HE IDEA of going to Naples to re­ Tcord Schubert may appear, at first Recordings in Review encounter, based wholly on economics. In the actuality of the sound itself, the artistic ends are more than justified bv A Double Dolhy As no one is likely to buy a record the means. They are, indeed, enhanced simply to enjoy what is not there, some by such qualities as the Italian clarinet RACUMAXINOFF: Sonata in C minor (Op. attention ought to be directed to what player puts forth on behalf of his solos 19). KoDALY: Sonata (Op. 4). Uartcij is present on these two discs. Of the in the Ro.mmunde music—liquid, more Shapiro, cello, with Earl Wild, piano. two, tlie Shapiro-Kodaly disc fulfills to melting than the generafity of Continen­ Nonesuch stereo, H-71155, $2.50; a larger degiee the challenge of what it tal, English, or American performers on mono, H-U55, $2.50. contains. This is no reflection, really, on that instiument—and by sweeter, more the quality of the Stokowski-Milhaud- flowing choral singing than is commonly Aumont-Singher efloit, which is good. encountered north of the Alps. STRAVINSKY: L'Uisloire du Soldat. Leo­ But having heard the L'stinov-Coctean- To be sure, none of these values pold Stokowski conducting a chand)er Markexitch version on Philips has, for would amount to much were they not en.send)k\ with Madeleine Milhaud, this lislener at least, spoiled the car loi- utilized by Vaughan on behalf of .sound­ narrator; Jean Fierre Aitmont, the just another average good recording. er Schubertian purpose than has been Soldier; and Martial Singher, the On the other hand, Shapiro is a su­ heard since such conductors of the pre­ Devil. Vanguard stereo, \'SD 71165, perb cellist who has never exploited his ceding generation as \Valter, Furtwiin- $5.79; mono, VRS 1165, $4.79 {Iwth abilities to the degree that some others gler, Beecham, Kleiber, et ak, died. Foi- with French text). Vanguard stereo, might ha\e, and Wild is completely in those to whom he is an unfamiliar name, VSD 61166, $5.79; mono. VRS command of the pianistic recjuiremenls Vaughan luay be identified as an Aus­ 61166, $4.79 (both with ΕηφΙι of the two works. That is of .special con­ tralian who became a bass pla\er in tlie text). Available together in special sequence in tlie Rachmaninofl, which Royal Philharmonic, toured extensively issue at price ot single cHsc. has a virtuoso piano part much on the with that Beecham-led orchestra, and order of the second concerto (also a eventually took charge of the Beecham Y CONTRAST WITH most record­ product of 1901). The Kodaly work of Choral Society. His Schubert is leisurely, B ings, what is of special importance 1910 is a much stronger example of cre­ unhurried, but not devitalized. There here is not what is heard, but what is ative initiative and admirably per­ have been brighter performances of the unheard. Both are products of the l^ol- formed. On both sides, the Dolby sys­ Overture to Die Zauberharfe (the C- by system of noise suppression known tem confers a special benefit in clarity major one which is invariably performed as tile S/N (Signal'Noise) Stretcher to the sound of the piano. in its .second identity as the Rosamunde described in "Mr. Dolby's Dilly" [SR, Overture), but everything else goes March 25] by Ivan 15erger. The intent swimmingly. Scliul)ert a la Vauglian of the procedure is to reduce "all sounds Least familiar, and thus most wel­ not a part of the microphoned signal a SCHUBEKT; Incidental music to Ro.'ia- come, are the additional items from Die full 10-to-15dB below their normal lev­ munde (Ballet Music I and II, En­ Zauberharfe. They are all infused with els" (the wording is from the Nonesuch tr'acte in Β flat, "Der Vollmond the Schubertian spirit, and the perform­ announcement). This relates to tape strahlt") and Die Zauhcrharfe (Over­ ances realize a remarkable share of it. hiss, channel cross talk, high-frequency ture, Larghetto, Chor der Genien, Those who have heard Miss Popp only flutter, and tape print-through. Overture to Act III, melodrama, An- in such specialities as the Queen of the Doubtless there will be learned anal­ dantino, and Final Scene). Denis Night will be charmed by the freshness ysis of the pros and cons of the Dolby Vatighan conducting, with Lucia of her sound and the beauty of her system. As with any innovation it is Popp, soprano, and the chorus and phrasing in the Rosamunde "Romanze." hardly possible that this one purchases orchestra of the Naples Opera, RCA The quality of recorded sound is just advantage at no cost in disadvantage. Victor stereo, LSC 2937, $5.79; mono, what the music should have. But, to the listening ear accustomed to LM 2937, $4.79. some "announcement" prior to the be­ Sonatas hy Busoiii ginning of the music, it is a new experi­ ence to hear the music arise, as from a BusoNi: Sormtas in Ε minor (Op. 29 and vacuum, with no introductory iiiss or Op. 36a). Hyman Bress, violin, with slightest extraneous sound at all. This Bengt ]ohnsson, piano. L'Oiseaa-Lyre phenomenon is common to both issues, stereo, SOL 296, $5.79; mono, ()L and, in the case of the Nonesuch, par­ 296, $5.79. ticularly, prevails through the full side. Opinion of the Vanguard must be tem­ IVEN SUEEICIENT encourage­ pered, for what is at hand is the demon­ G ment, Hyman Bress could, through stration or trial record, rather than the energy and application, eliminate from finished pressing. It, too, is excellent in the language the phrase "unknown vio­ the special direction affected by the lin music." It was a relatively simple Dolbv system. As everyone krjows, how­ start he made with the Baitok sonatas ever, the more extraneous noise sub­ for RCA some months ago. Recently he tracted from the finished record, the added the unaccompanied sonatas of more critical becomes the presence of Reger, all seven, on the Dover label; and stray particles of dirt or other sound- now he has identified himself with the creating matter on the record's surface. sonatas of Busoni whose mere existence There is some of this in the Vanguard —let alone their content—is known only pressing, though it may well have come to devotees of the composei'. from matter in the air after the disc was Some might make a case of tliis, pro shipped. Lucia Popp—"freshness of . . . sound." Busoni, contra the tribe of concert vio- 68 PRODUCED 2005 BY UNZ.ORG SR/April 29, 1967 ELECTRONIC REPRODUCTION PROHIBITED linists endlessly addressing themselves (Hareton Earnshaw). Pye stereo, CSCL to the sonatas of the Bs, plus Cesar 30173, four records, total price £6 Franck. The urge to be passionate on 17s. 6d. (approximately $19.25). this point is somewhat deterred by the discovery, after proper attention to the NY NUMBER of contemporary op- content of these discs, that Busoni him­ A- eras have been produced on the self—while making a fourth B—was stage without attaining the permanency somewhat wrapt in the same sort of ob­ of a recording. Bernard Herrmann's session himself. The first and second setting of Wuthering Heights is the movements of No. 1 tend toward the rare instance of the contrary case: a precepts of Brahms, and the long, last work completed at least ten years ago, section of the second sonata frequently but yet to see the light of the stage, now recalls the canonic finale of Franck. available as a recording. I would as­ Busonians would doubtless argue that sume that the financial risk is not Pye's the climax of the second sonata, which alone, but, rather, a companionate enter­ is decidedly the more interesting of the prise in which the publisher (Novello) two, is the logical fulfillment of its own as well as the composer (and others) design. This derives from a motive based have participated. on Bach's "Wie wohl ist mir," which is The career of the New York-born also woven into part two of the single Herrmann is altogether an unusual one, uninterrupted movement. It is not until —/oAn Engstead. for his compositions have been heard by the finale, however, that the source Bernard Herrmann—"the depth millions (as composers for the sound comes clear, thereafter being made the and breadth of the subject." tracks of films from the award-winning subject of a considerable exercise of hasn't gotten around to Nielsen yet). Devil and Daniel Webster to the very Busoni's contrapuntal skill. But by weaving a bass, melodic line into current Fahrenheit 451) though knowl­ Not being a convinced Busonian, it a sequence of arpeggiated figures, Niel­ edge of his name in his own country strikes me as fuller of intellectual enter­ sen has given the illusion of two lines is limited largely to professionals. prise than of emotional appeal. This is moving simultaneously. Among these he is esteemed as a sure in no way a reflection on the quality of It is perhaps the most advanced tech­ hand with the orchestral score sheet, the performance. It is beautifully formu­ nical feat Goodman has challenged, and though his character as a composer of lated by both Bress and Johnsson, who he succeeds to a remarkable degree in other than film music is better known in plays the difficult piano part fluently. It bringing it off. Considering the road he England than it is here. is Bress, however, with his strong pur­ has traveled to achieve this objective— Along with the benefits that accrue suit of thematic essence and beautifully with all the detours, the equivalent of from a recording, there are the indis­ poised command of the instrument, who going from New York to Boston by way putable risks of having a work meant for gives both performances their distinctive of Tokyo—he is deserving of several the eye as well as the ear judged by its character. Highly satisfactory recording. rounds of cheers. Doubtless Gould has efiect on the ear alone. 'The first and had a shaping hand in all the musical lasting impression that is conveyed by results, which are consistently first class. this fine-sounding effort under Herr­ Nielsen for Clarinet All that one can withhold, indeed, is a mann's own direction (he was known as NIELSEN: Concerto. Benny Goodman, rank for this interpretation beside Ca­ a conductor even before his music be­ clarinet, with the Chicago Symphony huzac's. It is altogether gentler, milder, gan to be played in the Thirties) is the conducted by Morton Gould. Sym­ and somewhat on the tentative side, by assurance of its procedures. There is phony No. 2. Gould conducting the comparison with a version by the little suggestion of a composer wrestling Chicago Symphony. RCA Victor ste­ French master in which the irony, al­ with a large-scale dramatic product for most sarcasm, in the composition was reo, LSC 2920, $5.79; mono, LM the first time (one of his better-known more strongly conveyed. 2920, $4.79. works, based on Melville's Moby Dick, is Gould's performance of the Second a sizeable venture into the setting of Symphony is full of verve, contras,, so­ words with orchestra, though lacking ac­ OW LONG has this performance briety, and wit, according to the aspect tion ). He has surrounded the skillful H been in the making? At least a of the "Four Temperaments" (its sub­ libretto by Lucille Fletcher with just dozen years to reckon from Goodman's title) with which he is concerned. Clear­ proportions of orchestral and vocal writ­ mention to me, in the early Fifties, of ly the Chicago Symphony enjoys col­ ing and succeeded, to an uncommon de­ Louis Cahuzac's recording of this work laborating with him and the results are gree, in evoking an atmosphere ap­ and how much he admired it. If, in the vibrantly animated. The single reserva­ propriate to the Yorkshire moors where intervening time, Goodman has done tion on this side would be that the or­ Cathy and her kin had their fictional nothing else—aside from his intermittent chestral sound comes out heavier on being. touring—than learn to play it himself, the bass end than might be preferred. That, of course, is no great feat for a his time has been well spent. If it is not composer as skilled in evoking orchestral the most difficult work ever written for Herrmann on Bronte atmosphere as Herrmann is. It is some­ clarinet and orchestra, it will do until thing rather more special to have the vo­ somebody writes one more difficult. HERRMANN: Wuthering Heights. The cal characters of the men as well as the Where Goodman has been particular­ composer conducting the Pro Arte women defined with clarity, in a setting ly persistent, and the results show it, is Orchestra with Morag Beaton (Cath­ of the words that is consistently perti­ in those recurrent passages in which erine Earnshaw), Donald Bell nent, and to a large extent audible in Nielsen indulges his fancy by writing (Heathcliff), John Kitchiner (Hindley the recording. Not only the dramatic but almost contrapuntally for the sound of Earnshaw), Pamela Bowden (Isabella the lyric sides of the subject have been the single instrument. Realistically, it is Linton), Joseph Ward (Edgar Linton), given a suitable share of the prominence not possible, for the clarinetist who can Elizabeth Bainbridge (Nelly Dean), required to create a totality. In this re­ play double stops has not yet been born Michael Rippon (Joseph), David Kelly spect, as well as in its grasp of the depth (except perhaps Roland Kirk and he (Lockwood), and Mark Snashall (Continued on page 79) SR/April 29, 1967 69 PRODUCED 2005 BY UNZ.ORG ELECTRONIC REPRODUCTION PROHIBITED Mackerras has made use of an unpub­ lished edition of Messiah prepared and ornamented by Basil Lam. This means that "But who may abide" and "Thou art gone up on high" are sung by a "Messiah" by Mackerras countertenor—in the versions of them which Handel made for Cluck's original Orfeo, the contralto-soprano castrate, Gaetano Guadagni—rather than by an By HERBERT WEINSTOCK in which Charles Mackerras conducts alto (RCA Victor) or a bass (Philips). the English Chamber Orchestra, the It also means that "How beautiful are ΝΟΤΗΕΚ new recording of Han­ Ambrosian Singers, and these soloists: the feet" is heard not as a soprano solo del's Messiah? Yes, and a good Elizabeth Harwood (soprano), Janet (Philips and RCA Victor), but as a Λ^ one. This time, however, having Baker (mezzo), Paul Esswood (counter­ contralto-countertenor duet with chorus, bumbled into regrettable confusion in tenor), Robert Tear (tenor), Raimund whereas the number "Their sound is my earlier review [SR, Dec. 10, 1966] Herincx (bass), Maurits Sillem (harpsi­ gone out" is sung as a tenor arioso of the Philips and RCA Victor record­ chord), and Allan Harvesson (organ). rather than by the chorus (RCA Victor ings, I shall set out the facts correctly— I find little to choose between it and its and Philips). Finally, Mr. Mackerras re­ and early. two competitors in the matters of sound turns to 12/8 time for "Rejoice greatly," In these three most recent record­ clarity and discreet use of stereophonic though it is known that Handel finally ings, the timing and the vocal and in­ effect. In interpretation and perform­ decided that he preferred it in the later strumental forces employed are these: ance, I should place it between the ex­ 4/4 version. 1) running time—Philips, 2 hours, 19 citing excellence of the Philips version Mackerras is a very good Handelian minutes, 5 seconds; RCA Victor, 2 hours, and the styHstic unsuitability of the RCA conductor, but I cannot help feeling 27 minutes, 36 seconds; Angel, 2 hours Victor, but much nearer the Philips. nearly the whole way that Colin Davis 34 minutes, 30 seconds (an outside Perhaps it should be emphasized is better still. Davis, further, has the spread of 15 minutes, 25 seconds be­ again that any performance whatever services of vocal soloists preponderantly tween Philips and Angel, with RCA of Messiah has to represent someone's more in the vein. (For stylistic reasons, Victor standing almost exactly midway decisions on several crucial textural mat­ chiefly related to tempos, Mr. Shaw between them); 2) choral voices—RCA ters. The "edition" used seems to me here drops out of the running, taking Victor, 31; Angel, 38; Philips, 40; most appropriate in the Philips-Davis his well-equipped soloists with him.) Of 3) orchestral strings—RCA Victor, 22; recording, the only serious miscalcula­ the soloists in the Angel recording, Eliza­ Angel, 26; Philips, 31; 4) orchestral tion in which being the decision to have beth Harwood strikes me as greatly in­ wifiife-Philips, 6; RCA Victor, 10; An­ "Thou art gone up on high" sung by the ferior to Philips's Heather Harper. Jane( gel, 14, including two additional oboes bass rather than by the contralto, despite Baker is very good indeed but I prefer with choruses. All three recordings em­ the near-certainty that Handel finally the smoother, less emphatic singing of ploy harpsichord and organ. decided for the contralto. I agree with Philips's Helen Watts. Reviewing the Colin Davis recording criticism that had been made of Davis's for Philips and the Robert Shaw for not repeating the introductory instru­ 1 SHOULD find it difficult to choose RCA Victor, I expressed the opinion mental ritornello when "He was de­ between the two tenors, Philips's John that, in my understanding of both Han­ spised" is repeated, but this seems to Wakefield and Angel's Robert Tear, if del's matured wishes and Handelian me much less damaging. In the RCA Mr. Tear did not have to stretch for style, Davis excelled. Now, having Victor recording, Robert Shaw uses a some notes that come easily to Mr. brought my fairly recent time spent lis­ terribly truncated version of "Why do Wakefield. Philips's John Shirley-Quirk tening to Messiah recordings (replay- the nations," but otherwise hews to seems to me the staunchest Handelian ings to ascertain details included) up modern standards, though he conducts among all the singers on these records, to about nine hours, I have also heard in what still strikes me as a rushed- and therefore preferable to Angel's Rai­ the new Angel recording (stereo, SCL sounding, academic, Victorian way. mund Herincx—who, also, is not always 3705, $17..37, mono, CL 3705, $14.37), For the Angel recording, Charles entirely on pitch. Angel's countertenor, Paul Esswood, has no competition, but would excel if he had: his singing of both "But who may abide" and "Thou art gone up on high" is a lesson in qual­ ity and manner. Mr. Sillem's harpsi­ chord is, one can be thankful to note, No High Poetry iimch more audible than that of Leslie Pearson in the Philips set. The orchestral By Reeve Spencer Kelley sound, like the choral singing, is equally excellent in the two performances. the poor poetry of the astronauts no words by which the eye After so many years and so many re­ pours from the vacant sky, can hear, the ear see; cordings of Messiah (I now have a Mes­ words, borrowed from the vender no sling-of-slang or web-of-song siah shelf in my library), it is a delight and the vain, "magnificent" the least however quickly broken to have two recordings available which of their trite sins have tried so intelligently to respect Science the sane, burrowing into space, Handel's intentions and have succeeded nothing as single syllabled and soft mole, in a nest of axioms, prevailingly in doing so. No one will go as, "from this less than air counting revolutions, measuring forces, wrong in acquiring the new Angel re­ we see the earth from rim to rim, sending its handy-men to squeeze cording. In my view, it is superior to all the day of which can have no other side the fruit of the tree of light; other recordings of Messiah ever issued but night; a game of circles prosaic moon, prosaic stars, prosaic —with the single exception of that con­ in an incidental sky" universe ducted by Colin Davis for Philips. 70 SR/April 29, 1967

PRODUCED 2005 BY UNZ.ORG ELECTRONIC REPRODUCTION PROHIBITED