Record reviews

by D.J.H.

Photo by McBean.

"Joan Sutherland Sings Handel" (Decca SXLM 6191) is a most welcome release. This is a selection of reissues from various former Sutherland recordings—arias from "Alcina". 'Giulio Cesare", "Samson'", and the "Messiah". Throughout. Miss Sutherland is In top form, her singing of "V'adoro pupille" ("Giulio Cesare") is magnificent. I found the tempo of "I know that my redeemer liveth" rather listless, it sounds as if she was more concerned with wallowing in the beauty of the sound she was making rather than reflecting about an intense personal experience—however this matters little. A lack of clarity in diction is in evidence, especially in the "Messiah" tracks.

The orchestral accompaniment is very good, especially in the tracks conducted by Richard Bonynge. The recording is adequate although not up to the best Decca standard.

World Record's release of the complete Bach "St John Passion" (STZ 274 1-3) is an exceptionally good buy, (£4/5/6 for the three discs). A glance at the artists on this performance gives an indication of the standard to be' expected: — Fritz Wunderllch in the role of the Evangelist. Fischer-Dieskau as Jesus, Karl Christian Kohn. Lisa Otto. Elisabeth Grummer. Christa Ludwip and Josef Traxel with the choir of St Hcdwigs Cathedral and the Berlin Symphony Orchestra conducted by Karl Forster. Almost enough said!!

The artists all render performances to match their reputations. Highlights of the set come from the women— notably Christa Ludwig's singing. of the aria 'It is finished", (No. 58) and Elisabeth Grummer's excellent "O heart, melt, in weeping" (No. 63); in this extremely difficult aria she; glides through the high vocal line effortlessly and conveys, the beautiful emotions of the aria very well. Throughout, the orchestra's performance is good, especially the woodwind accompaniment.

Two deliphtful Schubert symphonies are recorded on Decca SXLM 6186. performances are by the Vienna Philharmonic imder Munchinththud symphony was written by Schubert at the age of eighteen, it is light and vivacious; the sixth is more mature—the Minuet has been replaced by Scherzo where Beethoven's Influence is very evident. Unfortunately the formancrs are uninspired. the dings are rather pedantic: both symphonies drag right from the beuinning —just listen to the lethargic woodwind section in the first bars of the sixth. The orchestra fulfil what is demanded of them. it is a pity that this is what Munchinger wanted. A bright spot is the excellent recording.

Lovers of nimtecnth century Spanish 'nationalist' composers have a treat in store for them on a brilliant performance of de Falla's "The Three-Cornered Hat" by the Philarmonia Orchestra conducted by Rafael Fruhbeck de Burgos, with Victoria de los Angeles. (HMV MALP 2059) An exceptional recording. |even if only in mono; ones attention is held from the bemnnng by the "ole's" and castanets off-stage. Fruhbeck obviously has a erreat affinity for his native music, the control of the final dance (Jota) extracts magnificent sectional playin from the whole orchestra. The solos from the brass and woodwind section.- are especially noteworthy. The soprano part is sung very well by de los Angeles. A highly recommended record.

The best recording of two pianos that I have heard is a now Decca release—Mozart: Sonata for two pianos in D. K.488; and Schumann; Andante and variations for two piano., two cellos and horn: Etude in tla form of a canon. Op.56 arr. Debussy, (SXLM 6130). The pianists are Vladimir Ashkenazy and Malcolm Frager.

It is pleasing to see the littieknown Schumann andante and variations on a new release. This version is the original of his Op. 46 for two pianos—he first wrote it with accompaniment for two cellos and horn. This gives the work much more instrumental colouring. Both this and the Mozart receive admirable performances—Ashkenazy and Frager's phtasing is delightful, the horn and cello performances are also good. The stereo recording characterizes each piano very clearlv without losing the natural balance.

Julius Katchcn is a pianist with both outstanding technique and a mmu to match His playing ol Beethoven's piano ncerto and Chora1 Fantasia (Decca SXLM 6189' is up to his usual high standard. He takes the lust movement at a brisk pace without ignoring the emotion and climaxes it with an excellent account of the long cadenza. The second movement allows for a rhapsodic interpretation which Katchen achieves beautifully. His playing or the third movement is just as Ii should be—frisky. The London Symphony Orchestra and Plerino Gamba accompany satisfactorily.

The Choral Fatnasia is permed extremely well—a fine rapport is established between pianist, choir and orchestra, this is especially noticeable in the passages of dialogue between solo wind, piano and orchestra. The recording is good, the beautiful rich tone of the strings is captured well and the balance between orchestra and soloist is good. A worthwhile buy.