Treading the same old paths

Press, 9 February 1989, Page 20

Treading the same old paths

&: discs

ALLAN FRANCIS

DEBUSSY: Orchestral pieces played by the L.P.O. conducted by Claudio Abbado. EMI CDEMX 9502. DDD. For those who still haven’t got.these standard works on CD this is an ideal opportunity to remedy the deficiency; others will doubtless be seeking less exposed pieces, which is now being accomplished by the same conductor for EMI — “La Demoiselle Elue,” for example. The present programme encompasses "La Mer,” “Prelude A L’Apres Midi D’un Faune, Jeux” — however ravishing, still treads the same old paths. It is a fully digital recording, impeccable in taste and interpretation, but roll on the differing selections!

PIANO FAVOURITES: John Ogdon and Daniel Adni, piano, play 17 selections by various composers. EMI CD — CDZ 7 62525 2. ADD. This is treading the old paths with a vengeance; but there is no pretence otherwise, proving that in this instance there is a constant need for quality piano solos of this kind. John Ogdon was renowned for flair and brilliance before ill-health

forced a premature halt to his recording career, and he never recovered his former glory. Daniel Adni, on the other hand, lacked the keen edge of Ogdon’s talents, and makes brief excursions

into Field, Chopin and film music, with some success. These case histories tell all; pieces such as, “Fur Elise,” “Clair de Lune,” Schubert’s “A Flat Impromptu,” and Grieg’s “Spring” depend entirely on the strength of the pianist, and in this instance never fall below solid, workmanlike performances. VIVALDI: 6 Flute Concertos RV 108, 434, 533, 443, 444, 445 played by the Capella Istropolitana, with Peter Brock, flute. NAXOS 8. 550406. DDD. These performances have obviously benefited from the lesson made very clear by James Gal-

way of how not to play Vivaldi on RCA RL85316. In place of Galway’s heartless technical mastery, Peter Brock (and later, Constanze Sala), vary the works, some of which were originally de-

signed for recorder (RV443, 444) and give not only a change of pace, but add much delicacy to the works themselves. This is a more proper treatment of the individual concertos to rank with some of the more understanding European versions available, the “I Musici” for example. LEONARD BERNSTEIN: Orchestral works by Gershwin, Barber, Stravinsky and Tchaikovsky, played by the L.A.P.O. and Israel P. 0., conducted by Leonard Bernstein. DG CD 427 026-2. This CD is the cream of two sessions from Bernstein, the first in Los

Angeles, live, which produced Gershwin’s “Rhapsody in Blue” and Samuel Barber’s “Adagio for Strings,” the second with the Israel Philharmonic playing a highly coloured “Firebird Suite” and Tchaikovsky’s “1812 Overture.”

All the performances are compelling, in spite of Bernstein’s extravagances. His piano solo in the “Rhapsody” is idiomatic in the extreme. His tempos swing wildly and the orchestration is almost lurid. Bernstein loved playing works in their native countries — Cesar Franck in Paris, Gerswhin in the U.S.

Even the fact of being a live performance is yet another self-indulgence, for he performs best under these conditions and the results are strikingly apparent. Barber’s “Adagio” benefits too from the setting, and a more heart-felt interpretation has seldom been recorded.

It took some strength of purpose to discard his own “West Side Story” from the first session (1983), and add the more suitable “Firebird” and “1812 Overture” from two years later to make the ideally balanced programme.

Even . Monteux or Boulez quail before the brilliance of Bernstein, and his “1812”. is a boomer. Frankly a piece of unashamed programme music, the Overture is most impressive under Bernstein’s guidance. The bright sound quality of the DG CD completes the conductor’s intentions. PUCCINI: Great arias by 10 opera singers of note. DECCA CD 421 315-2. ADD. These are now bordering on historical reissues, with arias by Corelli, Renata Tebaldi and Birgit Nilsson’s last recordings, as well as the younger singers, Mirella Freni, Pavarotti and Tom Krause. In between are others at the peak of their careers — Joan Sutherland and Elisabeth Harwood (who sang in Messiah locally in 1982). Seldom has Puccini been so well served as here. The selections are all within the well-known repertoire — 18 in all — and must rank among the top versions of all time. They were recorded between 1962 and 1980. “Going to the opera, like getting drunk, is a sin that carries its own punishment with it, and that a very severe one” — Hannah Moore. 1775.