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Record reviews

Reviews of

• Jazz

• Classical

• Folk Music

records by D.J.H.

Mozart: Divertimento in D. K. 205 and March in D. K.290; Cassation in B flat, K.99. Members of the Vienna Octet. Decca SXLM 6150.

A Record in my collection that I have long treasured in a World Record recording (TZ 233) of Mozart Divertimenti for strings; three works that he wrote in Salzsburg at the tender age of 16. This music is completely easy-going have released a beautiful record containing works written at a similar stage of his development. Mozart was 18 when he wrote the Divertimento and 13 when he composed the Cassation. Both pieces are extremely captivating.

An unusual aspect of the Divertimento is the scoring for one violin, viola, bassoon, 'cello, double bass and two horns. This leads to difficulty in the balance of horns and I was pleasantly surprised to find that on the whole the horns refrain from drowning the solo violin. A pleasant relief from some continental recordings of Mozart, where the horns tend to predominate (for example the Record Society release of the Clarinet Concerto with Jacques Lancelot and the Jean Francois Paillard Orchestra —RZ 6116).

The performance of the Cassation is also a good one. A very clear stereo recording enhances the value of the record—a must for any Mozart lover.

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Beethoven Sonatas: No. 81 in E.flat, Op. 31 No. 3; No. 32 in C minor. Op. 111, Annie Fischer—piano. World Record TZ 271.

A Reasonably satisfactory release from Miss Fischer. My reasons for not being particularly enthusiastic are connected with last issue's review of Arturo Benedetti Michelangeli. The feature of Michelangeli's interpretation of the Op. 111 is his ability to allow the music to speak for itself; unfortunately, Annir Fischer's readings of both sonatas tend to be pedantic and forced. In the Op. 31 she tends to force the emotion from the score. The Op. 111 is characterised by a lack of shade in sonorities—ihe first movement is far too rigid, with little variation in tone.

Possibly I have been a little too harsh: if I had received this disc before I had heard the Michelangeli no doubt my remarks would have been kinder.

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"Callas Sings Rossini And Donizetti Arias"; Arias from "LA Cenerentola," "William Tell," "Semiramide," "The Daughter of the Regiment." "Lucrezia Borgia,"and "L'Elisir d'amore." Maria Callas with the Paris Conservatoire Orchestra, conducted by Nicola Recigno, Columbia SAXM 2564.

Yet Another outstanding Maria Callas recording. This disci has the same characteristics to recommend it as the Verdi arias reviewed in Salient 2—very good singing, intense dramatic expression, beautiful orchestral accompaniments, and an excellent recording. There are the same faults—i.e., the occasional sharp note and rather hollow tone in her lower register; however, this is not frequent enough to mar the artistry of Miss Callas.

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"Grand Marches": The Philharmonia Orchestra, conductor Efrem Kurtz, World Record TZ 272.

A Very Good collection of concert "warhorses." The Philharmonia gaily romps its way through, 11 marches, ranging from Verdi's "Grand March from "Aida'" to Sousa's "Stars and Stripes Forever." The orchestra plays with, seemingly carefree abandon; however, Kurtz is completely in charge—this is obvious in the disciplined performance of Tchaikovsky's "Marche Slav." My only disappointment is that the "warmth" of the music is relegated to second place, with the emphasis on precision-like playing.

The recording is magnificent an extremely rich sound with faithful reproduction, especially brass and wind sections I imagine that many dealers will be using this disc as a demonstration record; it certainly brings out the most spectacular capabilities of stereo equipment.

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"See What Tomorrow Brings": Peter Paul and Mary. Warner Brothers. WB 1615.

Another "Typical" Peter Paul and Mary album—i.e., an interesting collection of tunes, excellent harmonies in the usual style, well recorded, and no doubt sure of reaching the top of the sales charts.

The two tracks that stand out are "Early Morning Rain" and "The Last Thing On My Mind." In the latter. Mary excels—I could not help comparing this version with Judy Collins's, with Mary's coming out on top. Her husky voice appeals to me more than the other female "folk" singers, except Baez. Both Joan and Mary have the ability to subtly extract the utmost emotion from a song without marring it through excessive vibrato or enthusiasm.

Unfortunately, my copy is only in mono, but in view of past releases I am prepared to risk saying that the stereo will be very good, with faithful reproduction and a good break-up of the voices.

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"Dylan Jazz": The Gene Norman Group (Jim Horn-saxo-phone and flute; Glenn Campbell—guitar; Al Delory—piano; Lyle Ritz—bass; Hal Blaine—drums). Vocalion Laem 6047.

This Album would be more aptly titled "Studio Musicians Swing Bob Dylan" as jazz is rather a strong word to describe the music produced on this disc. None of the tracks exceed three minutes in length; this in itself indicates little opportunity for extended improvisation. The only musician who solos consistently well is guitarist Campbell—through his efforts "Blowing in the Wind" and "Masters of War" really swing. Jim Horn's efforts are rather innocuous: his solos, unlike Campbell's, never get off the ground—the occasional embellishment is all he allows himself.

All in all, reasonably pleasant background music for talking through.