Salient. Victoria University Students' Paper. Vol. 26, No. 7. Tuesday, June 18, 1963
Kurt Weill Additions
Kurt Weill Additions
The appearance of a Kurt Weill revival in the recorded music world is salutary: there is a dearth in this man's discography which rapidly needs correcting.
Philips are producing a number of recordings (Aufstieg und Fall der Stadt Mahogany, Happy End) in their Modern Music series, and now from E.M.I, we have a disc of Dreigroschenoper excerpts (33MCX 1814 SAXM 2460) played by the Philharmonia under Otto Klemperer. This is definitive playing—Klemperer was responsible for introducing the original suite in the 20's—of a rumbustious nature: the orchestra being augmented with sax, piano and blocks. Three indecisively phrased Strauss pieces take up the reverse side. Apart from some toppy violin sound the recording is excellent. Surfaces are good and separation in the stereo clean.
Fernando Germani, one of our greatest exponents of Bach, has recorded three Toccatas and Fugues and the G minor Fantasia and Fugue on World Record (TZ 707). I find his playing of the D minor Toccata a little rushed, and a general tendency to overlook certain passages (notably in the Fantasia) and overplay others.
Richter's recording of the Fantasia is in all ways more solid and pleasing. But not to quibble The tone of the great baroque Alkmaar organ is exquisite and as distinctive as is that of Richter's Victoria Hall. The fundamentals and harmonics come through with exceptional clarity: intermodulation distortion is nil.
Representing the cheap series this week, we have a recording of the Beethoven Violin Concerto. It comes to us from the Concert Classics division of H.M.V. (XLPM 20043) and is played by Alfredo Campoli with the Royal Philharmonic Orchestra conducted by John Pritchard. This is by far and away the most successful concerto disc yet undertaken by Campoli. It holds well in a competitive field (I prefer the dated version of Kulenkampf) and tops all other 'cheap' performances. Campoli's playing is purr and sweet, his technique brilliant, his phrasing clean. The orchestral accompaniment is adequate with the soloist perhaps a little forward—anyway, balance between the two is not the best.
Some little heard works of Bach and Handel have been put onto record (MALP 1804). some for the first time. In an enterprising disc. Dietrich Fischer-Dieskau sings with harpsichord and cello accompaniment the Cantata 'Amore Traditore' by Bach and two Italian Cantatas by Handel. The baritone is in typically fine voice, his execution of lyric and diction stable and clear. The gentle contrast, between voice, cello and harpsichord is well defined, and when in Handel's Trio Sonata in D minor the Instruments are joined with oboe and flute, the result is playing and recording of exceptional taste and calibre. Fischer-Dieskau's singing is in the heroic style. Wholly recommended.