Nash Ensemble right mix

Press, 5 April 1989, Page 26

Nash Ensemble right mix

Accords & discs

ALLAN FRANCIS

DVORAK: Piano Trio in E minor, Opus 90. Piano Quintet in A major, Opus 81, played by the Nash Ensemble, of London. VIRGIN CLASSICS CD VC7 90736-2. DDD. The Nash Ensemble have long been noted for their enterprise and skill and once more they have shown these qualities to good effect here. Not only do they produce beautifully shaped versions of the pair of Dvorak works, but equally important, they get the right mix of works.

In place of the endless versions of Dvorak/Mendelssohn as is the custom of many groups, the Nash players gives the collector two highly compatible Dvorak works, this made partly possible by the extra space on CD. This bonus puts the Nash Ensemble in a much choicer position than their longstanding rivals, Beaux Arts and the Borodin Trio. The former reaches back a long time with acknowledged proficiency, but now hampered with a studied charm in the newer versions that keep on coming.

CHOPIN: Artur Rubinstein, piano, plays the Mazurkas. RCA CD set RD 85171-2. AAD There is little need for in-depth discussions here, nor for comparisons with other pianists: Rubinstein

has the field — more or less to himself and his powers are no secret at this late stage. Rubinstein died in 1982, but it was not until 1985 before the reissue in more appropriate form was engineered. Digital mastering has improved this 1966 sound immeasurably, the 1973 set being little improvement on the original. So today it is simply a matter of throwing out the LP sets and replacing with this admirable CD set (of two units instead of three LPs), to enjoy the Mazurkas in revitalised form.

JAMES GALWAY/PHILLIP MOLL: Sonatas by Dvorak, Feld and Martinu. RCA VICTOR CD RD 87802. DDD.

Regardless of who plays these pieces there always seems to be short measure in the end. Itzhak Perlman produced exquisite versions of the Dvorak Op. 100 “Sonatina” and other romantic pieces, but only a niggedly 40 minutes playing time. Edited by Galway and Moll for flute and piano instead of violin, the playing time is only marginally greater, yet the results are equally enticing. The Martinu is even more delicious, with the flute seeking out the ethe-

real quality in the writing and producing such a lovely sound in the process.

The partnership is quite inspiring, with Phillip Moll showing to advantage in this role. Highly recommended.

J. S; BACH: Concertos for Violin BWV 1041 — 1043. VIVALDI: Concerto for Viola d’amore RVS4O. Eduard Melkus, Spiros Rantos, violins with the Capella Academica Wien. ARCHIV 427 114-2. ADD. This “authentic” production is certainly not one of the “old and ugly” versions; indeed, the sound is lively and alert, the attitude noble yet traditional.

While David Oistrakh and Accardo used these works as a medium for their virtuosity, these 1971 versions make no special concessions to the soloists, the violinists, Melkus and Rantos, being very much part of the ensemble. Nor is there any hint of the overblown sentimentality of Perlman, the grace of Menuhin or the sheer charm of Mutter. What remains is the true spirit of utilising period instruments and original arrangements in the best possible form, a credit to

the movement. The nearest competitor might be the Harnoncourt, 1985, account for Teldec. WAGNER: Orchestral excerpts from the “Ring,” played by the Washington N.S.O m conducted by Antal Dorati. DECCA CD 417 775-2. ADD. These are samples of the best bits of the “Ring” recorded as a self-indul-gence for those who did not need the vocal parts, nor the entire 15 hours of playing the work in its entirity. This was popular practice in the 60s and 70s, less so today. Wagner was the target of spoofs and other deviations too, and it now sounds a bit dated to even suggest that it was all just a bit of fun. The jokes have gone but the music lingers on. It might be more realistic to play these “bleeding chunks” as a means of either buying the cycle complete, or simply pass over as a journey not required. Needless to say, they are well-played as expected, but the orchestral sound at times is muffled and not as precise as, say, most of the new versions.

“One can’t judge Wagner’s ‘Lohengrin’ after a first hearing, and I certainly don’t intend to hear it a second time.” — Gioachino Rossini.