Davies uncompromising

Press, 23 September 1987, Page 15

Davies uncompromising

& discs ALLAN FRANCIS

PETER MAXWELL DAVIES: Symphony No. 3 played by the 8.8. C. P.O. conducted by Edward Downes. WORLD RECORD CLUB WH9897 from 8.8. C. ARTIUM. The multiple difficulties that Schoenberg imposed on his listeners seem trivial beside this Third Symphony of the Scottish composer, Peter Maxwell Davies. Shorn of any picturesque or other message qualities, this work is powerful enough to survive on sheer strength alone.

throughout. In contrast to usual symphonic form the outer movements are slow, the second and third scherzos — very much in the fashion of Mahler. BEETHOVEN: Piano Concerto No. 1 played by Christoph Eschenbach, piano with 8.P.0. conducted by Herbert von Karajan. DGG CASSETTE DGGRO 15. This high-quality performance was recorded at a time when there was almost a surfeit of top recordings being issued; consequently the competition probably reduced its appeal somewhat. Fur-

The composer stated of his Second Symphony that it was “uncompromising in its demands on performers and listeners alike.” The same could be said of this work, for all of its dark hues, its complex architecture and its Mahlerian glimpses

thermore, most others had attractive fillers — Katchen offered the "Choral Fantasia,” for example, but Eschenbach steadfastly refused to be swayed and stuck to his guns with a single-item performance. This situation still exists today (it was a budget recording in 1978), and the same high ranking must be accorded the work, regardless of other factors. This is one of my favourite Beethoven Concertos and one of the most played versions. CHOPIN: Piano Concerto No. 1, Ballade No. 1,

Polonaise No. 6 played by Maurizio Pollini, piano, with the Philharmonia Orchestra conducted by Paul Kletzki. E.M.I. COMPACT DISC CDM7 699942 ADD.

Another which has ably stood the test of time: the youthful work of the young Chopin played by the young Pollini, with only two years between player and composer at the time of recording (Pollini was 18).

Meticulous followers of either party will correctly assess this performance as being 1960 for the major work, the remaining items being 1970 vintage. The other artists to consider from that time were Rubinstein, Gilels and Lipatti amongst others, but this Pollini version has a freshness that is beyond all others I’ve heard then or since. I haven’t heard the original, although the sound quality of the C.D. is entirely satisfactory by today’s standards.

BIZET: La Jolie Fille de Perth with the French Radio Chorus and the New Philharmonic Orchestra conducted by Georges Pretre and soloists. WORLD RECORD CLUB WO 10110/3 from H.M.V. Digital EX270285-

3. Overshadowed by “Carmen,” stung by the critics for the poor quality of libretto, but lauded for its inspired — often brilliant — music, “La Jolie Fille” makes a significant contribution to the world of opera, and especially so on record.

Unlike many operas, this one is eminently suitable for home listening; one needs few props to invoke clear pictures of the action. It is not a difficult work, nor indeed a complex one structurally, and, best of all, it follows Bizet’s instructions explicitly, a practice rarely followed. The cast is strong, with June Anderson as Catherine, Alfredo Kraus as Henry Smith, Jose van Dam as Ralph, Gino Quilico as Le Due de Rothsay.

SIBELIUS: Symphony No. 2 played by the 8.P.0. conducted by Herbert von Karajan (1981). WORLD RECORD CLUB WI 19398 from H.M.V. Digital A5D4969. This is Karajan’s latest, presumably his greatest, version of this symphony, one full of excitement and tension (and finesse), all of which add up to a specialist view of the work we have come to expect from this source. One could go on for ever pointing out the respective merits of a dozen other versions. Suffice to say the Sibelius Symphonies are closest to Karajan’s heart, his efforts here claim the highest praise and he succeeds admirably in reshaping the work marginally to a finer point than before.

The Berlin strings and brass are close to perfection. This is one I look forward to on C.D., where the minor surface noises should disappear.