Heifetz gets the last word on concertos

Press, 9 November 1988, Page 23

Heifetz gets the last word on concertos

& discs

ALLAN FRANCIS

BEETHOVEN: Violin Concerto in D played by Jascha Heifetz, violin, with the Boston 5.0., conducted by Charles Munch. RCA CD RD85402, also AWARD cassette AWCBO7S. BRAHMS: Violin Concerto in D. Fritz Reiner conducts Chicago S.O. RCA CD listed above, also AWARD cassette AWC 8124. In a season that has been notable for many and varied accounts of both works, it is essential to turn back to Heifetz for the last word on the subject. The question is — do those spine-tingling accounts still have their power after Mutter, Perlman or Chung? Of course they do, but what modifies one’s enthusiasm is Heifetz’s lack of heart, so clearly highlighted by the younger players. No-one could deny the older violinist’s magnificent surging fluency or his dashing style — now sounding slightly oldfashioned — but he is on a peak of his own in both works and will remain as one of the great violinists of all time. He is at home more in the Beethoven because the writing allows him to

do the things he loves best. Where say Mutter brings out the poetry in the work, Heifetz dashes through the phrases with reckless ease. Aside from David Oistrakh, there are no peers to this stance, and no sleeping partners in the audience. For those who wish to take the top edge off the Heifetz strings, the Award cassette is an admirable substitute with a sound quality that is almost, but not quite, as good as the CD. CHRISTMAS FAVOURITES: Carols by the Mistletoe Singers and wellknown artists. MUSIC WORLD CDs CDY 9902 and 9912. AAD.

As expected, Christmas has now reached the compact disc player and the old favourites are sung and played by some equally old artists. Both will assuredly be welcomed.

From the homely quality of the Mistletoe Singers the mood of the arrangements grows more sophisticated on the second disc. The expert choral sound of the Harry Simeon Chorale shows just how carols should be sung. From there we have a diverse batch of artists such as Billy Vaughan,

Liberace, Mantovani and Lawrence Welk. Both CDs are attractively presented, and should cater, for standard requirements.

the wide display of named talent.

SAINT-SAENS: Piano Concertos 1-5 played by Aldo Ciccolini, piano, with the Orchestre de Paris, conducted by Serge Baudo. EMI disc set CM57694432. ADD.

LIEBESFREUD: Arthur Grumiaux, Henryk Szeryng, Lola Bobesco, Claire Bernard, violins, with various orchestras playing pieces by Kreisler, Dvorak, Ravel, Sarasate, Bach, Beethoven, Vitali, Saint-Saens and Albeniz. PHILIPS CD 420 818-2. ADD/DDD.

These concertos are not the greatest piano concertos in the world, but they have many moments of delight, enthusiastically served by Ciccolini’s bubbling piano, recalling the composer’s style. They were recorded in 1970, but still sound good enough on the revived CD sound. It is more a question of finding sufficient substance in the works to make an interesting enough programme to entice collectors into buying the set.

A surprisingly lethargic Arthur Grumiaux leads off his compatriots into an old-fashioned programme that gave the violinist a showcase for his talents. Alongside Itzhak Perlman, these sound very subdued indeed, lacking the power and the passion which are features of Perlman’s art.

Historically, it is interesting to hear vintage Szeryng recordings from the early 60s, the many moments of delicacy one is inclined to overlook in

There is nothing outstanding in the Paris Orchestra’s support under Serge Baudo. Adequate if unexciting, must be the verdict.

CHILDREN’S WEEKEND: Various pieces for and about children, by various artists and orchestras. DECCA CD 421 626-2. AAD.

Ralph Richardson provides the striking commentary in “Peter and the Wolf,” the feature item on this programme; Malcolm Sargent and Ernest Ansermet provide all the orchestral support for the latter and the following “Children’s Games” by Bizet.

But interest quickens with Pascal Roge’s charming version of “Debussy’s Children’s Corner,” rising to a highly satisfactory test piece with “Golliwog’s Cakewalk.”

The atmospheric “Sorcerer’s Apprentice” still sounds good in 1988, after a lapse of 24 years; the Suisse Romande Orchestra proves just how expert they were under Ansermet’s control.

“Contemporary composers like Bizet are engaged in the pursuit of charming and piquant effects, unlike Mozart, Beethoven, Schubert and Schumann.” —• Tchaikovsky, letter to Madam von Meek, 1880.