Clear, but no-one fooled

Press, 1 April 1985, Page 10

Clear, but no-one fooled

Classical records review

ALLAN FRANCIS

S. BACH. Brandenberg Jf«*rtos Nos 1 to 6 BWV Phyed by the Eng- “*■ Concert, Trevor Pinnock, harpsicord. ARCHIVE digital 3383 003.

To some, period instruments recorded on digital C recesses may seem a con■adiction. The warm burnished glow that the engineering creates is in direct opposition to the lean sound that the instruments inspire.

The uneasiness of the older instruments in the first two concertos adds to the problem. Where modern counterparts iron out the technical difficulties of the music, the older ones stagger a bit with stress Irroblems. This is particuarly noticeable in the faster movements. The existence of two other recently issued sets of the same from Harnoncourt and the Linde Consort is another hitch. Who is panting to get a third recording of ancient instruments after two quite satisfactory versions? Only the difficulty of buying imported records in New Zealand may put the others out of contention.

The performances are competent, within the con-

fines of the range of the instruments. The sound quality, digital and all, gives the listener a first-class opportunity to hear everything in remarkable clarity. This type of in-your-lap listening is fine with some music, but no-one is really fooled by it. As might be expected, the fifth comes off best, with the slow movements being the most attractive throughout.

J. S. BACH. Organ Works played by Ton Koopman. ARCHIVE digital 410 999-1.

There is also no lack of good organ recordings, with plenty of first-class recordings of Bach’s “Top Four.” These include “Toccata and Fugue BWV 565,” “Toccata, Fugue and Adagio BWV 564,” “Toccata and Fugue BWV 540 and 538.” Any four others would serve the purpose equally. At a time when we are getting recordings of shattering brilliance, this one from Ton Koopman is well up with the field. The instrument is a Rudolph Garrels (1730-1732) and shows the inescapable argument in favour of the authentic instrument. The loose threads that

Bach passed on to all organists are smoothed out by Koopman with enviable ease — a must for those who have lots of Bach, but not quite in this class.

F. J. HAYDN. Arianna a Naxos. BRITTEN. A Charm of Lullabies. DAVID FARQUHAR. Three Scots Ballads. Flora Edwards, contralto. Colleen Rae-Ger-rad, piano and fortepiano. ODE RECORDS SODE 182.

An extremely powerful performance by the singer almost eclipses the competent piano of Colleen RaeGerrad. Usually sung by a soprano, the dramatic content of Haydn’s pet work loses nothing in the presentation by these two artists.

Flora Edwards has never sounded better than she

does with Arianna a Naxos, and those familiar with her television performances will not be disappointed with her treatment of the main work or the fillers — Britten’s “Charm of Lullabies” and the locally grown “Three Scots Ballads.

“Lord Randall” is no stranger.

SCHUMANN. Symphonies Nos 1 and 4, played by the

Philharmonia Orchestra conducted by Riccardo Mutt WORLD RECORDS WI 5963 from EMI.

Apart from small reservations, this 1977 issue from Muti represents good symphonic music played in a most satisfying way. It was originally part of a set that embraced all the symphonies as well as a few overtures. Of the younger conductors only Daniel Barenboim comes into contention. The 1979 versionss of the same programme with the Chicago Symphony Orchestra is equally compelling, although, with existing marketing problems, one is always hesitant to recommend certain tables. There are still some

highly regarded older sets on the market, with Istvan Kertesz and the V.P.O. springing to mind. For clarity and liveliness, though, the Muti is entirely satisfactory.

BRAHMS. Sonatas for Cello and Piano Nos 1 and 2 Op. 38 and Op. 99 played by Lynn Harrell, cello, and Vladimir Ashkenazy, piano. DECCA SXL 6979.

The tough competition with this coupling is nicely spaced to allow for some

interesting and favourable comparisons. In 1968, Jacqueline du Pre and Daniel Barenboim produced a superlative, extroverted performance, followed, 10 years later by anothr family effort from the Torteliers. Each had its respective merits with different rather than better interpretations. Lynn Harrell was so accomplished with the difficulties of Brahms "Double Concerto” — no less than he is here with Ashkenazy’s probing reading. This latest recording is just aS enjoyable as any form the past, regardless of the compelling powers of the Barenboims.