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Salient: Victoria University Students' Paper. Vol. 27, No. 4. 1964.

Record Reviews

Record Reviews

Wagner: Wesendock Lieder. Brahms: Alto Rhapsody Christa Ludwig (mezzo)/Phitharmonia Orchestra and Chorus/ Otto Klemperer.[gap — ]Columbia 33MCX 1817 SAXM 2462

These are tasteful interpretations. The Lieder in particular being pleasantly orchestrated. Christa Ludwig's voice is such that she can cope with Brahms alto and Wagner's soprano roles more than adequately. Perhaps the balance is too favourable for her voice in a few of the songs. Still, apart from the loss of some intimacy (in singing without piano accompaniment—see Lotte Lehmann's re-released disc) and suffering comparison with Kathleen Ferrier (in the Alto Rhapsody) these are accomplished performances.

Rimsky-Korsakow: Capriccio Espagnol, Moussorgsky: Night on the Bare Mountain, Borodin: polovtsian Dances (Prince Igor), In the Steppes of Central Asia. Royal phitharmonic Orchestra George Pretre (H.M.V. ASDM 509 (stereo)

A worthy record. Well-worn numbers but played with that right amount of punch and drive, so necessary but so often lacking. The separation between sections and the definition of particular instruments is remarkable. Notice in the Capriccio Espagnol how vivid the orchestral colouring is—its not what Rimsky-Korsakov composed, rather, the way it is performed that counts.

The Night on the Bare Mountain is pushed and not up to the taut standard of the others. Highly commended. But watch out for the (stereo) cover which reads: "this record is playable on mono or stereo equipment!"

Wagner: Rheingold: Entrance of the Gods, Walkuere: Ride of the Valkyries, Siegfried: Forest Murmers, Goetterdaemmerung: Rhine Journey, Tannhaueser: Phitharmonia Orchestra/Otto Klemperer Columbia 33MCX 1820 SAXM 2464.

Well! Through sheer concidence, I have this issue three Wagner i discs up for discussion. The first two can be recommended to persons who have a penchant for accumulating anything to do with the composer: the last named (Wesendock Lieder) is considered open slather. 'Klemperer conducts more Wagner' is the title of the first essay. Random excerpts from six operas, mercilessly abbreviated. The Ride of the Valkyries for instance, stops in mid-air; Siegfried's Journey is given a commuterconscious reading. And of course, there is no vocal line. The performances are average, on a level well below the complete—complementary—Decca recordings. Excerpts of such a nature make for very difficult listening.

Wagner: Tannhauser: Overture, Walkuere: Ride of the Valkyries, Lohengrin: Prelude Act I, Tristan und Isolde: Prelude and Liebestod, Goetterdaemmerung: Funeral March. Orchestra du Theatre National de Popera/Pierre Devaux H. M. V. MXLP 20011.

Much the same schema as that just reviewed. Truncated items, lacking the vocal parts. With one or two advantages over the Klemperer disc. Firstly, this is some twelve shillings cheaper to buy; secondly, the interpretations are cleaner and follow the lins as scored closer (notice in the Ride); thirdly, Dervaux has chosen his excerpts wisely—selecting those that stand up to concert rendition, and fourthly, the recording—there is no stereo—is very good. How I hate to hear the brass muted, and smothered by an eiderdown of strings! All in all, this record is well worth its (meagre) price.