Brahms intermezzos the antidote

Press, 7 October 1987, Page 14

Brahms intermezzos the antidote

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BRAHMS: The Complete Intermezzos played by Luba Edllna, piano — Op. 70, 11C, 117, 118, 111. WORLD RECORD CLUB WRIOSM from CHANDOS.

At a time of another “Sturm und Drang” artistic period, the lyrical Intermezzos of Brahms prove to be an antidote to the excesses of Peter Maxwell Davies and others at the far end of the musical pole of Brahms’ undemanding works.

Not demanding, that is, for the listener; there is plenty of skill and insight asked of the pianist, so the results are often widely varying. One can consider Bishop-Kovacev-ich (too fast) and Alexeev (too slow); the choice automatically presents itself as Julius Katchen or Luba Edlina. I could never go past Katchen; his 1964 Decca recordings of these and other Brahms pieces are in a class of their own, close to perfection, without any sound or other problems.

But the Intermezzos have responded to the feminine touch, and must be regarded as top versions of the modem interpreters; it is a good idea

to have produced the entire set The only reservation is that one is inclined to get a glut of the same style of things.

WILLIAM ALWYN: Rhapsody for Piano Quartet, String Trio (IN2), String Quartet No. 3 (1884) played by David Willison, piano, with the Quartet of London. WORLD RECORD CLUB WRIMH from CHANDOS ABRDUS3.

These could hardly be regarded as top chamber works of this age, but they make for interesting listening — at least in parts. The “Rhapsody” moves bluntly along in Bartokish fashion, youthfully vigorous, but the "Quartet" of some 22 years later is more mature and finer textured.

In the earlier work it is hard to set aside the flippant influence of Percy Grainger, in the latter work, Schoenberg. Nevertheless, the “Quartet” is a sensitive work, stylishly played by the group from London, and possibly is the most successful re-

cording of the composer to date.

DELIBES: Coppelia Ballet played by the NJP.O. conducted by Richard Bonynge. WORLD RECORD CLUB issue from DECCA 414 584 1/X This is. Richard Bonynge’s second attempt at “Coppelia”; his first, dating from 1971, is. highly regarded among the top three versions available — alongside Dorati and Ansermet What destroyed Bonynge’s bid for top honours in 1971 was his passing over a London orchestra in favour of the lacklustre Suisse Romande Orchestra. With this issue he has rectified the deficiency after some 15 years, and the effort is well rewarded.

Tchaikovsky paid Delibes the ultimate compliment for his tuneful ballet score by using it as a model for “Swan Lake." He felt that he could never match the quality of Delibes’ music. This superb issue from Decca fully justifies the return to the work. One can relish the lovely sounds that Delibes envisaged, the bouncy rhythms, the warm horn tone and everywhere the

woodwinds blooming with loving care. It is a set to treasure.

BERLIOZ: Romeo et Juliette. Riccardo Muti conducts the Philadelphia Orchestra with the Westminster Choir and soloists, Jessye Norman, John Aler and Simon Estes. WORLD RECORD CLUB WI IM7B/2 FROM H.M.V. EX278445-3, digital, also compact disc. It almost seems that the ill-fated Lamberto Gar-

den! set of “Romeo and Juliet” prompted a flood of versions from those who rightly felt that they could do better. Thus we have about four top versions to pick from, not the least of which is the 1986 Muti set. For reasons unknown Philips and Sir Colin Davis passed over the opportunity of using Jessye Norman, whereas Muti jumps at the chance. Of the other soloists, John Aler makes a brief appearance only. Simon Estes is miscast.

Over all, the only real competitor on L.P. is the Charles Dutoit version (sharper, more incisive), as the Davis version from 1968 was transferred to G.D. in 1986. Muti stresses the romantic content of the work, Dutoit the tragedy. It’s a matter of personal choice.

NAT KING COLE: Nostalgia Series GOLDEN EDITIONS Cassette GE--188.

I have an ancient, 10inch L.P. containing most of these tunes, and unfortunately on this new recording they sound in exactly the same condition as on my old one. The tracks are taken “live” originally and must have been played to death; it is in this exhausted state that the cassette reflects the songs from the 40s, the “Trio” days. Anything of Cole’s from this period is welcome, though. Much of his underrated piano is infinitely preferable to most of his commercial tracks from the 60s, such as “Ramblin’ Rose” or that ilk.

The guitarist at the time (1941) was Oscar Moore, the bassist, Wesley Prince — both unlisted. An Interesting Insight into nostalgia of the highest order, is offered by the original arrangement of “Straighten Up and Fly Right,” sung by Linda Ronstadt today. Great jazz value.

THE WIBBLY WOBBLY WALK: Novelty Numbers from phonograph cylinders and 78s. Various artists. WORLD RECORD CLUB WRIOIO4 from

SAYDISC RECORDS. Sound quality is not too far removed from the Nat Cole tape, although la fact the numbers are much older, ranging from 1911 up to 1929. All are amusing — in a very oldfashioned way. The title track was taken from a 1912 pressing; others go back so far that the humour is diluted beyond mention. This slice of English and American humour is variable and may appeal only to those over a certain age. “I Miss My Miss,” “The Spaniard that Blighted My Life,” “Oh by Jingo” are some, and other artists include the famed Leslie Sarony, George Formby, Billy Williams and the International Novelty Orchestra. Definitely dated, though amusing mildly at times. "At first I thought I should be another Beethoven; presently I found that to be another Schubert would bie good. Then, satisfied with less and less, I was resigned to be a Humperdinck.” — Engelbert Humperdinck.

Very old King Cole