THE QUINTESSENCE

New Zealand Listener, Volume 29, Issue 730, 10 July 1953, Page 20

THE QUINTESSENCE

~~ A Monthly Review by

OWEN

JENSEN

HIS is the 13th review of new recordings in these columns. Not that I imply any mystical significance in this occasion; but quick computation will indicate that there must have been 12 other reviews-in fact, a complete year of listening; and you know what that means. It is customary to celebrate such an anniversary with the selection of the "ten best" delivered with proper critical omniscience. While not given much to the strict observance of custom myself it seemed that there might be pleasure for all in making obeisance to the discs that have come Our way in the past 12 months. I was about to indulge in this pleasant pastime when the peace of untroubled introspection was interrupted. by an unexpected shower of records so exciting that, even allowing for the spontaneity of new acquaintance, they could not be ignored nor left sequestering for another month. So here goes, Most beautiful of all and as fine as anything to come my way this 12 months is a. disc modestly captioned. Music for Soprano, The music is by the

seemingly inexhaustible Joseph Haydn. being occasional arias contributed by him to other people’s operas and other odd pieces allowed to gather dust among the archives. Fortunately, someone or other has rediscovered them. This is music that, if you have an affinity with Haydn and the 18th Century, you will not wish to miss. The singing of Gertraude Hopf is superb and the Vienna Symphony Orchestra conducted by Meinhard von Zallinger contributes all that is expected of it. The record is by Nixa (ALP 2045). The extraordinary thing about these 18th Century men is not just their remarkable fecundity-as composers, that is-but their almost unvarying consistency. Bach is another who seems to have been able to say what he wanted to whenever the occasion arose. Two more cantatas, No. 40, Christ Lay in the Bonds of Death, and No. 140, Sleepers Awake, both performed by the Choir and Orchestra of the Bach Guild under Felix Prohaska (Nixa: BLP 311) are as --

satisfying as you would expect and as meticulously and sympathetically performed as you would wish. Before we leave the 18th Century there is also Mozart’s Missa Brevis, K.194, and some part-songs and motets, all sung by the Wiener Kammerchor directed by Ferdinand Grossman, with strings and organ where required (Selmer LPG 8331). This, too, is beautiful listening, especially Adoramus Te and the well-known Ave Verum. The most brilliant of this month’s discoveries is undoubtedly Berlioz’s Harold in Italy for solo viola and

orchestra, As played by William Primcose and the Royal Philharmonic Orchestra: under Sir Thomas Beecham (Columbia: CX1019), the effect is aston ishingly exciting, making Berlioz’s romantic fancies as lively as he must have imagined them and far more vivid than the mere notes would suggest. This is a must for all Berlioz enthusiasts and those others who like the Byronic flavour, Another work for solo viola, but a very different one in mood and texture, is Vaughan Williams’s Flos Campi for viola, voices and orchestra. This is one of Vaughan Williams’s most impressive works, sensuous, introspective music of moving imagery. Francis Tursa (viola) with the Cornell a Cappella Chorus and the Concert Hall Orchestra conducted by Robert Hull (Nixa: CLP 1151), give a sensitive performance, On the reverse side is Letter to the World, a suite by Hunter Johnson from the ballet for Martha Graham.

It is thoroughly American in a romam tic, not a jazzy, sense, Maybe it is the record jacket, which is very beautiful-I don’t know-but for the first time I found a thrill in the silver-plate (not-silver polish) of Mendelssohn’s Italian Symphony (Vox: PL 7860). The playing of the Vienna Symphony Orchestra is not altogether flawless, but Otto Klemperer inspires his players to give the music glowing warmth. When he handles the Lamoureux Orchestra in Schubert’s Symphony No. 4 in C Minor ("Tragic") on the other side of the disc, the effect is irresistible. If you want something charming. something to leave you with a whistle on your lips, look up Chants d’Auvergne et d’Angoumes, arranged by Joseph Canteloube, who plays the piano to Lucie Daullene’s singing. These songs (Selmer: LPG 8220) as here recorded were awarded the "Prix de VAcadémie du Disque Francais, 1952." Whatever this may mean, Lucie Daullene, Joseph Canteloube and the recording technician, despite a characteristic Gallic tonal tang that may need some of the top frequencies smoothed off, deserve such commendation as may come their way. Round on the back, Jean-Christophe and Denise Benoit sing Chants de France. You will like these, too. And for the tapping of the feet turn to the Netherlands Philharmonic Orchestra under Henk Spruit (Nixa CLP 1155), who play Massenet’s ballet suite Le Cid and Rim-sky-Korsakov’s Tsar Saltan. The Netherlands Philharmonic players certainly know their music; and so, for that matter, do Massenet and Rimsky-Korsakov.

Ten Best All the above-mentioned discs should be available somewhere round the countryside, and if you cannot legitimately obtain them for yourself for one reason or another, it is probable they can stil! be conveniently borrowed. All this month’s discs, too, should please you-according to taste, of course -but if you insist on having the 10 best in 12 months, of those that have come my way, and of those, too, which are more or less readily available, here they are:HAYDN: Music for Soprano (Nixa ALP 2045), Gertraud Hopf and Vienna Symphony Orchestra. BACH: Easter Oratorio (Nixa BLP 307). Vienna Chamber Orchestra, Akademie Choir and Soloists. MUSIQUE ESPAGNOLE: Elegrias Y Penas de Andalucia (Selmer LPG 8256) Luis Maravilla (guitar) and Pepe Valencia. BERLIOZ: Harold in Italy (Columbia CX 1019), William Primrose (viola) and the Royal Philharmonic conducted by Sir Thomas Beecham. MOZART: Missa Brevis, K.194 (Selmer LPG 8331), Wiener. Kammerchor. SCHUBERT: Symphony No. 4 in C Minor (Vox PL 7860), Lamoureux Orchestra under Klemperer. SCHUBERT: Impromptus (Nixa CLP 1146), Robert Goldsand (piano), HAYDN: String Quartets (Nixa HLP 13, 14 and 15), Schneider String Quartet. FOLKSONGS: Chants d’Auvergne et d’Angoumes (Selmer LPG _ 8220), Lucie Daullene (soprano). ARRIAGA: String Quartets (Nixa CLP 1068), Guilet String Quartet. (Grade to taste)