Broad view of Brahms and Schumann

Press, 4 May 1988, Page 25

Broad view of Brahms and Schumann

-Records & discs

ALLAN FRANCIS

BRAHMS: Violin Concerto in D major. SCHUMANN: Cello Concerto In A minor, played by the U.S.S.R. R.S.O. with Viktor Tretyakov, violin, and Fedor Lusanov, cello. Vladimir Fedoseyev and Gennadi Rozhdestvensky conduct. OLYMPIA CD OCDIO2. DDD.

These fine performances illustrate once again the reluctance of public acceptance of little known artists performing major works, especially those which are so competitive as the pair under review.

Pitting relative unknowns against the might of past performers has never been a profitable policy, yet here we have versions that reflect the broad view of Brahms and Schumann that belonged to Bruno Walter or Furtwangler, one that has long since been rejected by most conductors.

The Russians make no pretence at Karajan’s artifice, Muti’s or Bernstein’s unnatural haste to get to the end of the journey, or even the pure stodge of several others; the pace is measured in the opening bars and the climaxes logically wrought. By the closing movements in both pieces there is a majesterial quality that is totally convincing and impressive. Neither soloist is placed to the detriment of the orchestra, each gaining equal shares in the

limelight. Sound quality is sharp and clearly defined. DVORAK: Symphony No. 7, Golden Spinning Wheel Op. 109. WORLD RECORD CLUB issue from CHANDOS ABRDI2II. Serenade for Strings Op. 22. Serenade for Wind Op. 44. WORLD RECORD CLUB issue from CHANDOS ABRDII72. (a) Neeme Jarvi conducts the 5.N.0.; (b) Christopher Warren-Green conducts the Philharmonia Orchestra.

Unexpectedly, these two new versions of Dvorak are quite unmemorable. The first is the confident work of a conductor nearing the end of another cycle — an unvarnished, ordinary seventh and the second a good shot from a fledgling conductor with promise.

As such, neither could be recommended with confidence, although both are competent, if lacking in true Dvorak charm, perhaps the most essential quality.

The Scherzo comes off best with Jarvi, yet still nowhere near the magic that Kubelik extracts here and in the outer movements. Happily, Jarvi never falls into the syrupy trap that bedevils Warren-

Green on the other LP. There must be admiration for the Philharmonia strings and horns, the sound quality well up to Chandos standards. It is a pity that the sought- after magnetism is solely reserved for the dust rather than the music.

RACHMANINOV: Symphonic Dances, Isle of the Dead etc. played by the 1.5.0. conducted by Andre Previn. EMI CD CDM 7 69025 2 ADD.

There can be little doubt that Andre Previn’s early years in music influenced these versions of some underrated pieces; the colour and charm owe more to a spirit that is imbued with the "dance” aspect rather than the symphonic student. The results are captivating, making a tremendous impression at the time (1976) and remain so today. The Dances are the feature work, the remainder of the programme divided between Isle of the Dead, Vocalise and two other. snippets of minor importance.

Previn stretches his interpretations beyond the limits of the composer’s imagination, yet he manages to be utterly convinc-

ing in a manner that took courage and considerable skill, thus outmanoeuvring his more orthodox rivals by quite a margin.

HUMMEL: Piano Concertos A minor Op. 85 and B minor Op. 89 played by Stephen Hough, piano, with the ECO conducted by Bryden Thomson. WORLD RECORD CLUB issue from CHANDOS ABRDI2I7 (1987).

Reviving this sort of scintillating music deserves a wide response from music lovers whose appetites for piano music has been jaded with an overdose of endless repeats of the same diet. This pair of concertos provides exactly the right note — new music from a new pianist making his auspicious debut here

with a repertoire that bridged the gap between Mozart and Chopin, and was promptly banished on the grounds of “superficiality.” In the 66 minutes playing time it is possible to reject this assertion, to perhaps herald both works, but particularly the coda of the A minor, as brilliant samples of neglected masterpieces. The playing is outstanding, the bravery for the enterprise should pay handsome dividends.

TCHAIKOVSKY; Suites 1 and 4 “Mozartiana” played by the U.S.S.R. SO conducted by Yevgeny Svetlanov. OLYMPIA CD 0CD199 DDD.

It seems that only Antal Dorati has been brave enough to record these

suites in toto within the last 20 years, others merely used the occasional one as fillers for major works. This oversight is equally hard to fathom. There is much good music here with homage to Bach and Telemann in the first, to Mozart in the fourth, and Tchaikovsky was not noted for his generosity to other composers as rule. He made no secret of his loathing for Brahms for example.

The Russian orchestra makes no secret of the odd patch of vulgarity, but in the main the writing is interesting and varied, with an unusual amount of quiet passages. Most captivating perhaps, is the four-movement “Mozartiana.”

This exercise in writing for a nineteenth century orchestra proves a great success. The German Dances that Mozart used so extensively sound expansive in Tchaikovsky’s scoring, yet there is still the unmistakeable hallmark of the author throughout.

It remains to the end unsmiling music, thought-

fui and not too introspective, aptly performed by the U.S.S.R. Symphony Orchestra, of what is certainly off the beaten trackTchaikovsky.

TCHAIKOVSKY: Symphony No. 4 played by the Oslo PO conducted by Mariss Jansons. WORLD RECORD CLUB issue from CHANDOS CHAN 8361. DDD. Little comment is needed here with this accessible piece of Tchaikovsky; sufficient to note that the conductor has been steeped in the tradition in Leningrad to good effect, and in the process has welded the Oslo Orchestra into a tightly-knit unit that matches any in the field. This is youthful Tchaikovsky, as one always expects, full of punch and sparkle. Highly recommended. “A squeak’s heard in the orchestra, The leader draws across The intestines, of the agile cat The tail of the noble hoss.” —George T. Lanigan (1845-1886). The Amateur Orlando.