Competent rendering of popular symphony

Press, 17 June 1988, Page 26

Competent rendering of popular symphony

CLASSICS

The SLOVAK PHILHARMONIC ORCHESTRA CONDUCTED BY BYSTRIK REZUCHA, “Tchaikovsky: Symphony No. 6 Pathetique” (NAXOS CD 8.550013. DDD). The brand new version of Tchaikovsky’s most profound symphony falls somewhere between the classical Mravinsky of 1961 and the superb recordings of Jansons and Ashkenazy. Rezucha gathers up the ideas in the traditional style here, but his forte lies in the strength of his argument; the sheer power of the contrasting moods in the opening movement gives an indication of the camp to which he belongs. Compared with Ashkenazy, Rezucha appears more casual in the quieter passages, less serious than Mr Kravinsky or Haitink. He obviously wished to avoid the excessive emotion that, bedevils this work at times. As most of the modern versions tend to turn on the horsepower, this apt attitude is totally convincing. In the last movement Rezucha is restrained enough not to turn the work into “a vale of tears” and is almost English in his commitment. In the end, the review disc must be classed as a competent mid-road account of a much-played symphony. The sound quality is first rate and the asking price is very .Cl

THE ROYAL PHILHARMONIC ORCHESTRA CONDUCTED BY ANDRE PREVIN, “Ravel: Orchestral Works” (World Record Club issue from EMI 27 0450 1, 1986. Also CD, cassette).

Issues of these pieces are always welcome. Different conductors add fresh views to the works, so the colours vary and the listener is impressed with the many personal touches.

Like Haitink, Andre Previn is ideally suited to Ravel, but initially the burning question is whether Previn can match the former’s award-winning 1985 LP in some of the pieces. Strangely enough, it is in the rhythms where Previn finds his first sticking points; nothing seems to flow as one would imagine. This affected idiosyncrasy extends into other areas, a lack of refinement in orchestral phrasing leading to a certain truculence. To his credit, Previn withdraws from the temptation of grinding out another Bolero, so the programme here consists of “Vaises Nobles et Sentimentales,” :Le Tombeau de Couperin,” “Alborado del Grazioso,” “Rapsodie Espagnole” and “Pavane pour une Infante Defunte,” making in all a playing time of 65 minutes.

“Pavane” is probably the most successful batch; certainly it is the most listenable and the one which has none of the disagreeable elements in mb«-of the others.

IDA CERNECKA, PIANO (CONCERTO 1) AND MARIAN PIVKA, piano (CONCERTO 2) WITH THE SLOVAK PHILHARMONIC ORCHESTRA, CONDUCTED BY LIBOR PESEK, “Chopin, Piano Concertos 1 and 2 ” (NAXOS CD 8.550019. DDD).

Not since Cristina Ortiz produced her Chopin recordings in the 1970 s has there been so much purely feminine poetry from the work of this composer.

Martha Argerich blazed a path with Chopin piano concertos earlier still. Her later accounts failed to reach this peak on several counts, so the matter has remained static, more or less, since the late 1960 s and it has been left to these relatively unknown pianists to take up the challenge on behalf of the ladies. Ida Cernecka blossoms into full flower in the largetto of “Piano Concerto No. 1” with a touch better than that of any of her male counterparts.

It is in the slow movements where both pianists achieve their best. They rival Pollini in. the brisk outer movements and certianly Argerich’s 1968 recordings. Why the one pianist is not used for both works is hard to say. The record company may have a wealth of talent at its disposal, as both are evenly matched and take a similar stance to the works, neither taking Chopin too cheaply or too seriously. The liner notes fail to shed any light on these soloists, but give quite a scholarly account of the concertos and a little new on Chopin himself. Again, the recorded sound quality isjpxcellent. *