’’ '

Both ; parties capture the ‘5 flamenco rhythms, the An-, .dalusian flavour of Ponce’s 4 classically formed “Con- -■ certo of the South” as well as the serious,; passion in - , Chavez’s “Zarabanda ” .. * Taken from his ballet, <• “La hija de Colquide,” this J extract is quite adequate’’ with six tmnutes playing * time. Hints of Faure’s'l studied politeness are reflected in style, but the < idiom is unquestionably Mexican. , .. ’ Moreno is obviously more extrovert than Williams in • his approach. There is no-; English conservatism about ■; Moreno’s attack Both conductor and soloist tackle the last piece, ‘Tres Sonatas,”'' with a zest that has not' been heard on record be 1 fore. ' ' ’H ' : .

, These works needed a; shot in the arm and that is ‘ just what they have got 4 here.