Tastes constant amid technical changes

Press, 17 December 1986, Page 34

Tastes constant amid technical changes

& discs

ALLAN FRANCIS

This year has unfolded rtiore changes, mainly technical, in the recorded music field. Whereas taste remains constant. There has been an upsurge of cassette sales and an even more remarkable swing towards the compact disc.

Classical music has been particularly suited to the compact disc medium giving also a satisfying deep silence between tracks. Swishes and clicks are, generally, gone. Jazz, however, is suffering a mild slump; evidence of this is in the sale bins with much quality material offered at giveaway prices. The pick of the classics came through the World Record Club in a steady flow that matches overseas markets. There is precious little coming through retail stores, so this outlet is well , worth a thought. Imports, intermittent and expensive, are available at retail stores. Available were some outstanding Deutsche label imports, Pollini’s scintillating Schubert/ Schumann recording of “Fantasies” on DG 410 983-1, sparse Karajan on record but coming back in top issues on the same company’s Galleria cassettes. Of those heard to date the Beethoven “Overtures” on the "Pastoral” tape are outstanding, his Bruckner and Sibelius elsewhere amongst his best ever work, and his

Haydn only of moderate class.

Award, Walkman and Maestro Masters were three labels of cassettes that all gave a second-to-none opportunity of buying the best of older recorded classics at a reasonable price. All showed excellent taste and good recorded sound quality (with a few exceptions). Almost exclusively. World Record Club held the trumps within their grip — all the Nicholas Harnoncourt issues, Chandos, EMI, ASV and Teldec ace classics — almost a monopoly and artistically and technically superb. The one that springs to mind is the Mozart “Posthorn Serenade” on WR 10079, but others could not be overlooked.

The Sophie Mutter issue of Lalo/Sarasate on WI 9953 is warmly compelling, and the Elgar “Sonata Op. 82” from Nigel Kennedy on WR 9171 a must, as is his other Elgar works. “Enigma” attracted a host of admirers, but by far the best was the very new issue on compact disc with Elgar’s “Cello Concerto,” the result of a happy collaboration between Julian

Lloyd Webber and Yehudi Menuhin. (Philips 416 354-2). . A jazz musician who turned out an above average Mozart “Double Piano Concerto” . was Chick Corea (along with Friedrich Guida) on WR 9144, while a classical singer, Kiri Te Kanawa,

produced three albums in the “common” idiom, the best being “Blue Skies” on Decca 414 666-4. Liszt’s flashy compositions were the subject of much discussion, goodness knows why, but the only artist able to inject anything above the commonplace in his dreary showpieces was Jorge Bolet on Decca 410 160-1 with “Anees de Pelerinage.” Dimitris Sgouros was another (W19637). There were chamber groups who exuded the

usual zest, playing pieces that come as a matter of course, but there were some orchestras which attempted works out of their league, the Northern Sinfonietta playing Beethoven Symphonies, the Scottish. National Orchestra playing Mahler, and the Athena Ensemble playing Debussy. Two major Wagner operas, “Parsifal” and Tannhauser” were milestones, further chapters in the Enrique Batiz saga. Some outstanding piano

recordings came from new pianists, Kocsis, Zimmerman, Sgouros, Alexeev, Hill and Aldo Ciccolini. In the spoken work category, one must applaud without reservation the RCA set of “Wind in the Willows,” the 8.8. C. recordings of "1945” and “Second World War” were important, too. There was jazz aplenty in 1986 — much, alas, falling on deaf ears. The CBS series, “I Love Jazz,” was tasteful, comprehen-

sive and appealing, but the most exciting were the Concord imports embracing the unique talents of Dave McKenna, Cal Collins, Buddy Tate, Al Cohn and Scott Hamilton, - CJI72 being but one example of many which deserved better. Old maestro Goodman piped his last (and best) on CBS 7464 38265-1. History in the making is the only way to describe Malcolm McNeill’s ever upward path, “The Great American Songwriters”

and “Four Seasons” being two for 1986, and the best may be yet to come. One would hope that another Christchurch singer, Coral Cummins, may also be persuaded to record once more if only to prove to future generations the unique quality of her royal talents. It may. have a rocky run for records in 1986, but there was much treasure alongside the dross, and many proud assets in anyone’s collection.