Records

D.J.H

Decca Phase Four Stereo has come of age in New Zealand. Previously only occasional discs were issued and they were invariably in the "Popular Light Orchestras" category. Recently the number of discs in Phase Four has increased dramatically and so has the range of music available. Two notable releases are PFSM 34096—Offenbach's Gaite Parisienne with Charles Munch and the new Philharmonia Orchestra, and PFSM 34098—Gershwin's Rhapsody In Blue and American In Paris with Stanley Black, piano and conducting the London Festival Orchestra.

Both of these versions are easily the best available: the spectacular stereo sound is almost unbelievable, especially in the Offenbach. Phase Four is described as "New Scoring Concepts Incorporating True Musical Use of Separation and Movement . . arrangers and orchestrators score the music to place instruments where they are musically most desired at any particular moment . ." It sounds rather gimmicky (like Columbia's Studio Two Stereo) but the result is not. A completely new dimension is added to stereo sound. Highly recommended.

A new recording of Beethoven's Ninth (The Choral) is always a matter of considerable interest. An extremely thoughtful interpretation is now available on Decca (SXLM 6233 Stereo). The Vienna Philharmonic is conducted by Hans Schmidt-Isserstedt and the soloists are Joan Sutherland, Marilyn Horne, James King and Martti Talvela with the Vienna State Opera Chorus.

Some might consider the reading of the first three movements rather lightweight— Schmidt-Isserstedt elects to play down some of the more ponderous parts. However, a careful listen to the sensitive account of the slow movement should be sufficient to convert anyone—it is very straightforward, devoid of the mannerisms of the Karajan reading.

The vocal work in the last movement is outstanding—all soloists are impressive. As usual the VPO's performance is excellent.

Recentiy there has been a spate of recordings by Otto Klemperer. I have managed to hear three—Mozart: Serenade For 13 Wind Instruments with the London Wind Quintet and Ensemble (Columbia SAXM 5259 Stereo); Choruses From The Messiah (Columbia ASDM 2288 Stereo); and Schumann's Symphony No. 1 in B Flat (The Spring) with the New Philharmonia (Columbia SAXM 52C9 Stereo).

Klemperer's meticulous attention to detail is obvious on all his recordings, especially the care lavished on the performance of the wind sections. The Mozart serenade is a real delight, exceptionally sensitive playing, beautifully balanced. The conductor's direction is firm but at no stage is there any trace of heavy-handedness. A whole two sides of Mozart wind music may not appeal to everyone. However, these charming renditions should make the serenade more universally popular.

This is going to be a 'praise Klemperer' column because the other two discs are equally attractive. The choruses from The Messiah are performed superbly—the record contains some of the best singing I have heard by the Philharmonia Chorus; Just listen to the delicate tonal shades of the tenors and basses. Klemperer's tempi are at times rather sedate but the overall interpretation enhances the majestic nature of the work. As far as I know, the complete set that this disc was taken from has not been released in New Zealand; a pity.

The Schumann is a most welcome release. There is not much I can say without repeating my comments on the other two albums— a most sympathetic interpretation, very good orchestral performance and well recorded. An added attraction is the coupling of the Manfred Overture.

A recording of The Brahms Piano Concerto No. 1 by Julius Katchen with the London Symphony Orchestra conducted by Pierre Monteux, recorded in 1960. has now been released on the Ace of Diamonds label (Decca SDD 137 Stereo) priced at 35/-. The recording suffers from a slightly harsh tone.

At this price the record is a worthwhile buy. Katchen's playing is first-class, he captures the dynamic aspects of this concerto without ever forsaking lyricism. His poetic reading of the slow movement is moving. Monteux is completely sympathetic and the LSO are right on form. Recommended.

"For Certain Because . . ." by the Hollies (Parlophone PCSM 7011 Stereo) is an example of a talented pop group performing fresh, original material. Their tunes don't have the subtlety of the Lennon-McCartney ones, nor do they have the catchiness of the Richard-Jagger compositions; however, they are still interesting. What's Wrong With The Way I Live and their hit Stop, Stop Stop have a most interesting sound—an amplified banjo. Throughout, the most effective aspect of the group is their close harmony. I don't think this is the disc to convert people to pop music (like Revolver or Aftermath) but it is pleasant entertainment. The stereo recording is very good.