Pyotr Ilyich TCHAIKOVSKY (1840-1893)
Marche Slave [9:11]
Romeo and Juliet – Fantasy Overture [20:53]
Waltz from Sleeping Beauty [4:29]
Theme and Variations from Suite No. 3 in G major [19:53]*
1812 Overture [15:25]
Manoug Parikian (violin)*
Royal Philharmonic Orchestra/Sir Malcolm Sargent
Philharmonia Orchestra*/Sir Malcolm Sargent
rec. 5, 25, 27 January 1960, Abbey Road Studio No. 1, London; 24 March, 8 June 1955, Kingsway Hall, London*
GUILD GHCD2409 [70:59]
Having recently reviewed Warner’s
18 CD set devoted to the recordings of that stalwart of the British
conducting scene, Sir Malcolm Sargent, there was a notable absence of
any Russian repertoire. I was pleased when this CD from the Swiss company
Guild landed through the post box, as it redresses the balance, with a
disc devoted to Sargent’s take on Tchaikovsky. One further delight
was to be reacquainted, after many years, with these recordings which
I first owned — with the exception of the Theme and Variations
from Suite No. 3 — on an HMV Concert Classics LP back in the sixties.
Opening the booklet, the first page contains a photo of that very LP,
bringing back happy memories of long ago and a feeling of déjà
vu. In fact, this LP was my introduction to the Russian composer’s
music.
With a recording career spanning 42 years (1924-1966), Sargent amassed
a sizeable and varied discography. He was atypical in that he worked freelance,
never signing exclusively for one label: ‘Anyone can employ me to
conduct, any soloist can ask for me and any record company can issue me.
I have never signed myself up exclusively anywhere or with anyone’.
In the forties, fifties and early sixties he was one of the pillars of
the English concert scene and was at the helm of the Hallé (1939-42),
the Liverpool Philharmonic (1942-48) and the BBC Symphony Orchestra (1950-57).
As chief conductor at the Proms (1947-67) he had tremendous influence
in the programming of concerts, conducting nearly 50% of them himself.
His popularity also rests on his forays into lighter music. He had a great
interest in Gilbert and Sullivan and conducted performances at the Savoy
Theatre in London. Eight of the G&S operas were recorded by him. Other
activities included the Courtauld-Sargent Concerts, the Robert Mayer Children’s
Concerts and the Royal Choral Society. He was knighted in 1947.
These are warm and committed performances in satisfactory sound for their
age, the RPO contributions being in stereo, whilst the earlier Philharmonia
session is in mono. Orchestral detail is discernible throughout. Sargent
has a real feel for this music. In Marche Slave he achieves a
true Slavic passion. Romeo and Juliet isn’t allowed to
wallow in sentimentality but, with emotions tightly under wraps, he lets
the music just speak for itself. The Sleeping Beauty Waltz is
imbued with grace and charm. In the Theme and Variations from
Suite No. 3, the variations are individually well-characterized, with
each showcasing orchestral colours. I admire the fine solo contribution
from the orchestra’s leader Manoug Parikian. Sargent achieves a
wonderful dynamic range in the 1812 Overture, which is as incisive
and energized a performance as you are ever likely to hear. All in all,
these are masterly performances of exciting music-making.
This is a very desirable release and serves both as a satisfying recording
in its own right, and as a ‘Russian’ supplement to the Warner
Icon set. In a crowded playing-field these recordings stand up well. Robert
Matthew-Walker provides illuminating background notes, which are in English
only.
Stephen Greenbank
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