Peace with Gavrilov before Rattle’s storm

Press, 3 February 1986, Page 10

Peace with Gavrilov before Rattle’s storm

Classical records review

ALLAN FRANCIS

SCRIABIN. Andrei Gavrilov, piano plays Opus 11 and 13 Preludes, Sonata No. 4, Op. 30 and Etude No. 5 Op. 42. WORLD RECORDS WT9264. SIBELIUS. Symphony No. 2 played by the Birmingham Symphony Orchestra conducted by Simon Rattle. Scene with Cranes. WORLD RECORDS WE 9435 from EMI.

Andrei Gavrilov deliberatelyavoids most of the storm in the "Preludes” he chooses for this programme, rather balancing the lyric tenderness of the “Opus 11, number 12 Prelude” againstthe brooding intimacy of teh "Opus 13, number 3." Simon Rattle, on the other hand grasps the intensity of Sibelius’ brass storms with both hands.

Gavrilov’s policy of picking and choosing has certain merits. He concentrates on the contrasts of emotion, the ebb and flow in musical patterns, so there is really little need to protect the listener from stormy passages. One has a consistent programme of relatively even quality with a batch of poetry that Scriabin was noted for, but without the extremes of emotion found in his "Poem of Ecstacy” oor “Prometheus.” Gavrilov has taken much of Scriabin’s work as a personal mission, as did Ashkenazy in a more thorough way in the midseventies. As a composer, Scriabin is finding a newfound favour in the eighties and it is due to technicians the calibre of both these men that his composition can be fairly judged and enjoyed. Sibelius seems to be the focus of attention for several conductors at present—Sir Alexander Gibson, Askenazy and, as ever, Karajan, producing wildly varying accounts of the symphonies or tone poems. Koussevitzky, from 1950, is not entirely out of the running either, regardless of some dreadful sound quality. But by now Simon Rattle’s work is well known with Sibelius; his fullblooded accounts of other symphonies are the hallmarks of restless youth and vigour. As exemplified in the whirling scherzo of the third movement, Rattle gets as much life , out of the symphony as any before him. The two features ever present with Sibelius—nationalism and craggy landscapes—are undoubtedly portrayed here with graphic splendour. Rattle makes no bones about getting the most out of the composer’s writing. Regardless, too, of Sibelius’ own claims otherwise, this early symphony sets the pattern for the entire cycle, so one must be prepared to meet all the familiar devices that are so characteristically Sibelius. As to other conductors, Ashkenazy adopts a more poetic view. The Gibson versions favour a straightforward approach, while Karajan iss as idiomatic as ever. It brings home the fact that those old Walter Legge versions are at last becoming dated, in spite of their refinement Rattle brings turmoil to the work, combined with immensely impressive horn sound, a remarkably

mature approach, so that even the lowly-ranked Birmingham Orchestra finds a quality not normally associated with this group. For once Ashkenazy may have to take a back seat, but the other conductors are highly competitive, with Karajan and Gibson providing alternative tastes in interpretation. MOZART. Sinfonia Concertante in E Flat major for oboe, clarinet, bassoon, horn and orchestra K 2978. Ballet Music from Idomeneo K 367 played by the Orpheus Chamber Orchestra. NONESUCH DIGITAL D-79009. Four Horn Concertos played by the Concentus Musicus Wien with Hermann Baumann, naturhorn. WORLD RECORDS WR 9445 from TELDEC. The end of a chapter of reviews is hardly a suitable place to open a discussion on authenticity, but comment must be made on the knotty ques-. tion as to who wrote the “K 2978 Sinfonia Concertante.” In the luxurious terms on the review disc, the existence of an element other than Mozart does appear evident, so credence must be given to the possibility that Giovanni Camblni (or someone else) may have been the author of this remarkably beautiful work. Neither idea will prevent the most ardent Mozartian from enjoying the rich quality of the K 2978 piece; the K 367 is not quite so enticing. Still on the authentic note, one can only marvel at the staggering skill of the horn player here playing an instrument with only one quarter of the notes of the modem counterpart. It is said that it takes half a lifetime to attain the proper accuracy and intonation to play these pieces. To do so in such favourable terms is to stepp alongside the best of modem horn exponents as Brain and Tuckwell and only serves to underline the achievement. There is no mechanical Mozart here. Nikolaus Harnoncourt, famous for his recordings with the Bach "Cantatas,” introduces a beguiling Mozart, and the astonishing talents of Mermann Baumann with the natural horn. Telefunken sound is adequate, if not spectacular, but the flowing versions of Mozart’s “Four Concertos” should be heard to be believed.