Bright, forward sound on this compact disc

Press, 2 December 1985, Page 14

Bright, forward sound on this compact disc

Classical records review

ALLAN FRANCIS

VIVALDI. Le Quattro Stagioni. Trevor Pinnock, harpsichord, conducts the English Consort with Simon Standage, violin. ARCHIV COMPACT DISC 400 045-2. This highly rated version of Vivaldi’s most popular works from the Opus Eight “Trial of Harmony and Invention” now appears on compact disc.

As an alternative to the many existing recordings, this one makes an interesting diversion after a couple of years of mixed reception to the new process. One now doubts the wisdom of launching such a venture with all the disadvantages of rehashed sound quality. There is no such criticism here, however; the sound is bright and forward, in keeping with the interpretation. Simon Standage’s violin sparkles with Oistrakh recklessness, the English Consort players matching the pace with their customary flair and polish. There are other differences too. Authenticity from instruments is carried through to arrangements; unlike most arrangements used in “Four Seasons” these are the ones based on a set of manuscript parts from the Henry Watson Library of Manchester.

Vivaldi followers will find these interesting at least, possibly exciting under present conditions. Bringing any changes in works of such popularity must reach near impossibility by now.

The truer perspective of the orchestra as a whole is even more important to this

listener. Earlier, one found the players standing in line with little light or shade, one of the many faults with first discs that pioneered the venture.

Without having heard all 35 versions available in the catalogue P would prophesy, bravely perhaps, that few would match this compact disc interpretation for tech-, nical perfection. This may or may not be sufficient incentive for any prospective buyer to lash out for premium quality, but it certainly is incentive enough for the sparkling efforts of Simon Standage and Trevor Pinnock. BEETHOVEN. Piano Concern No. 3. Andante Favori. Fur Elise, Zubin Mehta conducts the V.P.O. with Vladimir Ashkenazy, piano. DECCA COMPACT DISC 411 902-2.

Most collectors by now have also got their favourite versions of all Beethoven piano concertos; possibly some will have Ashkenazy already with Sir Georg Solti, the traditionalists will have followed Kempff or Backhaus, while the slicker

tastes go for Stephen Bishop-Kovacevich or Pollini.

Alfred Brendel is good by any standards, yet I have found that Ashkenazy is synonymous with satisfying performances in any field. Such is the case here.

Zubin Mehta’s role here is one of uncompromising masculinity from the Vienna Orchestra, but the soloist meets those qualities with equal vigour, with sensitivity and poetry. The piano sound is warm and lively, not at all like some of the harsh pianos the digital brigade brought out earlier in the mistaken impression that modern ears would go overboard for them.

If anything, Ashkenazy leans towards the traditional style, in keeping with his attitudes generally. This is especially impressive with the remarkable clarity of the compact disc. Even the great Beethoven interpreter, Kempff might find it hard to match the over-all lyricism of Ashkenazy. The bonuses at the end are quite adequate, too. Formerly, Ashkenazy filled with “Piano Sonata 26,” a bold move, but here he chooses the lesser course of selecting what might be called a pot-boiler, “Fur Elise,” and a rare trifle, “Andante Favori,” both beautifully played, though scarcely vital. However, Ashkenazy’s playing is a joy throughout. He is good value whatever the programme and it does tend to make one think seriously about other volumes of the same composer. Some may not be surprised at the impact these two discs make, but for this reviewer it was a pleasant surprise.