Kurt Masur makes the most of Liszt

Press, 22 October 1986, Page 18

Kurt Masur makes the most of Liszt

Classical records review

ALLAN FRANCIS

FRANZ LISTZ. Symphonic Poems 3,6, 2 and 4. Les Preludes. Mazeppa, Tasso. Orpheus played by the Gewandhausorchester of Leipzig, conducted by Kurt Masur. WORLD RECORD CLUB WI 10060 from EMI.

Liszt, the innovator of the symphonic poem, reeled off his invention with the greatest of ease, repeating the process no less than 12 times within seven years with a shallow brilliance that may have had more impact at the beginning than now. Naturally, some of his poems became warhorses through over-exposure, “Les Preludes” and the circus tune “Mazeppa” being among the top examples. Liszt also managed some that could hardly be suppressed — “Tasso” and “Orpheus” filling this category. Kurt Masur has made all of these works into orchestral showpieces. There is scarcely one which could be listed as less than first rate. The re-issues bear repetition. ARNOLD BAX. String Quartet No. 1. Piano Quartet. Harp Quintet played by the English String Quartet. John McCabe, piano. Skaila Kanga, harp. WORLD RECORD CLUB WR 9526 from Chandos. English chamber music has attracted few fans over the years, yet hereare some of the finest samples of the art, highly listenable for all their sometimes ingenuous qualities and certainly modern feeling. Nothing could be more cozily joyful than the String Quartet, popular in the far off days of the 78 rpm disc, but totally ig- :

1 nored since. I would far sooner listen to these delectable items, in spite of their trifling character, than many of the “heavies.” PACHELBEL Canon and Gigue. Also other pieces by HANDEL, PURCELL, VIVALDI, ALBINONI, AVISON. Trevor Pinnock conducts the English Concert. WORLD RECORD CLUB 415 518-1 from ARCHIV. This enticing looking recording failed slightly to match expectations. It was obviously another chapter in the authentic instruments saga and the programme gave an impression of a good blend of rare and popular works. Unfortunately there was a sameness about all the works which was the fault of the players. The rare Avison Concerto No. 9 sounded like an extension of the rest of the programme with yet another Vivaldi “Sinfonia,” another Albinoni “Concerto a cinque.” Worse was the ever present “Arrival of the Queen of Sheba,” making one wish that she hadn’t. In all truth, the sound of the English Concert was somewhat dreary, closely resembling more the sharp downturn in the weather than musical renaissance. TCHAIKOVSKY. Symphony No. 5 played by the Oslo Philharmonic Orchestra conducted by Mariss Jansons. WORLD RECORD CLUB WR 9814 from CHANDOS.

This is a fairly routine performance of a much played symphony, part of a series that is not given first class sound by Chandos. . For sheer beauty or punch this one hardly matches Karajan or Rostropovich, or even Muti and Abbado. Any of these listed are far superior in just about any aspect of the 1984 version recorded in the Oslo Concert Hall. Considering the conductor trained under Karajan, there is little that has rubbed off from the dynamic German mentor. ERIK SATIE. Gymnopedies 1 and 2 and other pieces orchestrated by others. Bernard Hermann conducts the LPO and London Festival Players. DECCA VIVA 66. This is another in the Stirling series that Decca has restored from the past — performances which have been equalled though rarely surpassed, in this case from 1972 and 1973. Bernard Hermann is better recognised for his film music, though in these fine performances of French humour and pathos he must rank as one of the top all-time interpreters of the art. “Gymnopedies” illustrates as much Debussy’s skill as an orchestrator as it does for Erik Satie’s quirky genius, combining the wild extremes of French character into convincing patterns. The other pieces cover dance routines in either the music hall or ballet styles. “Jack in the Box,” “Parade,” “Les Adventures de mercure” and “La Belle Excentrique” are excellently played and recorded.