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Ductor Today-Bohm Included-Would Installment in His Allow the Casual String Portamentos, for Ex- Beethoven Symphony Cycle

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Ductor Today-Bohm Included-Would Installment in His Allow the Casual String Portamentos, for Ex- Beethoven Symphony Cycle IPW harmonic direction, and for that the bass is essential. Listeners open to an unorthodox ap- proach should hear this record; on its own terms, it is enormously successful. R.P.M. BRuckNER: SymphonyNo. 4, in E flat(Ro- mantic)(ed. Nowak). Vienna Philharmonic Orchestra, Karl BOhm, cond. [Michael Wool - cock, prod.] LONDON CSA 2240, $13.96 (two discs,automatic sequence). Some forty years ago Karl Bohm, one of the phonograph's earliest Bruckner champions, made the first complete recording of the Fourth Symphony, with the Staatskapelle Dresden, currently available on EMI Da- Colin Davis and the Capo 1C 053 28924. That performance re- BBC Symphory mains an impressive one (even if no con- The most successful ductor today-Bohm included-would installment in his allow the casual string portamentos, for ex- Beethoven symphony cycle. ampleinthefirstmovement's second theme), but its flexibility of pulse is worlds apart from the severely controlled, steadily solemn, and massively tense statement of the new recording. Bohm/Vienna runs some six and a quarter minutes longer than BOhm/Dresden, and itis also more con- sistently grand in scale than my LP favor- ites heretofore-Haitink (Philips 835 385), whose breadth and gravity is concentrated in the outer movements, and Klemperer Waart, cond. LONDONCS 6947, $6.98. There are more than two dozen versions of (Angel S 36245), whose scherzo alone is no- Comparisons: this work in the current catalogue, and if tably deliberate. Furthermore, I have heard Fleisher, Szell /Cleveland Odys. Y 31273 you simply pick one of them at random the Curzon, Szell/London Sym. Lon. CS 6329 no other conductor manage the finale with Serkin, Szell /Cleveland Col MS 7143 or MG 31421 odds favor your getting a performance of BOhm's seamless unity and tensile cohe- real merit. sion. If Brucknerian monumentality doesn't Departing from the usual storm -tossed I find two excellent reasons for recom- scare you off, Bohm/Vienna is the clear route, Lupu and De Waart take a gentler ap- mending this version: The performance has choice. proach to this youthful, defiant concerto: a very warm, Romantic manner that suits This release completes Decca /London's The pianist'smellifluoustouchisset the music well (better, indeed, than much of Vienna Philharmonic cycle of the nine against a sleek orchestral backdrop that the striving for virtuosity that other pian- numbered Bruckner symphonies. The or- blends string and wind choirs and removes ists provide), and the recording is ap- chestral playing and engineering have all traces of harshness from the brass. propriately robust, with a wide dynamic maintained an impressive level of excel- There is nothing tortured or- contrived range and a firm sense of presence. The SQ lence and sonic consistency despite the about this interpretation, and Lupu nego- effects are not striking, but you can secure long time span and the variety of conduc- tiates all the considerable technical hurdles some impressive and room -filling sound. I tors (Bohm, Solti, Stein, Abbado, Maazel, without difficulty, smear, or bluster. For all ended up using a double quad system- and Mehta). that, it strikes me as too placid for this eight tweeters, eight midranges, and eight Though three sides was once a standard score, in which the young Brahms freely woofers-in acircular formation.It format for the Fourth, most recordings of vented his inner anger and emotional sounded marvelous. the last decade have been accommodated agonies in a way that he never would again. Pianist and conductor see this work in on two, so Bohm's four sides will raise Leon Fleisher (who made his recording at the same terms, so it's a well -unified per- many eyebrows. London already has two about the same age as Lupu) does storm the formance with a sentimental glow that technically superb single -disc Fourths: heavens and, at the same time, exhibits brightens the opening movement, brings joy Mehta's fairly good Los Angeles perform- greater structural insight and a feeling for to the scherzo, and really bursts forth in the ance (CS 6695) and Kertesz' fine London color different from, but scarcely inferior Andante and the grazioso elements of the Symphony performance, newly reissued on to, Lupu's. The Curzon and Serkin accounts finale. If you prefer Brahms the poet to Stereo Treasury (STS 15289) at less than a essentially present compromises between Brahms the philosopher, here he is.R.C.M. third the price of the new set. Bohm's broad Fleisher's ardent approach and a more con- first movement probably rules out a two- trolled emotionalism. (All three of these sided issue (the first two movements would Seems: Hungarian Dances (21). Michel versions are superbly conducted by George have produced a35:35side), but four sides? Szell.) Lupu's rare gifts, both pianistic and Beroff and Jean -PhilippeCollard,piano. The recording does have a slightly wider CONNOISSEUR SOCIETY CS 2083,$6.98. musical, are again much in evidence. If his dynamic range than the Kertesz and Mehta, work to date has seldom satisfied me com- and somewhat more cuttingly vigorous pletely, he almost always intrigues me, Beroff and Collard joinin remarkably brass timbres-though no better bass re- even when, as here, he completely misses poised, extremely subtle performances of sponse. For these gains, U.S. buyers have to what seems to me the point of a piece. the complete Hungarian Dances. They un- pay for two full -priced discs. (The English The well-balanced sound is rather soft in derplay the "gypsy" character, empha- set costs little more than a single disc, but focus, and the low strings tend to sound sizing rather the delicate interplay of the London was unable to offer a special price.) plummy. H.G. ensemble and the lyrical aspects of the mu- Still, the Brucknerian will get some superb- sic. This is admittedly a rather special ap- ly authoritative music -making for the proach to this kind of music, but the degree money. A.C. BRAHMS: Concerto for Piano and Orches- of clarity, attention to detail, and over-all tra, No. 2, in B flat, Op. 83. Bruno Leonardo musicality provide sufficient justification. Gelber, piano; Royal Philharmonic Orches- My only real regret is that the texture is so BuSONI: Sonata for Violin and Piano, No. 2, tra, Rudolf Kempe, cond. CONNOISSEUR SO- light and delicate that the bass is occasion- in E minor, Op. 36a. BACH: Sonata for Violin niFyy CSO 2088. 56.98 (SO -encoded ally obscured: this music demands clear and Harpsichord, No. 6, in G, S. 1019. Ser- JUNE1976 77 AmericanRadioHistory.Com.
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