New masters outshine old

Press, 27 January 1988, Page 11

New masters outshine old

ROBERT SCHUMANN: Dichterliebe, Liederkreis Op. 39 sung by Olaf Bar with Geoffrey Parsons, piano. WORLD RECORD CLUB W110268 from EMI EL 270364 (DMM mastering —TELDEC standard), also CD, cassette.

I With the impressive Sounds of Fischer-Dieskau and Gerald Moore still lingering after 33 years, the listener has to undergo a complete turnaround in opinion with this new issue of the same pieces from Olaf Bar and Geoffrey Parsons. Indeed, it has almost become the personal property of Fischer-Dieskau over the years with several versions of both works, culminating in the 1986 partnership with Alfred Brendel. In all fairness, the pianist does dominate proceedings, leaving the issue open to the superb interpretation from Olaf Bar and Parsons.

While I would never discard the 1955 FischerDieskau version, the laurels must go to the younger singer, so utterly complete in technique. The vivid digital sound quality is breath-taking. SERGEI PROKOFIEV: Piano Concertos 1, 4 and 5 played by Michel Beroff, piano with the Leipzig Gewandhaus Orchestra conducted by Kurt Masur. WORLD RECORD CLUB W110551 from HMV EG290326-1. These concertos have a metallic quality from both pianist and orchestra alike that is singularly appropriate to the music, but may not hold a universal appeal to audiences. Still, the playing is first

issue from EMI27 045 1, also CD, tape. One would not expect to find too much variation in the Haydn symphonies, yet Jeffrey Tate manages to illustrate a charm that has eluded many of the older conductors. For all of his bluster, Sir Thomas Beecham was the closest in this aspect, Marriner and Jochum more than adequate, Solti and Karajan can be dispensed with quite easily, but the Colin Davis recording of 1981, I believe, is better than average.

Again, sound quality plays a major role here, and I believe that Jeffrey Tate has injected an element that is rare in Haydn recordings; one which will pay handsome dividends in that field.

DEBUSSY: Melodies. Barbara Hendricks, soprano with Michel Beroff, piano. WORLD RECORD CLUB issue from EMI 270294-1 (digital Pathe Marconi).

My only personal associations with these Melodies — with Ariettes Oubliees and Fetes Galantes — have been confined to Frederica von Stade and Gerard Souzay, the common factor in both instances being the pianist, Dalton Baldwin. Both these have occupied a special place in the

writer’s affections, so Barbara Hendricks comes in at something of a disadvantage. It is possible to detect some mid-range technical faults, some traces of harshness in certain notes, although Michel Beroff is as perfect as one could wish. This is not as good a performance as her last (with Villa Lobos), but Beroff again reaches the heights. PUTTING ON THE RITZ in 1986 PALM COURT THEATRE ORCHESTRA: WORLD RECORD CLUB issue from CHANDOS LBRD 015. DMM Mastering. It is impossible to shake off the feeling that they are making this a gigantic takeoff, the intensely vivid recorded sound only stretches this illusion further still. There is an uncharacteristically ragged sound in the strings, an overblown throatiness in the tenor and the Stardust Trio is no great shakes at all. I would never think of the original Palm Court Orchestra being as rough as this, or lacking in sheer elegance. It all sounds as though someone has made a recording that they imagine the Palm Court actually to be, thrown in with a little tap-dancing, whistling, a

muted trumpet and a Grappelli-like fiddle.

There is little charm, but the pianist, David Chandler, gets closest to the mark.

THE GOLDEN AGE OF THE MALE VOICE: 16 tracks of singers, Hutch, Arthur Askey, Sam Browne, Noel Coward, etc. WORLD RECORD CLUB issue from EMI.

Much genuine nostalgia here, well-directed in some cases, totally dispensable in others, makes a variable diet of songs from the shows. Some have worn well, others are dated both in technique (Hutch) and lyrically. In the former category, Fred Astaire and Al Bowlly must rate high, whereas Arthur Askey, Jack Hulbert and Bobby Howes will appeal only to a hardy few.

The collection is notable for the first of the sound-alike Bing Crosby aspirants, Chick Henderson and Denny Dennis, but how good Carroll Gib(bons sounds with George Melachrino and Noel Coward!

i It is a worthy collection of limited appeal. “Soft as the breath of distant flutes at hours when silent evening closes up the flowers.” John Gay. Trivia Book ii (1716).

& discs ALLAN FRANCIS

rate, full of youthful vigour and bustling piano runs that Moira Lympany enjoyed in the 50s. Few have surpassed her since then, but this Beroff version captures the spirit perfectly.

SCHUMANN: Kinderszenen, Albumblatter, Waldszenen, played by Cyprien Katsaris, piano. WORLD RECORD CLUB issue from TELDEC 6.43467 AZ — also CD and cassette. That the Albumblatter pieces are initially rejects need not deter any prospective purchasers from investing in these, and the other more popular pieces which have attracted many pianists over the years.

Bold enough and warmly lyrical, Katsaris rivals the highly rated Argerich version of Kinderszenen pieces. Similarly, Katsaris gives sensitive portrayals of the romantic impulses of Waldszenen comparable to most now available pianists.

JOSEPH HAYDN: Symphonies 102 and 104 played by the ECO conducted by Jeffrey Tate. WORLD RECORD CLUB