<<  -- 7 --  Bill Newman    LIFE'S FULFILMENT

Doráti's complete Beethoven Symphony Cycle with the Royal Philharmonic Orchestra for Deutsche Grammophon Privilege, without claiming any speciality treatment like a Furtwängler, Jochum or Celibidache, aims at uniformity of conception in accordance with the old score markings. With no over-stressing of sforzando indications, or indulging in ultra romantic feelings during slow movements, there is a consistency of rhythmic approach allied to recognised tempi in accordance with the expressive requirements. An overall saneness coupled with richness of textures suits the weighty timbre of the RPO personnel, but I have not been able to compare with a later cycle by the Detroit Symphony on VHS Video, simply because it is not available in the UK. A DVD version would be welcome for the Doráti Centenary, as it would determine whether the American performing style would necessarily influence the conductor's interpretation.

Doráti reaches an all time high in Brahms Symphony 1 from Washington DC with the National Symphony Orchestra in 1985. The performance has a stunning impact and overall charisma comparable to Toscanini's live Carnegie Hall performance with the NBC Orchestra on 3 November 1951 but, as already indicated, some of the Italian's abrupt phrase endings are here countered by the Hungarian's fulsome tonal shapings and soft poetic shadings without disrupting the continuous stream of tension, ardour and sheer high drama. Another -- Symphony 4, comes from a Royal Philharmonic Concert tour of Germany on a VHS Video not otherwise available in the UK. It pictures the orchestra in superb form under the leadership of the popular Barry Griffiths, and Doráti at his relaxed best. The music sings and glows from beginning to end, with nothing forced -- instead, beautifully fashioned throughout, with great tenderness in the answering motifs and an understanding of the true Hungarian idiom.

Some part of that idiom, in a freer realisatory sense, is revealed during the complete Haydn Symphonies set by the Philharmonia Hungarica on Decca Records. The performances are a fine tribute to the ex-patriot players under Doráti's direction. There is wonderful wit and elegance at work here, with a fine feeling for period presentation without the restrictions brought about by original instruments performing without vibrato and varying their speeds. The important point to remember is that each symphony is different to its predecessor, so has to be approached with a new range of thoughts, sets of values and emotional outlooks governed by Haydn's choice of subject, desired instrumentation and timespan. The performers have obviously 'caught on' to their Musical Director's studied re-evaluation of these musical gems and react with the desired, detailed aplomb (448 531-2). A perfect companion CD is the 24 Minuets (436 2202-2).

The great works for chorus and orchestra -- Die Schöpfung, Die Jahreszeiten, Il ritorno di Tobia, hold their rightful place in Haydn lovers' affections. A similar devotion is afforded them by Doráti, the soloists, the Brighton Festival Chorus and Royal Philharmonic Orchestra (458 325-2). The operas, though, require a more concentrated approach by the listener due to their scarcity of performance. The Chamber Orchestra of Lausanne play host to an international lineup of soloists in: box 1 -- Armida, La fedeltà premiata, Orlando paladino, La vera costanza; box 2 -- L'incontro improvviso, L'infedeltà delusa, L'isola disabitata, Il mondo della luna (Philips 473 476-2, 473 851-2).

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