Change did a world of good

Press, 22 June 1989, Page 20

Change did a world of good

& discs

ALLAN FRANCIS

MERCADANTE: Flute concertos in D major, E minor and E major, played by James Galway, flute, with the I Solisti Veneti. RCA CD RD87703. DDD

Considering the fact that no-one has paid any attention to Mercadante for over 10 years, this bracket of concertos comes sparkling fresh from obscurity under lush recording conditions. There are few enough concertos composed for this instrument, but Galway has taken advantage of the situation to produce an entire programme of extremely attractive Mercadante pieces. The Italian composer produced over 60 operas of note in the 19th century, most of which faded from fashion, as well as a few instrumental works, including these flute concertos. The soloist has turned his back on his usual orchestral accompaniment to enlist the illustrious services of the I Solisti Veneti, who have not always been as warmly romantic as here. It is hard to imagine the Irish flautist tolerating anything less to match his own rounded tone and Mediterranean phrasing.

The last known flautist to include the E minor work in a recording was Severino Gazzeloni in 1975 with the I Musici (Philips 6500 611) and in the icy style that was the custom of that time.

James Galway though, is unsurpassable with his approach and impeccable playing; it is obvious that the change has done everyone a world of good and the results speak for themselves.

PLACIDO DOMINGO/ KATHLEEN BATTLE: “Live in Tokyo,” with the Metropolitan Opera Orchestra, conducted by James Levine. DG CD 427 686-2. DDD (1989).

Few companies seem prepared to stage new versions of operas which throw out enticing samples such as these, but after hearing the superb relationship which exists between these two principals, there is hope that fresh recordings of Verdi, Donizetti and Rossini will yet appear. Actually, the listener has to wait until the second bracket before experiencing the exciting soprano voice of Miss Battle, and the duet from “La Traviata,” which in-

volves Domingo and Margaret Jane Wray. The honours are fairly evenly shares.

The skills of the Metropolitan Opera Orchestra under James Levine are accorded two overtures. Domingo’s only solo is a brilliant version of the aria, "Tombe degl’avi miei ...” from “Lucia,” and then four thrilling duets with Kathleen Battle and one understated with Margaret Wray.

These are all from the “Golden Age” of opera, being generous arias and duets of some substance rather than piecemeal snippets. The sound quality is first rate, with the soloists well forward, and the orchestra is expertly handled by one of the foremost opera conductors of the dav.

BEETHOVEN: Piano Sonata in B Flat Op. 106 “Hammer Klavier.” Andante Favori Woo 57, plyed by Barry Douglas, piano. RCA CD RD87720. DDD.

It may take a Brendel to complete this task to the utmost possibility, yet Barry Douglas manages a good, workman-like job of the powerful sonata — a less mature view perhaps as expected, but youthful and quite vigorous. The reading is more enjoyable than disturbing, as Douglas takes the edge off the intensity of the emotion involved. Brendel needed an audience to stoke up the high voltage required; the studio performance reflects the less personal view of Douglas (and Brendel) under clinical conditions.

Inspite of these reservations, the Douglas view has to be considered among the strength of stiff opposition from many' quarters, if not actully creating new boundaries.

BUDAPEST GYPSY ORCHESTRA: Live at the Auckland Town Hall, directed by Dr Jozsef Gyenes. OED CD 1310. DDD I am not familiar with the acoustics of the Auckland Town Hall, but they do not sound at all well on this CD performance. The orchestra is lively enough, the singers full of mid-European verve, yet the vitality is somewhat dimmed by the murky acoustics and harsh string quality. A better performance came from John Georgiadis some years ago in a similar repertoire, but

with plenty of the Strauss family as a bonus.

DEBUSSY: La Mer. RAVEL: Daphnis et Chloe, played by the L. 5.0., conducted by Leopold Stokowski. (Award, cassette, AWC 8193.) Regardless of personal idiosyncrasy and a burning desire to alter texts without warning, Stokwoski’s versions of these impressionist pieces lasted for many years before finally coming to a halt two or three years ago.

There are several better versions that spring to mind, but these are atmospheric enough to command attention, and at the budget price they are really good value, without ever toppling the likes of Haitink or Boulez.

Made in 1970, this one just qualifies for the vintage theme; the conductor, at 88, certainly does.

BRUCKNER: Symphony No. 4 “Romantic” played by the Berlin Philharmonic Orchestra, conducted by Herbert von Karajan (EMI 29 0566 1 — 1971). A curious set of circumstances surrounds the re-

issue of this LP; the conductor was dissatisfied with the sound quality at the time, and set about a second issue with the same orchestra barely five years later.

It was believed to be “muddy and unclear in the tuttis,” a fault which is remarkably absent in this reissue. Moreover, Von Karajan was to embark on several more versions up to 1986; the final version had an autumnal glow in the warmth and range of the digital process.

What then was wrong with his 1971 view of the work, generally thought to be so inferior von Karajan could not wait to superimpose a corrected version? The answer is provided quite readily here — it

was simply the original, cramped recording facilities, trying to squeeze three sides of music onto two, and the ensuing dead orchestral sound quality. EMI have proved that there was nothing wrong with von Karajan’s conception of the work. All the big tuttis are full of magic and mystery, the focus is sharp and clear. Indeed, if there is magic of the most mysterious kind it comes with the technicians’ power to dispel the original faults.

This 1971 version could be von Karajan’s most exciting after all; certainly it comes into contention in this revised form.

“If music in general is an imitation of history, opera in particular is an imitation of human wilfulness; it is rooted in the fact that we not only have feelings but insist on having them at whatever cost to ourselves.” W. H. Auden, 1962.