Obscure froth and frivolity
& discs
ALLAN FRANCIS
BOCCHERINI/FIELD/ SCHOBERT: Piano Concertos played by the Collegium aureum with Eckart Sellheim, piano and conducted by Franzjosef Maier. WORLD RECORD CLUB release from EMI 16 9562 1. Teldec has plunged into obscure [pieces — except perhaps the John Field Rondo in A Flat major — the long forgotten world of the Boccherini Piano Concerto and the even morej remote ‘Johannes Schobert Concerto in G majoil, ! with telling effect! ! These are nonetheless, well off thp beaten track, with the added problems associated with pianos that date from 1796 and 1804, [and original instrumentation. The results are delightful, if scarcely profound, and the frivolity of the Field: Rondo is matched by Boccherini froth; and the more serious, though superficial Schobert piece: J '. There was a vast difference! between the fiveoctaye pianofortes of 1796 and f 804, as the listener will readily observe.: The 17961 instrument was! subdued! slightly self conscious, yet the 1804 coun-j terpart was bolder and more assertive. Thesq works are carefully tuned .to ttie sound and quality of trie instruments. - i
BAX: Symphony No 2; and “Nympholet” played by the | LPO conducted by Bryden j Thomson. WORLD RECORD CLUB release from CHANDOS ABRDI2O3; | The powerful opening alerts the listener to the fact that this is a vastly different work to the composer’s first symphony, the quiet, passages of great eloquence only won after a long dark struggle of an intensity seldom expressed in English music. Tliis !was the post-war era of disillusionment that also i added a serious note to the music of Elgar at; thatltime, and Arnold Bax had I completely lost the I pre-war serenity of such: innocence. Accordingly, itlj gained much in charac-l ter. I I i I In[ spite of the t promised !| triumph, the symphony i ends on a dark note th’at { puts ; an j end to - the i moments of optimism and : eveij gaiety. . .. i “Ijlympholet,” on the 1 other hand, stems from, the | composer’s earlier: work, steeped in heady; scents of the woodland i
and revelling in the joys bf nature, it has ho relationship whatever, to the 'cynical lines of the symphony it accompanies. BUXTEHUDE: Suites and Variations! for i Harps!-’ cord i played by Mitzi: Meyerson,! harpsichord. WORLD RECORD CLUB 10166 from GAUDEMUSj Better known :.’for his; organ works and cantatas' than his harpsichord I suites, Dietrich Buxtehude’ provided one of j the chief inspirations for the young J. S. Bach. J : Hl The work which is now; recognised as trie worthy predecessor to the Goldberg Variations is 1 Buxtehude’s “La Capricciosa,’ the most important wort in this programme. | i The remaining suites; Nos 5,7, 9 ll, more conventional in character, I important nonetheless to all students of the instrument, played with a distinctive flair by Chicago-born Mitzi Meyerson. j | STAINER: “The Crucifix--ion.” Richard! : Hickox conducts the Westminster Singers and Congregation with : Robert Tear, tenor, 'Benjamin Luxon, baritone and John Scott, organ. | |i WORLD RECORD CLUB WE10146 from HMV EL270410-2. ' In the main,/Richard Hickox gives al safesfactory account of! Striker’s version of /Xthe Crucifixion,” and dec recofding provides’all the technical | skills required io 1 present the work in its j finest form. I i. I • ‘ | One of the first qualifications . thar arise is the use of a mixed; choir 4unspecified in ■ Stainer’s original directions; secondly, the I use of mature trebles in place of bby trebles. ! j j ' . h • | I Aside from : these important omissions, trie soloists ! comprise trie powerful team; of Robert T'ear and I i Benjamin Luxon, who really cannot be surpassed! I in their roles, both being totally convincing and! dedicated.
I J I II I 1 I: I I: The 1963 yersion from! St John’s College with Owen Brannigan can only offer sentimental support for a much-loved singer who captivated English audiences for so long during and before the war. The sound quality too favours the new | issue enormously; if the choral modifications can be accepted, there is little j to choose. BRITTEN: Sinfonia da .Requiem, I American Overture, Occasional Overture, Suite on English Folk Tunes, played by the CBSO conducted by Simon Rattle. WORLD RECORD CLUB issue from EML W110139 (1986). I | I Too often the power of Britten’s work has been overlooked ! with English composition! | and this splendid batch from Simon Rattle j should help to restore the balance. !l This oversight could be partly the fault! of the composer. Too I often the simplicity of the theme is tinged with unnecessary drama, and the listener i tires of the searing quality [that infuses his. Sinfonia I da Requiem also belaI bours thri-Suite on English Folk Tunes. [ Simon Rattle makes much of i both pieces though, and in spite of the raft of reissues that are coming out from Britten’s own conducted repertoire, this latest has [ much to commend [ the issue. The Sinfonia is I trie centre piece, and the remainder should appeal | [to more than the restricted audience who qomprise the Britten fan club. BERLIOZ: I?enfance du 'Christ, 0p.25. Anthony Rolfe Johnson, tenor;
Richard van Allen, Herod, narrator; Fiona Kimm, mezzo; William Sbimel, Josef; Benjamin Luxon; Ishmaelite; David Thomas, bass,: Polydorus. Philip' Ledger conducts the ECO i and John Alldis the Chorus. WORLD RECORD CLUB WR9M2/2 from ASV. Thames I Teleproduction. 1 It is small wonder that this ; colourful oratorio : was taken up by Thames Television for the: 1986 Christmas Broadcast, though [rarely does! the result convert so well to the I- listening medium alone.: :!.
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