gramophone.co.uk GRAMOPHONE SEPTEMBER 2019 119PHOTOGRAPHY:
EVERETT
COLLECTION
HISTORICAL/ALAMY
STOCK
PHOTO
IrishtenorJohnMcCormack(1884 1945)picturedin 1910 lgar from merica
In late 1940, around the time when
McCormack was recording some of his
songs and ballads at London’s Abbey Road
Studios, John Barbirolli was conducting
the New York Philharmonic SO in a
performance of Elgar’s Cello Concerto with
Gregor Piatigorsky (who never actually
made a commercial recording of the work).
The tone is characteristically rich, with
a fastish vibrato, and if Barbirolli’s response
to the score would deepen with time (he
later recorded it with both André Navarra
and, most famously, Jacqueline du Pré),
the overall feel of the performance is at the
very least dedicated. For me, though, the
undoubted highlight of ‘Elgar in America’
is a little-known broadcast of the Enigma
Variations featuring Arturo Toscanini and
the NBC SO. Although I’m a keen fan
of Toscanini’s 1935 BBC SO recording
(Warner), which features what’s probably
the most defiant account of ‘Nimrod’
known to man, this highly impulsive but
frequently poetic 1949 account, which is
for the most part superbly played, comes
a close second. Try the lightning account
of Variation 2 (‘HDS-P’) or the bullishness
of Var 4 (‘WMB’) or ‘Nimrod’ himself –
warmly drawn, uplifting, and tellingly
shaped. Maybe ‘Dorabella’ lacks the
elegance she so winningly displays on
Toscanini’s earlier recording; but best
of all is Var 12, ‘BGN’, the string lines
so sensitively negotiated (listen from 0'57"on track 13, especially the ensuing
diminuendo). The closing Var 14 has
nobility to spare, with a marked broadening
as Nimrod re-enters. As to the remaining
item, Artur Rodzinski conducts the New
York Philharmonic SO in a shamelessly
cut performance of Elgar’s Falstaff (1943).
The reason for the cuts? Probably lack of
available airtime. But then why not choose
another work? Especially as Falstaff is
so tightly organised. Still, the playing is
spirited enough in a Straussian sort of way
and the sound not bad at all. This is one
to consider principally for the sake of the
marvellous Enigma. Excellent notes by
producer Lani Spahr.THERECORDING
‘Elgar from America, Vol 1’
Piatigorsky vc Barbirolli,
Toscanini, Rodziński conds
Somm F ARIADNE5005reat soloists
Reference above to André Navarra brings
me to a pair of superlative performances
that are included among a gathering of
‘Great Soloists’ as part of the Itter
broadcast collection issued by ICA Classics.
Tchaikovsky’s Rococo Variations under
Hans Schmidt-Isserstedt are dazzlingly
agile, the tone both warm and focused,
while Lalo’s Cello Concerto enjoys intense
solo playing and weighty orchestral support
under Jean Martinon. Both performances
are with the BBC SO, as is Dvo∑ák’s Cello
Concerto, where Sir Malcolm Sargent
presides over an equally involving account
with Zara Nelsova. I was delighted to
encounter Monique de la Bruchollerie
maximising on wit and keyboard colour in
Rachmaninov’s Paganini Rhapsody (under
Sir Eugène Goossens), while Dennis Brain
is at his consistent best in Mozart (Second
and Fourth Horn Concertos, under Walter
Goehr and Paul Sacher respectively) and
Strauss (First Concerto, where Sir Adrian
Boult conducts). David Oistrakh is
captured on an early visit to these shores
playing the Tchaikovsky Violin Concerto,
a brilliant if urbane account with the RPO
under Sargent, while the bow is passed to
Ida Haendel for the Sibelius Violin
Concerto, again with the RPO, though less
compellingly conducted by Basil Cameron.
Viotti’s Violin Concerto No 22 was
recorded in Edinburgh in 1953 by
Gioconda de Vito and the Rome RAI SO
under Fernando Previtali, vivid in detail
but less sweetly seductive than Franco Gulli
(Rhine Classics). Alfredo Campoli is
typically engaging in Lalo’s Symphonieespagnole (giveortaketheoddspotof
suspect tuning),butforsomereasonthe
opening tuttioftheIntermezzoiscut.Still,
there are morehitsthanmisseshere,many
more, andthemonosoundtellsitasitis.THERECORDING
‘GreatSoloistsfromthe
RichardItterArchive’
Brain,Haendel,Navarra,
Nelsova,Oistrakhetal
ICAClassicsBdICAC5159orelive
eecham
Also sourcedfromtheItterarchiveisthe
second liveSirThomasBeechamcollection
from ICAClassics.Acharismaticrostrum
presence isobviousrightfromtheopening
of Chabrier’sGwendolineOverture,where
Beecham hasmembersoftheBBCSO
poised ontheedgesoftheirseats,orso
it seems. Beecham’sRPOversionof
this underratedmasterpieceisgood,
but ChabrieratMaidaValeisevenmore
hair-raising.LikewiseFranck’sLechasseur
maudit, withitsbarelycontrolledfury
(especiallytowardsthecloseofthework).
This timeit’stheRPO,whichalsograces
Grétry’s elegantballetsuiteZémireetAzor.
There’s rathermorecharm,twinkleand
vivacity herethanonBeecham’scommercial
recording,whichcertainlyappliesalsoto
Lalo’s G minorSymphony(whencompared
with his Parisrecording–onWarner).
Méhul’s SymphonyinDisanattractive
piece (thefinalealittlelikeGluck)inwhich
Beecham encourageshisBBCplayersto
make the mostofwhat’sonthepage.The
cloudy, endlesslyoscillating,sometimes
playful surfacesofDelius’sNorthCountry
Sketches withtheRPObespeakaconductor
who genuinelyknowswhatthismusicisall
about. AndtheBacchanalefromSaint-
Saëns’s SamsonetDalilaworksitselfinto
a frenzy unmatchedbyanystudioversion.
It’s precededbyagentle‘Dansedes
prêtresses deDagon’.Perhapsthehighlights
of Balakirev’sFirstSymphonyareitsScherzo
and vigorous,nicelypointedfinale.Strauss’s
Le bourgeoisgentilhommeSuiteisverygood,
though it’scut–and,tobetruthful,Imiss
the eleganceandlightnessoftouchthat
Fritz Reinerbroughttothepiece,especially
on his RCAChicagoSOrecording.
Otherwise,thisisamostmemorable
collectioninworthymonosound.THE RECORDING
Chabrier. Delius. Franck.
Grétry. Strauss, etc
Sir Thomas Beecham cond
ICA Classics B c ICAC5158REPLAY