Pianist’s liveliness continues

Press, 24 February 1988, Page 24

Pianist’s liveliness continues

discs

ALLAN FRANCIS

Christina Ortiz: Works for Piano and Orchestra. Moshe Atzmon conducts the RPO. DECCA CD 414 348-2. DDD. Of all the wartime works for piano and orchestra, Addinsell’s "Warsaw Concerto” has lasted best of all, perhaps. Not only did the work have the most convincing atmosphere, there was more character than most.

Regardless of the outcome, this and the others on the programme are ideally suited to Christina Ortiz after her highly impassioned Mendelssohn performances in the concert hall. Stopping just short of degenerate sentimentality, the pianist ripples gracefully through Litolff’s "Scherzo,” Rachmaninov’s Second Piano Concerto and the less obvious Gottschalk “Grand Fantasia Triumfal.” The fact that Ashkenazy had just issued something of a similar programme prior to this C.D. does not really disturb the situation too much; this one is representative of Christina Ortiz’s best work, the sound quality is up to Decca’s best, all four pieces being tastefully and expertly played.

RACHMAMINOV: 24 Preludes, Piano Sonata No. 2. Vladimir Ashkenazy, piano DECCA 2-CD set 414 417-2 ADD. The only problem here is the age of the performance (1976); since these were recorded several versions and excerpts have almost replaced Ashkenazy in the catalogue

before Decca has seen fit to revive the set on C.D.

By far the best result of this action is to bring Ashkenazy’s performances into true perspective and that is one of beautifully balanced poetry. Originally a two-L.P. set on Decca 588221-2, the records were issued extensively by World Record Club and publicly by retail stores and quite rightly enjoyed immense success.

The digital reprocessing has improved the original sound quality, but the performances themselves remain unchanged. The glow that was obvious on L.P. is still as vibrant as ever. Ashkenazy’s technique is far more impressive than those who followed, Brautigam or Gavrilov in particular. Even the overplayed C minor Prelude gains considerably here. In this issue, the Sonata No. 2 serves as an impressive bonus filler. VIVALDI: Bassoon Concertos RVSOI, 496, 493, 497, 473 and 490, played by Gabor Janota, bassoon with the Liszt Ferenc Chamber Orchestra directed by Frigyes Sandor. WHITE LABEL CD HRCO43 issued by World Record Club. ADD. These robust concertos reflect the composer’s preoccupation with the instrument, so it was not surprising that 30 concertos — not all complete — resulted, most of them highly listenable. The very nature of the instrument calls for quirky gestures (as did Beethoven

later), and Vivaldi makes much of opportunities. The programme carefully skirts around one produced by the I Musici for Philips, apart from RV 497, showing just how extensively Vivaldi’s inspiration for the instrument could be stretched.

Although not stated, these performances were reissued in 1981 from an even earlier date, but the results are excellent, if a shade dry-toned and too forward in recording level. The exuberant playing is attractive, the soloist competent if lacking somewhat in imagination. BEETHOVEN: Symphony No. 9 in D minor Opus 125 played by the North German Radio chorus and 5.0., conducted by Gunter Wand. WORLD RECORD CLUB release from EMI 16 9595 1. As with this conductor’s earlier recordings, this one harks back to the more spartan interpretations with minimum resources, a maximum of spirited urgency that marked so many Toscanini versions.

Inevitably, there are rough patches with such an approach, although they matter little in the over-all quality. By now, Gunter Wand’s curiously new/old approach is no stranger to the listener. One might have got ac-

customed to inordinate speeds with Karajan, but after this one Karajan’s 1977 Ninth comes as something of a relief. There is no split in the movements, however, the first two on side 1 and the remainder comfortably accommodated on Side 2.

This latest version would not be my favourite Ninth, but Jochum still ranks near the top and Karajan perhaps more so. FATS IS NEVER ENOUGH THE COMPLETE FATS WALLER: Volume 4. RCA 2LP set VAL 20664. Three volumes might have seemed to state all that Fats Waller ever encompassed in his too-short career, but still they come and the interest never wanes, the quality never dilutes to the point of inexcusable vaudeville.

Admittedly, the lyrics occasionally enter a world of sheer farce and the playing hints at irrespressibly comic gestures, but this is all part of the Waller repertoire and the humour is more puckish than downright vulgar.

These 1936 sides take a while to warm to. When the usual bustling mannerisms of “Up to Me,” “Fractious Fingering” etc., have passed, the immensely tasteful lyricism of “Until the Real Thing Comes Along” and “I’ve

Made Up” offers the balance to a great talent. Those who thought Fats Waller stopped at “Lulu’s Back in Town,” will find these a revelation.

ZAMFIR HARMONY: 13 tracks by Zamfir, pan flute with orchestra conducted by Harry van Hoof. WORLD RECORD CLUB release from PHILIPS 830 627-1.

When the plaintive notes of Zamfir’s pan flute first echoed around the listening chambers of the world it was considered by many that the novelty effects would condemn the work to that of a nineday wonder. Time has, of course, proved that assertion wrong, and this latest move into the latest show tunes and the classics will assure Zamfir of continued popularity for some time yet.

THE CHIEFTAINS: “Celtic Wedding.” RCA ARL 6014.

Where Clannad reached into the lofty heights of Irish mysticism, the Chieftains are more down to earth, although just as old. This folksy stuff from Brittany is equally as appealing in its own way, moreover it is the genuine article, faithfully reproduced of the songs and dances of pastoral Brittany.

“The Cor Anglais’ soft and melancholy tone was thought perhaps to resemble the muted quality of English speech which always amuses foreigners.” — James A. MacGillivray, “Musical Instruments Through the Ages,” 1961.