‘Outstanding success’ for Karajan

Press, 16 September 1987, Page 12

‘Outstanding success’ for Karajan

[Records & discs ALLAN FRANCIS

BERLIOZ: Sympbenie Fantastlque played by the BPO conducted by Herbert von Karajan. DGG RESONANCE CASSETTE DGGR •!».

It is a long time since it has been possible to applaud Karajan’s recording efforts without some form of reservation, however mild. Still, in this 1965 “Symphonic Fantastlque,” he is completely at home with Berlioz’ colourful demands.

One might say that he has had plenty of practice, with current versions ranging from 1954, 1965 and 1976, and doubtless another on the way for the new medium, but this would be uncharitable. Karajan is especially suited to this type of brilliant orchestration; he has the ability to evoke the tonal depth and richness.

He is almost totally successful, if impersonal.

SCHIFRON:VILLA-LO-BOS: Guitar Concertos played by Angel Romero, guitar, with the LPO conducted by Jesus LopezCobos. WORLD RECORD CLUB W110147 from EMI EL276288.

Classical buffs are by nature a conservative lot, so any mention of something as radically off the beaten track as a Schifron concerto might raise a few eyebrows. Last heard of in the 60s as a composer of light film music (hardly jazz), one might wonder exactly what such a composer has to offer in the way of a guitar concerto — mentioned in the same breath as the established Villa-Lobos. The Romero brothers have been recording the latter for years, but it has been left with Angel to take the chance with Schifron, and a more successful gamble has rarely been made in recent years. This is a work with much to offer, so much so that it will be drawn to the turntable for many repeats. The 1956 VillaLobos needs no introduction; both are played and recorded in style.

BEETHOVEN: Symphony

No. 7 played by the BPO conducted by Herbert von Karajan. (IN3) DGG RESONANCE CASSETTE DGGRNI.

TVNZ conveniently showed the Bernstein/ Beethoven series recently to give a ready-made comparison of these often-recorded works, but this particular symphony brings to the surface all the things that should or should not be done.

Happily, this is one of Karajan’s outstanding successes, so by any reckoning Bernstein pales by the inevitable judging. However, the latter indulges in all the bad practices that have sometimes dogged Karajan — those of excessively slow speeds in the slow movements and frenetically fast in the two allegros. ' There is no artificiality with Karajan with this 7th;. he generates a tremendous rhythmic force, carrying the listener along in zestful exhilaration. There is nothing impersonal here.

TCHAIKOVSKY: Sleeping Beauty played by the 8.8. C. SO conducted by Gennadi Rozhdestvensky. WORLD RECORD CLUB WHIOI2B/3 from BBC3OOI (1980).

This is the only true complete version of this work that I am aware of, and the conductor has added this to the already complete “Swan Lake” and “Nutcracker” — both of which are distinguished performances.

Aside from its technical perfection and orchestra accomplishment, this is one of the few recordings that loses the sense of triviality that so often besets Tchaikovsky issues, that offend the ears with the monotonous pounding of ordinariness. We are conscious of a touch of magic that dedication brings to the performance — so much so that it begins to sound like a live performance. The important solos for harp are attributed to Sidonie Goossens, an artist of the highest distinction. Listening to this beauti-

fully recorded work under these 'conditions, it is dose to hearing the work for the first time.

RACHMANINOV: Symphonic Dances Opus 45, Isle •! the Dead, Opus 29, Vocalise Opus 34, “Aleko” played by the LSO conducted by Andre Previn EMI COMPACT DISC CDM 7 49925 2 ADD. Until Previn came along, the “Symphonic Dances” attracted few conductors, the most notable being the strong version of Eugene Ormandy, but Previn lifts the pieces into sinewy movements of immense attraction. He accents the dance rather than the symphonic structure.

Dated from 1976, these pieces still maintain a strong appeal, despite later versions from Previn and the master craftsman, Ashkenazy. In 1980, Previn collaborated with the latter to produce a.twopiano version of the dances — also successful in every way. The remaining pieces give a total playing time of 71 minutes, something in its favour to combat the almost impossible peak reached by Ashkenazy in 1984 on CD DECCA 410 124 IDH.

’ROUND MIDNIGHT: Soundtrack produced by Herbie Hancock. CBS SBP 8199. No matter how hard one tries, the ideas produced here do not always succeed; the lyric piano of Hancock does not, for instance, offset the flat vocal tones of Bobble McFerrin, regardless of admiration for his technique. Dexter Gordon is not everyone’s Ben Webster either, but followers of the former will not care too much about the ideals set by Webster, Young or Coleman Hawkins. The tenor saxophone revolution that began in the 60s is extended here in highly inventive, though hardly poetic terms of those mentioned above.

The quality composition set by Hancock is uneven, but one can take the good parts along with much note spinning and still come out richer for the experience. TOP HAT: Sir Yehudi Menuhin/Stephane Grappelli play songs made

famous by Fred Astaire. EMI EMC 298.

‘ The unlikely duo sound as though they are taking things easy at long last; all of these tracks are given a low key treatment with a minimum of bustle or the fireworks the pair are famous for, but it makes a balance to earlier issues. Moreover, this is one of

Nelson Riddle’s last arranging efforts, so with these ingredients on tap there is almost a guarantee of good music. The melodic treatment is shared by both parties, Menuhin unbending considerably to soften-the strict classical line that was such a feature earlier. ’