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Records Reviews D.J.H.

The practice of pressing discs in both mono and stereo is rapidly being phased out. A few months ago one local company issued a new series in stereo only and advertised their LPs as being compatible to both mono and stereo players.

More Phase Four discs are appearing and the classical ones continue to please. One cannot hope for too much from this series, however, as the conductors, recording manager and organiser are only interested in recording music which allows "maximum sonic and musical impact" — hence The Pines Of Rome, Bolero, Capriccio Espagnol, Grand Canyon Suite, etc.

I was disappointed when I read an article by Tony D'Amato, the A & R manager for the series, who when talking about the people who buy these discs said, "Bach, Mozart and Beethoven . . . can be considered neither popular enough for our buyers, nor does the music contain the kinds of orchestral textures and coloration that Phase Four enjoys spotlighting."

The latest record that I have listened to is Stokowski and the New Philharmonia Orchestra in a vivid performance of selections from Tchaikovsky's Swan Lake and Sleeping Beauty (PFSM 34083). The recording is typically spacious and at times rather overpowering. The orchestra is in brilliant form and if you are wanting an excellent recording of lengthy selections from these two ballets then this is the obvious choice.

An RCA release in a similar vein is The Wonderful Waltzes Of Tchaikovsky (LSC 2890 Stereo) played by the Chicago Symphony under Morton Gould. The selections are rather hackneyed—waltzes from Swan Lake, Sleeping Beauty, The Nutcracker Suite, Eugene Onegin, etc. However, the performances are very good. The stereo recording is more than satisfactory but it does not equal the sheer brilliance of the Phase Four one.

Highlight of the past month's releases is a two-record set, The Art Of Titto Gobbi (HMV ASDM 607/8 Stereo). Side 1 is devoted to operatic arias — the beautiful Come Paride from Act 1 of L'Elisir D'Amore and arias from Rossini's William Tell, Verdi's Simon Boccanegra, Falstaff and Otello. His portrayal of Iago is superb—just listen to the marvellously evil cynicism with which he sings "I believe in a cruel God who created me in his image and whom in hate I name."

Side 2 contains the least familiar music, he sings 17th and 18th century classical songs and arias, accompanied by Roy Jesson, harpsichord, Derek Simpson, 'cello, and Freddie Phillips, guitar — Gobbi's beautiful idiomatic rendering of these delightful pieces are reason enough for purchasing the set.

The second record explores other aspects of the baritone's diverse abilities, popular Italian and Neopolitan songs, and Romantic songs by Tosti, Gastaldon, Respight and Wolf-Ferrari. An accompanying booklet with informative notes by Charles Reid and Roy Jesson and translations interspersed with photographs adds to the attractiveness of the discs. Highly recommended.

One of the most frequent symphonies to be issued on cheaper labels is Schubert's 8th (The Unfinished); the catalogues are full of cheap recordings. For some reason 90 per cent of these are unsatisfactory and therefore if the buyer can afford to be choosy he or she is compelled to pay extra for a recording and performance of a suitable standard. HMV's Ace of Diamond label has recently a very good version of this coupled with Schubert's 2nd. the orchestra is the Vienna Philharmonic conducted by Karl Munchinger (SDD 130 Stereo).

The right degree of lightness has been infused into both works—so often conductors allow themselves to get bogged down in the slow movement of the 8th. The VPO's playing is at its usual high standard. Unfortunately the recording does show its age and much of the brilliance is lacking, especially in the treble—but maybe I have been listening to a surfeit of Phase Four. A good buy for $3.50.

The Zarzuela is a type of lyrical Spanish opera virtually unknown to music-lovers outside Spain. Occasional sopranos have included a few songs in their repertoiresVictoria de los Angeles and Conchita Supervia are two who have actually recorded Zarzuela material. The music is not particularly attractive when first heard in such a large dose as on a recent RCA Victor release Montserrat Caballe Sings Zarzuela Arias (LSC 2894 Stereo). Most of the material she has chosen is poor and Mme. Caballe adopts a rather stolid approach to the music—very little tonal contrast does not help to make the most of some of the very light songs. Definitely a record only for the enthusiast.

While on the subject of Spanish sopranos, a much more satisfying disc features Victoria de los Angeles as Rosina in Highlights From The Barber Of Seville (HMV ASDM 2307 Stereo) taken from the complete set first issued in 1963, Also featured are Luigi Alva, Carlo Cava, Ian Wallace and the Glyndebourne Festival Chorus and Royal Philharmonic Orchestra conducted by Vittoria Gui. The two most interesting aspects are the beautiful, gentle portrayal of Rosina and the excellent musical direction of Gui, a relaxed but vital approach which keeps this likeable opera bouncing along joyously.

In the past few months the names of the prominent San Francisco "hippie" groups have become household words—"The Jefferson Airplane," "The Grateful Dead." "Moby Grape" and "The Peanut Butte Conspiracy" have all had their photographs in Time, Newsweek and other similar journals, Suddenly New Zealand record companies have become conscious of American psychedelic music and the market is being flooded with first LPs from every "hippie" group whom they can lay their hands on.

The "Airplane" has been around the" recording scene longer than the rest—they are more complex and much more polished. When I reviewed their first LP Jefferson Airplane Takes Off (RCA LPM 3584 Mono) I was unimpressed but I suddenly found myself liking their "folky" approach to pop music; they are really an extension of what Dylan and The Byrds have been doing for the last couple of years.

Surrealistic Pillow (RCA LPM 3766 Mono) is the best pop disc that I have heard this year (other than Sgt Pepper of course). Although the group has changed the female vocalist since their first LP there is little difference in their sound—close harmonies, tremendous bass playing and outstanding, strident lead guitar work—admittedly they are now considerably louder and far more driving. The selection of tunes (written by themselves) is very good: highlights are it Of A Mile In 10 Seconds, White Rabbit. Plastic Fantastic Lover, My Best Friend and of course. Somebody To Love. My only complaint is a minor one—why haven't RCA been more adventurous and released the record in stereo?

Time consider that "The Grateful Dead" is second to the Airplane; their biggest claim to fame is their sponsor—the millionaire "hippie" chemist who made his money out of the discovery of a cheap, easy method of manufacturing LSD. Their first recording out on Warner Brothers (WBS 1689 Stereo) is interesting in that they sound just like a second-rate imitation of the Jefferson group. The only difference is that they have an organist, no vocalist worth mentioning, and no abilities in song-writing. Their only superior aspect is their way-out names ("Pigpen," "Bill the Drummer." Jerry "Captain Trips" Garcia) and appearance which makes the Airplane look like a bunch of Mormon Sunday school teachers.