Karajan’s endless quest for perfection

Press, 4 February 1987, Page 33

Karajan’s endless quest for perfection

& discs

ALLAN FRANCIS

BEETHOVEN. Symphonies 1 and 4 played by the BPO conducted by Herbert von Karajan. DG Galleria 419 448-1.

These symphonies were the fruit of Karajan’s third Beethoven cycle, an endless search for perfection by the conductor who sought new angles to the great works on each occasion. -

tra, he returned - to the same orchestra for the purpose of recording the symphonies. This version of .the first was not published and no reasons were given for withholding the recording. The only audible reason for such a step is perhaps the sound quality, which is distant, crackly and strangled in tone. The work itself is all that one could wish for, coming from one with such a high reputation. If the buyer is prepared to sacrifice sound, for artistry, this will prove a find; otherwise listen to others of the period — Walter, Klemperer, , or, more recently, Karajan, Giulini or Kertesz. . MOZART. 9 Overtures played by the Academy of St Martin in the Fields Orchestra conducted by Neville Marriner. EMI COMPACT DISC 7 47014 2. This selection of overtures was formed at the same time as a rival batch from, Bernard Haitink, the chief difference being the sound quality; in

Dating from 1976/77, this pair was originally issued on single discs as 1 and 2, but the change of pattern is quite beneficial as well as enjoying the bonus of “Egmont” For those who count the seconds, the playing time here is now well over 60 minutes and the remastered sound quality is markedly superior. Throughout both symphonies, there is an autumnal flavour, a maturity that Karajan now shows with other composers, but the glow of the Berlin Orchestra remains intact. This is “big band” Beethoven.

BRAHMS. Symphony 1 'played by the VPO conducted by Wilhelm Furtwangler (1952). WORLD RECORD CLUB WI 9865 from EMI.

Thirty years after Furtwangler had first conducted his Brahms works with the Vienna Orches-

the case of Marriner a rich, full sound was offered, contrasting with a leaner tone from Haitink and the L.P.O.

Obviously the authentic brigade will plump for Haitink, but the sheen of the Academy strings will find many takers. It really boils down to a matter of taste; both are excellent.

TELEMANN. Trio Sonatas played by the Camerata Koln. EMI COMPACT Disc CDC 7 47573 2 (1986).

This programme is not your everyday affair, the last such programme being a 1983 selection from the American group, Musical Offering, somewhat inferior, I believe, to the review set The latter is of course supported with “authentic” instruments and lack of recording flaws. Holding out guarantees of authenticity has parallels with the organic farming principle; what is “real” or “artificial” is getting hard to classify.

SPLENDOUR OF BAROQUE. London Gabrieli

Brass Ensemble plays pieces by Susato, Anon, Lappi, William . Boyce, Holborne, • Mouret, Fischer, Schein and Jeremiah Clarke. WORLD RECORD CLUB WR 9969 from ASV.

This is a classic example of why one should read the fine print; the accent is on the “brass” rather than the “baroque.” I guess it is baroque in flavour — as experienced through the ears of the arranger — but it is not exactly what I anticipated. In spite of moments of jollity and some fine brass harmony, it does get tedious for those other than strictly brass harmony students by the end of side two and the welltried Clarke war horse. BOBBY SHEW/CHUCK’ FINDLEY. “Trumpets No End.” Twelve tracks by the Bobby Shew Quintet. DELOS COMPACT DISC 4003. Shew has in the past produced much material of a highly varied and interest- ‘ ing nature; this recording reflects an age in jazz that was fast, bland and characterless. .

pe'riod, but eventually got back to more stable lines of harmony. The mistake, of course, is to believe that speed smothers all else.

Loud noises do nothing for jazz on their own, and do little for the longer term cause itself. It seems that the Concord stable heads the list for genuine inspiration at this stage.

SCOTT HAMILTON QUINTET. "The Second Set” CONCORD CCD 4254.

It is a pity, really; others, such as Oscar Peterson, Woody Herman, Stan Kenton, all went through this unfortunate

If jazz is going to survive, this is the way it has

to go; steeped. in the mainstream tradition, proven in concert and on record throughout the world (this one is “live” in Japan), the mature product of the young saxophonist Scott Hamilton makes a convincing case for his art

There Is plenty of room for improvisation, for boundless ideas stated logically and brightly; all one has to beware of is getting hidebound in the statements of others. Hamilton bears the mark of his mentors, Buddy Tate and Al Cohn, but unlike Cohn, Hamilton has great presence and an appealing quality. The standards provide enough springboard for the group, with the brilliant piano of John Bunch and a tight rhythm ensemble; all goes well through “Time After Time,” "All Too Soon,” “I Never Knew," the lyric “All The Things You Are.” This is my record of the week.

STAN. GETZ/OSCAR PETERSON TRIO. Eleven tracks of a Verve session (1958) VERVE COMPACT DISC 827 826-2

Dated marginally in technique (saxophone), Stan Getz and Oscar Peterson in a supporting role ripple happily through standards and

originals in what is still listed as a classic collection of tunes. By comparison, Getz is inferior to say, Hamilton or Buddy Tate as they sound today, and Oscar Peterson was considerably subdued for the time, but between them there is much to capture modem ears on how it was done in one of the peaks of jazz (and lowest audience ratings). The Peterson Trio was possibly one of the greatest; Herb Ellis, guitar, and Ray Brown on baas do get adequate space in a programme that lasts over 60 minutes, one of the advantages of CD that justify the extra cost