Brendel is Haydn specialist

Press, 29 June 1988, Page 42

Brendel is Haydn specialist

& discs

ALLAN FRANCIS

JOSEPH HAYDN: Sonatas 32, 42, 34. Fantasia in C, Adagio in F played by Alfred Brendel, piano. WORLD RECORD CLUB issue from PHILIPS 412 228-1. Alfred Brendel is unquestionably a specialist in this field and proves yet again what a superb Haydn exponent he is with this variety of pieces designed for both harpsichord and piano. The E minor (34) is one of the composer’s great sonatas and Brendel does it full justice; this is robust and played with impeccable taste. The perkiness of the Fantasia contrasts quite nicely with the poetry of the Adagio.

To the newcomer there is little variety in Haydn, but Brendel shows just how much contrast is available in the right hands. This makes this latest programme well above average for composer and pianist alike. SCRIABIN: Symphony No 2. Reverie. Neeme Jarvi conducts the S.N.O. WORLD RECORD CLUB issue from CHANDOS ABRDII76. Also CD and cassette.

An even greater contrast to the lean Haydn is the overfullness of Scriabin’s Second Symphony; the hefty orchestral passages and the intensely passionate build-ups seldom seem to reach a true climax.

The symphony is a

lesser work than the First and fails to make the impact of the Third. Jarvi attempts to arrange the daubs of colour in such a way that the symphony is serious and full of character.

His insight may not be as great as Kondrashin’s, but he does give the work purpose and strength. The orchestral texture does full justice to Scriabin’s sumptuous score; the short Reverie makes a satisfactory filler. Some may complain there is too much cream, too little real substance, yet there still remains the composer’s special appeal. MOZART; Salzburg Symphonies (Dlvertimenti K 136, K 137 and KI38) played by the Slovak P.O. conducted by Libor Pesek. NAXOS CD 8.550025 DDD.

Early Mozart may lack other qualities but it is seldom found wanting for charm. However these brisk versions are really not quite appealing enough in that respect.

Sir Neville Marriner and Willi Boskovsky provide the right mixture, although the review versions are right enough without ever making a

serious challenge to those mentioned.

The sound quality of the Naxos CD is up to the best available and at the comparable price of an average LP it must be regarded as an attractive proposition. The best examples of this form are to be found in the later Divertimentis, K 247, 287 and 334 in D.

BEETHOVEN: Symphony No 3 “Eroica” played by the Slovak P.O. conducted by Zdenek Kosler, NAXOS CD 8.550010 DDD. If there was any symphony designed for great personal detail Eroica provides one of the outstanding examples for discussion and contention. , Traditionalists always opted for Toscanini’s view of the work, but the only certainty is that his was not the last word on the subject. Otto Klemperer too, set the pace (literally) for years to come in 1961 and his influence is still evident in the review CD.

The many unsatisfactory versions can be dispensed with quite readily (Loughran, TilsonThomas, Hickox, Bernstein), so while one can

never be too adamant about any single conductor, those obviously out of contention should not cloud the issue. Jochum, Karajan or Kempe are obvious choices, and it is to these that Kosler leans. The allimportant question of tempos is treated with moderation; there is no excessive haste, nor anything that could be accused of being plain dull.

There is no reference to the size of the orchestra, though the Slovak P.O. sounds smaller than say, the Berlin P.O. The Scherzo rattles along in fine, though controlled style, but the Finale could be the greatest achievement here.

Over all, there is a lack of the polish of the Berlin P. 0., but it is a workmanlike version that is eminently satisfactory without being brilliant.

SATIE: Piano Works played by Angela Brownridge, piano. EMI EMINENCE CD EMX-9507. DDD. 1985.

cessful Satie exponent; the attributes of whimsy, tongue-in-cheek humour and dry wit would possibly be foremost. In a guarded way Miss Brownridge possesses some of these, although she lacks the sheer impudence in Poudre d’or and Je te veux. She is well attuned to the requirements of Gymnopedies and Gnossiennes and ranks with Ciccolini in most.

TCHAIKOVSKY: Piano Concerto No 1 played Peter Toperczer, piano with the Slovak P.O. conducted by Bystrik Rezucha. Marche Slav conducted by Stephen Gunzenhausen NAXOS CD 8.50031 DDD.

This rich account of the standard, Tchaikovsky repertoire has stiff competition in older versions from Ashkenazy and Curzon, plus fiery accounts from Sgouros, Gavrilov, Pogorelich, issued recently. Peter Toperczer is not humbled by such elite company and gives a spirited account of the work, ably assisted by the Slovak Orchestra.

There was once a theory that only French pianists could interpret Satie, but this school of thought is slowly diminishing with recordings by Peter Lawson, John McCabe and Angela Brownridge.

It is difficult to define exactly what makes a suc-

It would be an exaggeration to claim Toperczer topples the favourites, but as a perfectly good, middle of the road account of the Concerto reproduced in top digital form, this one is hard to go past.