Glenn Gould's interpretation of the Goldberg Variations (this is his second, stereo version) might be described as arresting, undoubtedly compelling, and full of extraordinary digital dexterity. But is it a great performance? His many aficionados will say certainly yes, and the recording was voted fourth in last year's 'Gramophone Classics' (12/99, page 38). Yet the moments of aggressive staccato articulation, the very fluid tempos, the curious vocalise: these will surely not be to all tastes, and compared with Tureck this is all very self-aware and eccentric. But in many ways it is still irresistible, and a unique Bach experience. The recording is truthful, if closely balanced.
Yo-Yo Ma has a great advantage in (like Rostropovich) having the Berlin Philharmonic to accompany him in the Dvorak Cello Concerto, and Maazel provides a spectacular opening tutti. He is then willing to match his accompaniment to the refined, dedicated approach of his soloist. Ma often plays with great delicacy, especially in his elegiac slow movement, But the Berlin Philharmonic players can match his gentle line, and although some might prefer a more robust reading, Maazel ensures that there is no lack of contrasting excitement in the outer movements. The original coupling of Silent woods is now restored and is played very beautifully.
Alas when Stern re-recorded the Mendelssohn Violin Concerto with Ozawa in 1980, he was past his prime: his timbre only a echo of the rich, lustrous sound of his earlier analogue recording with Ormandy (Sony Classical, 12/90). The Tchaikovsky concerto, made three years earlier and partnered by Rostropovich, is much more his old, secure, authoritative self. But the earlier version, again with Ormandy, is still preferable (Sony Classical, 7/60). When we turn to Perahia's Mozart we encounter a coupling of two favourite concertos that is unsurpassed in the present catalogue. These are surely classic versions. They have a warmth, delicacy and finesse that are held in place by musical wisdom and a natural Mozartian sensibility. Directing from the keyboard Perahia gets some superlative playing from the ECO and both recordings are most naturally balanced. The two Rondos are equally fine, and make this a particularly generous reissue, not to be missed even if you already have other versions of these works on disc (and I treasure the Vladimir Ashkenazy version of K488 on Decca, 3/83).
Salonen's Sibelius Fifth is an exceptionally spacious reading, at its finest in the noble finale which is superbly played by the Philharmonia. But the first movement seems to me to hang fire: it needs more grip, and the slow movement too, needs to move forward more positively. Pohjola's Daughter has much more excitement and thrust and the other pieces, added for this reissue, are enjoyable enough. But this is not a distinctive Fifth, let alone a great performance.
Dame Kiri Te Kanawa's arias disc, on the other hand, is a winner. Recorded at her peak, this selection of mainly Puccini and Verdi is well chosen, the lovely voice consistently ravishing in Puccini's lyrical melodic flow and all three Verdi arias are full of character. Two excerpts from her complete recording of Don Giovanni with Maazel are thrown in for good measure, plus some delightful Humperdinck and the lovely 'Pie Jesu' from Durufle's Requiem. The recording is warm and flattering and admirers of this fine diva need not hesitate.'