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TCHAIKOVSKY: Swan Lake, Acts 2 & 3 a NBC Symphony Orchestra

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TCHAIKOVSKY: Swan Lake, Acts 2 & 3 a NBC Symphony Orchestra TCHAIKOVSKY: Swan Lake, Acts 2 & 3 A One of the chief annoyances in this business of reviewing recordings is that many NBC Symphony Orchestra under Leopold A critics tend to find fault for no apparent reasons with both popularity and success. Stokowski Tchaikovsky's Swan Lake is among the most popular of all ballets; few conductors RCA Victor LM 1894 12" have been more successful than Stokowski. Both are quite superb, some too smart citizens notwithstanding. The combinations should prove thoroughly irresistible. The album is beautifully packaged, artfully presented, and the accompanying essay by John Martin is extensive and worth anyone's reading. The recording Stokowski was made last Fall at Manhattan Center. FR TCHAIKOVSKY: Symphony No. 5 A After the first performance of his Fifth Symphony, Tchaikovsky wrote to his bene- The Pittsburgh Symphony Orchestra A factress, Nadejcia von Meck, that it was a meagre work of "patchiness and insin- under William Steinberg cerity." He later reversed his opinion, and today, in spite of similar barbs from Capitol P 8325 12" critics, the work is one of the most famous and popular symphonies of all time. As for this performance by William Steinberg and the Pittsburgh Symphony, many of you will find it the most satisfying on long play. It is smooth, restrained, builds to a tri- umphant climax, and never once gets out of hand, something that can very easily Steinberg happen. Sound is alive and compelling with presence. RP SCHUBERT: Symphony No. 7 in C ("The A Boult perceives Schubert as Gemiitlich, uncomplicated. Unlike Toscanini, he ventures Great") no dramatic inferences in this work, so that the oriel just keeps bobbing along above Philharmonic Promenade Orchestra under A the storm clouds without any heroic attempt to take them on as protagonist. No Sir Adrian Boult complaint should be implied. Straightforwardness in the standard repertory always Westminster WN 18026 12" demands approbation. Still, the buttons might have been loosened and the inherent romanticism given its head, for the Schubertian lilt does not quite respond to pro- priety. It is too bad that this ensemble had to be disguised in a soubriquet; the or- Boult chestral tone is sumptuous. JL BARTÓK: Music for Strings, Percus- A-B Solti's performance of the Bartók masterpiece, though very good indeed, cannot sion and Celesta B- A compare with Columbia's disc of the same work with the Philharmonia Orchestra KODÁLY: Háry Janós-Symphonic under Karajan. Solti's rendering accents the impressionist effect, Karajan's the Suite contrapuntal strength and layered perspectives of sound that are the striking fea- The London Philharmonic Orchestra un- tures of this work. Hci ry Janós, though 20th century in its dissonant surface, is in senti- der Georg SoIti ment and structure more of the 19th and, seemingly, much more affinitive to Solti's London LL 1230 12" SoIti interpretive temperament. PGH TCHAIKOVSKY: Symphony No. 6 in B A The great French conductor is a curious choice for interpreting the highly colored Minor, Op. 74 ("Pathétique") subjectivism of Tchaikovsky's Pathétique Symphony. Kubelik, Ormandy, Bernstein, Boston Symphony Orchestra under Pierre B Toscanini and Rodzinski (Westminster, new) are the most formidable exponents of Monteux this music in recorded performance ranked in order of expressive intensity and RCA Victor LM 1901 12" color. Monteux most certainly belongs in this company, but as the most "objective" interpreter of them all. Here is a Pathétique in powerful black and white, perhaps Monteux not for all tastes. Close-to recording emphasizes this. DH MOZART: Symphony No. 25 in G Mi- B Walter has a deeply uncommon feeling for Mozart. His own performances of nor, K.183, Symphony No. 28 in C A Mozart Piano Concertos were memorable indeed. It would contribute much to this Major, K.200 A Mozart year if one of these might be released again. (The K.466 is due soon—Ed.] The Columbia Symphony Orchestra under There are eight other recordings of the Symphony No. 25 and three of the Symphony Bruno Walter No. 28, and there is not too much choice. What Walter infuses into the music is Columbia ML 5002 12" breadth and expansiveness; it is the warm humanity of the man that seems to pervade the music. Mozart comes very much alive. Perhaps these are among the best after Walter all. OD The Smiling Bach A As the title of this album implies, here is the master in a smiling mood. More to the RCA Victor LM 1877 12" A point is the fact that Victor presents us with bits of Bach performed by many famed artists. There are selections from the Bach Suites by Fritz Reiner, "The Well Tempered Clavier" by Wanda Landowska, Leopold Stokowski's Sheep May Safely Graze and Jesu, Joy of Man's Desiring, a smattering of Serge Koussevitsky's Second Brandenburg Concerto, Eileen Farrell and the Bach Cantata Group in an aria from the Bach Cantata No. 41, and the Shaw Chorale doing the Finale from the "St. John Passion." Landowska It's all good work if you like piecemeal Bach. RP BIZET: L'Arlésienne Suites A-A Here is a sensational bargain. Icontinue to hear more in the Cluytens performance nmleellellfflea010. GRIEG: Peer Gynt Suites of the Bizet than anywhere else, but that is entirely a subjective matter, and Ican er, el Philadelphia Orchestra under Eugene A find nothing whatever to complain about in Ormandy's mostly straightforward Ormandy reading. He indulges in some superfluous rubati, however, which is any conductor's Columbia ML 5035 12" prerogative in this non-sacrosanct repertory. On both sides the Philadelphians give freely of their wonted skill. Competitive versions of either work (or any of the four as you wish) automatically must step aside for this omnibus disc if economy be a determinant. And when is it not? JL BARANOVICH: The Gingerbread C-C Both of these Ballet Suites are pop concert fare. Pleasant, agreeable, and light, Heart these have many brightly attractive moments. The content is meager, but the ar- Belgrade Philharmonic Orchestra under ranging techniques are given full play. While Baranovich leans somewhat on Kreshimir Baranovich Stravinsky of the "Petrouchka" days, he is rather an undistinguished counterfeiter. LHOTKA: The Devil in the Village Lhotka whips up his score with a lot of Slavic vigor. While all of it is commonplace, Orchestra of the National Opera House, it is still good fun and pleasant music to drive to. Both ballets are unpretentious, Zagreb, under Fran Lhotka and that gives them a fresher quality than they would possess if they aspired to London LL 1235 12" be more. OD LISZT: Hungarian Rhapsodies Nos. 3, B With this disc Hermann Scherchen and Westminster have completed their most im- 4, 6 pressive sonic documentation of the six Liszt Hungarian rhapsodies orchestrated by Philharmonic Symphony Orchestra of Lon- B the composer (Nos. 14, 12, 6, 2, 5 and 9 of the original piano series). Of special don under Hermann Scherchen interest is the inclusion of the native Hungarian cymbalom in No. 3. Mr. Scherchen Westminster W-LAB 7007 12" is no "wow" techn.cian when it comes to this sort of music, but his performances are clean and lovingly wrought. The recording is full-blooded, a bit light on the string side and heavy on the percussion. A good item, this, in the "listening for fun" de- Scherchen partment. DH 40 Math' a l --#0MC .
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