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High Fidelity Magazine May 1960

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High Fidelity Magazine May 1960 n4144 Tape Deck Reviewed by IL D. DARRELL The following reviews are of 4- track, by conductor Godfrey and chorus master vcve, as well as greater clarity of sonic de- 7.5 -ips stereo tapes in normal reel form. W. Cox -Ife. One of the first large -scale tails (particularly in the delectable orches- stereo recordings on discs. this sounds even tral playing) that never were achieved in BEETHOVEN: Concertos for Piano and more impressive on tape where the unexag- monophony. The prescrit tape processing Orchestra: No. 3, in C ,niuor, Op. 37; No. gerated channel differentiations arc perhaps provides even better stereo channel differen- 4, in G, op. 58 slightly more distinctively marked, where tiation and luminosity than the SD version the dynamic and frequency ranges may be of just over a year ago, but it is regrettable Wilhelm Backhaus, piano; Vienna Philhar- even wider, and where one is more aware that London still is supplying only a sum- monic Orchestra, Hans Schmidt- Isserstedt, the recording's theatrical immediacy and mary of the operetta plot instead of a full cond. of expansiveness. text with English translation. Yet what a LONnoN LCK 80007 (twin- pack). 68 pleasure it is, even for a listener to whom the min. $11.95. HAYDN: Symphonies: No. 94 in G ("Sur- beautifully enunciated German words are Whatever objectively measurable differ- prise"); No. 99, in E flat largely unintelligible, to hear this diverting ences' there arc between equally well -proc- work in its original language, and best of all Vienna Philharmonic Orchestra; Josef essed tape and disc editions of the stmt re- to hear the seductive music itself clone with Krips, cond. corded performances, the former long have genuine Viennese lilt and warmth. LONDON LCL 80018. 44 min. $7,95. had what may he largely the psychological advantage of a seemingly greater sonic solid- LISZT: Concertos for Piano and Orches- HAYDN: Symphonies: No. 96, in D ("Mir- ity- which contributes significantly, for are tra: No. 1, nt E fiai No. 2, in A acle"); No. 104, in D "London ") at least, to tape's more authentic reproduc- ( Julius Katchen. piano; London Philhar- tion of the piano in particular. Fietimtal or Vienna Philharmonic Orchestra, Karl monic Orchestra, Ataulfo Argenta, cond. real, this advantage is especially evident in Manchinger, cond. Lostoos: LCL 80030. 38 min. $7.95. the present concerto recordings, surpassed LONDON LCI. 80017. 48 min. $7,95. by none i've ever heard in the beauty, Katchen's Liszt concertos may be dramat- strength, and above all naturalness of repro- The best that can be said for either conduc- ically surpassed by more magisterially vir- duced piano timbres and sonorities. For that tor is that all these performances are ad- tnoso stars, and the more recent Entremont- matter, they are also unsurpassed for their mirably planned :und executed in the long - Ormandy versions may be more exciting, perfect balance and blend of piano and or- accepted solid Germanic Haydn tradition; but there is a zestful freshness of approach chestra. Perhaps this Fourth lacks some of the worst, that they arc lacking in humor here. as well as an almost feminine poetic the personality and poetry of other leading and that use of too large a string choir rein- grace at times, which notably galvanize versions; some connoisseurs may question forces an erroneous, however well estab- these musical warhorses into high -spirited Backhaus' choice of the Reinecke cadenza lished, notion of overthick and weighty life. One must hear them in stereo, however, here (as well as his own in the finale the Haydn sonic textures. The Vienna Philhar- of to appreciate not only the wealth of piano Third Concerto); but for sheer musical in- monic plays beautifully, of course, and the and orchestral tonal coloring but also the se- telligence, nobility, and eloquence this is a conductor: heaviness and Intensity are less cure over -all sonic balance. thoroughly admirable performance. while evident in the present expansive but unexag- that of the Third is well -nigh ideal. One of gerated stcrcoism than they were in the 1958 Symphony No. 4, in the supreme triumphs of the four -track monophonic versions. Yet, substantial as are MENDELSSOHN: d, repertory to date, this red is sure to com- the musical attractions here, they have only Op. 90 ("Italian") No. 5, in B mand a prominent place of honor in every ro be compared with \VOldike's Haydn series iSchuberr: Symphony fiat recorded -tape collection. (only two of which have appeared Si) far in Israel Philharmonic Orchestra, Georg Sold, four - track tapings) for one to realize the full cond. authenticity GILBERT & SULLIVAN: The Mikado difference that musicological I.ONtuON LCL 50009. 49 min, $7,95. (or The Tows of Titipu) allied to interpretative genius can achieve in transforming merely pleasant music- making MOZART: Symphonies: No. 35, i,: D K. Jan Flindmarsh, Jennifer Toyc, Beryl Dix - into electrifying aesthetic experiences. 385 ( "Haffner "); No. 41, irr C, K. 351 son. sopranos; Ann Drummond Grant, con- ("Jupiter') tralto; Thomas Round, tenor; Peter Pratt, LEHAR: Die Ltestige iViteve Alan Styler, baritones; Kenneth Sandford, Israel Philharmonic Orchestra, Josef Krips, Donald Adams, basses; D'Oyly Carte Com- Hilde Gueden, Emmv Loose, sopranos; Per cond, pany Chorus and New Symphony Orches- Grunden, Waldemar Kmentt, Peter Klein, I.oxnoN LCI, 80025. 48 min. S7.95. tra; Isidore Godfrey, cond. tenors; Karl Dtinch, Kurtz Equiluz, bari- the Vienna LONDON LOH 90001. SS min. $12.95. tones; Chorus and Orchestra of It is hard to believe that the same orchestra Sotte Opera, Robert Stolz, cond. can .sound so different under two conduc- Pending the promised early appearance of LONDON LOF1 90003 (twin -pack). 94 tors, both pre-:umahly recording in the same London's outstanding opera series on tape, min. 512.95. (not particularly reverberant, but acoustical. the present operetta provides an excellent (' warm) Frederick R Mann Auditorium in notion of what we may expect in more seri- Although the 1953 -4 Angel LP album of Tel Aviv, The Israel Philharmonic plays ous works and from more versatile and dis- The Aperry Widow (with Schtt :trzko pf, Gal - well enough, but sounds heavy- toned and tinctive singers. The voices here are scarcely da, and Kunz) is still unsurpassed for sheer rather unwieldy in Krips's sluggish Jupiter. outstanding, but the younger generation of vocal radiance, the singing lacre, especially and none too light-footed in his more spirited D'Oyly Carte artists sing with engaging en- by Gueden and Krttentt, has imitable charm but never sufficiently joyous or individual thusiasm, and certainly none of their more and grace; Stolz's reading is mellower and Ilnffner. Under Sold, however, it dashes famous predecessors ever enjoyed as spirited more idiomatic than Ackermann's; and and precise backing as that provided here stcrcoism pmvidcs a theatrical breadth and Continued on new page MAY 1960 105 .
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