Record Report

by Murray White

Bach Transcriptions of Vivaldi Concertos

Of the Bach transcriptions from four Vivaldi concertos (one actually being by Johann Ernst) little is heard. A new recording by Anton Heiller recorded under the auspices of the Bach Guild on Vanguard (MALP 6011 mono) is at hand, and well worth making acquaintance with, if you are inclined to either of these composers. Mr. Heiller's instrument is that of St. Mary's Church in HaeLsing-borg, Sweden, built in 1959; an organ whose tonal quality is less baroque and hence more suitable to these transcriptions than say would be the organ of Selby Abbey, Yorkshire. Mentioning this latter instrument brings to notice another new organ release—Franck's Three Chorales, recorded by Fernando Germani for HMV (MCLP 1610, CSDM 1474 mono and stereo). I had initial doubts here, for some of the cases are separated either side of the chancel. However this has not affected the end result which is genuinely pleasing. The registration of both Messrs Heiller and Germani is appropriate to the pieces and the pressings themselves excellent. Specifications are in each case, printed on the index.

• A Worthy Addition to the catalogue of the Record Society is Aldo Ciccolini's recital of Erik Satie—Piano music (RZ 6094 mono). Knowing beggars' inability to be choosers, all Society members should pick this up, for it is the only available recording of Satie's piano works. The pieces themselves are quite extraordinary naturally; some being bar-less, signature-less and time-less, some enjoying such titles as Three Pieces in the Form of a Pear—to be played, shall we say. "as dry as a cuckoo, light as an egg?" Ciccolini manages the brittle, precise structuring of harmony in an authoritative fashion and the recording does him justice.

• The Second piano concerto of Brahms is surely one of the most amazingly intricate and devilish compositions ever. It calls for absolute rapport between soloist and orchestra and cannot be attempted by any but the most accomplished artists. A new recording by Arrau and the Phllharmonia under Giulini (Columbia 33MCX 1822, SAXM 2466 mono and stereo) doesn't quite achieve the liaison I should like, though the performers are proficient, of course. It is recorded at too high a level and resultingly there is a tendency for the piano dialogue to become lambastious, in vocal competition with Giulini's evocative but superimposed accompaniment. There are one or two bad piano entries at the end of I and some unnecessarily blurred chordal leaps. Again, the andante marking 'appassionato' is detoured. There is plenty of drive overall, however, and the attack is quite convincing. I must stand by Columbia's earlier version with Richter-Haaser and Karajan.

• In Shorter notices this issue, I have first a remarkable folk-recording by Robin Hall and Jimmy MacGregor entitled Scottish Choice (Ace of Clubs ACLM 1065 mono). They toured recently with Kenneth McKellar, and are allowed a billing of their own, if this is typical of their output. Within the strict confines of the folk-genre, this is characterisation of a high level, with excellent presence and recording. From World Record, the Hollywood Bowl Symphony under Carmen Dragon (TZ 728 mono and stereo) plays pieces by Grieg, Fibich, Debussy, et.al. Snippets for supper listening, handsomely put across by this versatile group. The same company's issue of Solomon playing Mozart's piano concertos nos. 23 and 24 (CO 406 mono) is very good. Solomon's style is admirably suitable and his tonal texture 'spot on' in these lovely works. The accompaniment by the Philharmonia under Herbert Menges epitomizeas how an orchestra should accompany the soloist; sheer and brisk. All the above three recordings are, peculiarly enough, well recorded.