1959-10-07, English, Article, Journal or magazine article edition: Recordings (7 October 1959) Australian Broadcasting Commission.

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Recordings (7 October 1959)
 
Bookmark: https://trove.nla.gov.au/version/264620619
Physical Description
  • 784 words
  • article
  • Journals
  • Magazines
Published
  • xna, ABC, 1959-10-07
Language
  • English

Edition details

Title
  • Recordings (7 October 1959)
Appears In
  • ABC weekly, v.21, no.40, 1959-10-07
Author
  • Australian Broadcasting Commission.
Other Contributors
  • By PETER SAINTHILL
Published
  • xna, ABC, 1959-10-07
Physical Description
  • 784 words
  • article
  • Journals
  • Magazines
Part Of
  • ABC weekly
  • Vol. 21 No. 40 (7 October 1959)
Subjects
Summary
  • Recordings By PETER SAINTHILL Piano Concerto No. 1 in B Hat Minor, Op. 23. (Tchaikowsky.) kowsky.) Malcuzynski with the French Radio Orchestra conducted by Nicolai olai Malko. Columbia CXI4BI Price: 57/​6. I WOULD not call this per-1 -1 formance a great success though it has much to commend mend it. It is not that Malcuzynski cuzynski plays poorly on the contrary, he has a most considerable talent and does not spare it but I think he misjudges the work in playing ing it with such fine sensibility. ity. often making distinctions where none exists. There is an intellectual pleasure to be taken in hearing ing how Malcuzynski does things with premeditation that other pianists encompass more convincingly “on their verve,” so to speak; but is Tcbaikowsky in B flat a thing to be philosophised over? J think not and prefer the richer er emotional quality of Van Cliburn's performance. or even the prompt amiability of Monique de la Bruchollerie. Symphony No. 3 in E flat. Op. 55, “Eroica.” (Beethoven.) Boston Symphony Orchestra con ducted by Charles Munch. RCA L 16169. Price; 57/​6. r PHIS fine performance in * the Toscanini vein is marred by the fact that the Funeral March is split into two parts by the turnover break. This mechanical inconvience convience could possibly have been avoided, since the playing ing time of the first two movements ments is 29 minutes and could have been accommodated on one side. No doubt this performance formance was made for stereo too and this would account for the break coming where it does. With the shorter playing ing length of stereo sides, we can expect a break in out Eroica’s for some time to come. Munch’s interpretation is a worthy competitor for Klemperer's perer's more magisterial and regular performance it is. as I remarked, very much like Toscanini in spirit, having tremendous drive and power from start to finish The Impresario. K. 486 (Mozart). La Serva Pudrona. (Pergo lesi.) (a) Maria Haney, Eva llrnuh Knrl Seywald with Salzburg M»z arteum Orchestra conducted bv Rolf Mueriel (b) Dodi Protero, Walter Kan inger with Salzburg Mozarteuni Orchestra conducted by Leopold Hager. Philips A494L. Price; 57/​6 IYJOZART’S happy little ITA opera about rival prima donnas and Pergolesi’s pleasant sant intermezzo about a clever serving maid, both works of young genius, combine to make a delightful and long long-playing record. • La Serva Padrona was actually presented between the three acts of Pergolesi's serious opera, II Prigioniero Superbo and thus is described as an Intermezzo; but it is a piece that requires a nice sense of style and no little agility from the singers. The Overture is omitted from this otherwise excellent performance. The Impresario is worth a place in anybody’s collection, especially when so capably presented as here. Bayreuth Festival Opera Choruses by Wagner: Choruses from] The Flying Dutchman: Tannhauser; Lohengrin: The Mastersingers; ers; Twilight ol the Gods; Parsifal. Elisabeth Schariet (mezzo;, Jose! Greindl (bass! with Ihe Bayreuth Festival Chorus and Orchestra conducted ducted by Wilhelm Pitz. DGG LPEMI9I6B Price: 57/​6. AS might be expected, these are wonderfully sung and abounding in spirited declamation clamation from the male choirs. The choruses are arranged chronologically so that one can follow the development velopment of Wagner’s in spiration from the rousing Sailors’ Chorus in The Flying ing Dutchman to the transcendental cendental devotions of the Knights of the Grail Only one singer disappoints, appoints, Josef Greindl as Hagen in the extract from Gotterdammerung. His voice is uncomfortably insecure and there is little vocal characterisation acterisation of the role. Apart from this one patchy section, the record is excellent. lent. Tannhauscr Overture and Venusberg Music (Wagner). The Flying Dutchman Overture (Wagner) . Gotterdammerung— Dawn and Siegfried’s Rhine Journey ney (Wagner). (HMV XLP1513.) Price; 57 6. Tristan and Isolda Prelude lude and Liebestod (Wagner). Lohengrin Preludes to Acts 1 and 3 (Wagner). Pars' 1 Prelude and Good Friday Music (Wagner). (H.M.V, .ALP 1638). Price: 57/​6. Rudolf Kempe conducting the Berlin and Vienna Philharmonic Orchestras. 'PHE successful eo. ctoi of Wagner in the opera house is not always the most successful interpreter of orchestral estral Wagner in the concert hall, but Rudolf Kempe has made the transition with notable able achievement. On the evidence of these two records, he is the successor sor to Wilheim Furtwangler and the prospect of more Wagnerian music under his direction is an exciting one. Even though the selection of items on the first record listed ed above does not constitute a particularly memorable concert when compared with the second, the playing on both is of such a high standard dard that whoever has one will want the other. Among the manv records of orchestral Wagner on release, lease, these are outstanding.
Terms of Use
  • In Copyright
Language
  • English
Identifier
  • 384.544305 (DDC)

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