The Debussy items have
appeared before. With the addition of
the Ravel, this now makes even better
value, and represents this great conductor
at the very height of his considerable
powers.
La Mer is given
one of its most satisfying performances
on disc. Far from indulging
himself, Giulini maintains an admirably
disciplined approach, paying extraordinarily
loving attention to the details with
which this score teems. In addition,
he has such a sure sense of pacing and
timing, with the result that the climaxes
of all three movements are achieved
with overwhelming power. It is admittedly
a work that tends to bring the very
best out of its performers – it will
brook nothing less – but, even with
that consideration, this is an account
to relish and cherish.
The Nocturnes
are on the same level, maybe even better.
I have certainly never heard a Nuages
in which the textures have such
cloud-like softness and insubstantiality,
and the Philharmonia’s playing for Giulini
indicates why it was up there as one
of the world’s very top orchestras at
the time.
On the other hand,
the woodwind playing was very individual,
and thus not to all tastes. There will
be those therefore who will find Gareth
Morris’s rendering of the famous flute
solo in Daphnis disappointing.
Morris was a famous and distinguished
player who persisted in performing on
a wooden flute when all around were
turning to metal. The sound has a unique
and memorable quality, but none of the
brilliance and richness we have come
to associate with modern flute playing.
Equally, many will find Sidney Sutcliffe’s
intensely reedy oboe playing a problem.
Personally, I find it quite wonderful,
and in French music of this kind it
surely comes into its own.
Carlo Maria Giulini
will be ninety years old this coming
May 9th. This issue is thus
a timely reminder of a conductor with
an exceptional ear for tonal beauty,
and an unerring ability to find it within
any ensemble fortunate enough to work
with him.
Gwyn Parry-Jones
Current
releases in Great Recordings of the
Century