Fire and frisson from Sibelius

Press, 28 September 1988, Page 27

Fire and frisson from Sibelius

Seconls &tiiscs ALLAN FRANCIS '

SIBELIUS: Orchestral works played by the Suisse Rotnande Orchestra, conducted by Horst Stein. DECCA WEEKEND CD 417 687-2 AAD. The Suisse Romande gained much favour under Ernst Ansermet, less after his death and latterly under the skilful guidance of the lesser known Horst Stein, regained some of the orchestra’s former glory. The listener - expects fire from Sibelius, and there is plenty of that here; unfortunately though, “Finlandia” has now become a warhorse and relies largely on the quality of performance to get any attention. “The Swan” glides along in reasonably poetic fashion, although the weaker moments are generally in the quieter passages as the listener will find in later pieces, “Nightride and Sunrise,” “En Saga” and “Pohjola’s Daughter.” There are no liner notes normally associated with works of this nature — perhaps just as well, if the original notes were used. The original 1972 remarks were apparently so wide of fact they were useless (or worse), so in this budget issue none is preferable to the erroneous. “Nightride,” which might conjure the dramatic horseback dash in the dark, is in fact the product of a train journey to Rome, the rhythm being the only common element. Horst Stein gets plenty of fire and frisson out of these pieces, and with another CD series under $2O, good value. GERSHWIN: “Of Thee I Sing.” “Let ’Em Eat Cake.” Michael Tilson Thomas conducts the Brooklyn Academy of Music with soloists, CBS 2LP set D8L42639. This set comes from a conductor who usually takes a fairly anaemic view of the classics, and now tackles the fulltSlooded limits of tWe in-

fashion George Gershwin as if to prove his critics are astray in their nickname of Michael “Stilted” Thomas. Instead of the customary hotch-potch of tunes Thomas has chosen two complete (more or less) shows from 1931 to 1933, and braved the risk of exposing all the high and low spots in one daring venture. These are not the greatest Gershwin products, although timely enough in that they deal with issues relevant at the time — mainly political, with enough satire and wit to carry them both to the top. Without the essential visual impact, they transpose well enough in this form — at least as well as the Andrew Lloyd Webber musicals we have come to accept over recent years. For the serious Gershwin collector, this set is invaluable, and a great guide for amateur theatre companies to use as a blueprint for their own productions. Andrew Lloyd Webber has been accused of having only one hit song in every show, but it is interesting to note the number of purely "fill-in” songs that keep both these productions running smoothly. There are no great vices, the only one heard outside of this set is Maureen McGovern, but plenty of experience from people who have first hand knowledge of Gershwin’s requirements over a long time. BRAHMS: Piano Quartets 1 and 3 played by Domus Quartet. VIRGIN CD VC 7 90709-2. DDD. With the after-taste of the Borodin players’ version of the second quartet still having lingering effects from last week, this pair from an English

group makes better than average listening. The view established here is on a par with the American Cantilena Piano Quartet — old-world, leisurely, contented Brahms, as opposed to the German group made up of members of the Berlin Philharmonic Orchestra. It is also less fiery than the Borodins, but at the same time accents the rich harmony of early Brahms. Those constantly seeking generous . value for money products will relish the 77 minutes playing time of this quality. BRAHMS: Piano Concerto No. 2 in B flat minor played by Daniel Barenboim, piano, with the NYPO conducted by Zubin Mehta. CBS CD MYK 42608. ADD. 1982. RECORD CLUBS OF AUSTRALIA Release. At least there is a clearcut leader with this much recorded work — Emil Gilels and the 8.P.0. have held the premiership for many years and there seems little likelihood of immediate change. Barenboim was wayward in 1968 with Barbirolli; again with Mehta here in 1981, who has problems of his own. But, as ever, there is much to impress the listener with Barenboim and he tackles the problems with his unique flair and colour. It is a question of mind over reason; if one allows the pianist to be convinced by his magic, then points of interpretation fly out of the window. “What he (Brahms) played to us is so masterly that one cannot but think that the good God has sent him into the world ready-made. He has a great future before him.”—Clara Schumann, diary entry, September 3, 1853.