Leisurely rhythms and stately phrases

Press, 15 July 1985, Page 10

Leisurely rhythms and stately phrases

Classical records review

ALLAN FRANCIS

DVORAK. Cello Concerto in B minor Opus 104 played by Mstislav Rostropovich, cello with the Berlin Philharmonic Orchestra conducted by Herbert von Karajan. Also TCHAIKOVSKY. Rococo Variations Opus 33. When this recording first appeared in 1969 it created much interest and admiration, even more so than the 1958 recording with Sir Adrian Boult and the Royal Philharmonic Orchestra, or the 1978 with Giulini. Rostropovich fans, rather than Dvorak followers, were delighted. Karajan adopted some very leisurely speeds with the work and Rostropovich went along with his ideas. The Berlin Philharmonic Orchestra’s strings come off best. Just as one had become acclimatised to the splendid attack of Tortelier or the abandon of Jacqueline du Pre, this stately version comes back with its sober phrases and slow rhythms. The second section of the opening movement is unbelievably “steady as she goes,” with Karajan risking a complete lack of momentum.

Others may well see this differently. The beauty of the flutes and strings compensate for much and give the music time to breathe. One could never complain that Rostropovich loses mastery of his instrument, however, as both performances are handled with the utmost skill. Although contentious, this must be heard and appreciated for the quality performance it undoubtedly is. BARTOK. Piano Concertos Nos 1 and 2 played by

Maurizio Pollini, piano, with the Chicago Symphony Orchestra conducted by Claudio Abbado. DG 2530 901.

Hard-hitting Pollini combines with the equally brusque Abbado to produce a hard-to-ignore version of the Bartok “Piano Concertos.” It is evident that everyone is right at home. Abbado is noted for his no-nonsense approach to most works and this one sees him bringing out all the composer’s uninhibited humour. These recordings were made at a time when the company delighted in stressing the top half of the scale, so the recording is full of biting wit, sharp orchestral colours and urgency. Side two promises even more fireworks. “Concerto No. 2” is regarded as something of a virtuoso piece and in the opening movement Bartok forgoes his brutality in favour of outright good humour. Pollini is so suited to these moods of swift jollity and hammered insistence that it is difficult to imagine anyone bettering his performances. The jazzy passages, that surely owe something to Gershwin, have been done equally as well. PUCCINI. Tosca excerpts played by the Berlin Philharmonic Orchestra, conducted, by Herbert von Kar-

jan with soloists Katia Ricciarelli, Jose Carreras, Ruggero Raimondi, Gottfried Hornik, Heinz Zednik, Fernando Corena and Victor von Haiem. DG 2537 058.

This is a typical example of an achievement through the discipline, control and personal choice of the conductor. It is Karajan’s party, from the selection of soloists, the strictly personal interpretation of the opera, right down to setting the mood in the studio — no-one laughs out of turn with Karajan!

The conductor’s love for fresh faces is immediately apparent with his “Tosca” with Katia Ricciarelli. In place of the usual characterful sopranos, Karajan presents a new fashion — less individual, but a beautiful performance nonetheless. Likewise Carreras is back in fine form. Not quite up to Stefano, nor as even, but again under struct instruction from Karajan. One might expect a tasteless, monochromatic product out of this system of domination. In fact, a total sense of beauty prevails over the whole production; the Berlin Philharmonic’s strings, in unaccustomed territory, find much to sing about and combine to add gloss to a strongly unified work. The last word is taken by the rich bass voice of Ruggero Raimondi. This again is in opposition to the usual baritone, marking the total breakaway from orthodox versions, and indeed the composer’s instructions. The excerpts should make one curious about the whole set.