Grieg Peer Gynt—excerpts a. Symphonic [Dance] Dances, Op. 64—No. 1 b. In Autumn, Op. 11 c. a Ilse Hollweg (sop); a Beecham Choral Society; Royal Philharmonic Orchestra / Sir Thomas Beecham.

EMI Studio (Mid  price) (CD) CDM7 69039-2 (58 minutes: ADD). Also issued as (Cassette) EG769039-4. Item marked a from ASD258 (1/59), b ASD518 (4/63), c Columbia mono 33CX1363 (9/56).

Peer Gynt—The Bridal March passes by; Prelude (Abduction and Ingrid's Lament); In the Hall of the Mountain King; Solveig's Song; Death of Aase; Prelude (Morning); Arab Dance; Anitra's Dance; Prelude (Peer Gynt's journey home); Solveig's Cradle Song.

Since those famous Columbia light blue label 78rpm discs (with the LPO) of the Suite No. 1, Beecham's Peer Gynt has always been special, and rehearing this admirably remastered disc confirms the unique magic he was able to bring to this score, comparable with his Delius recordings. The filigree delicacy of texture with twinkling, iridescent woodwind colours is immediately noticeable in the first few bars of the music-making (and especially in the graceful lightness of "Anitra's Dance") while the robust qualities of the drama of "In the Hall of the Mountain King" with the Beecham chorus vociferously punching out the words, is very arresting indeed. He was lucky in his choice of soloist for Ilse Hollweg sings gently, with captivating charm; one can sense the great conductor beaming at her sweet, ingenuous melisma. Yet the "Death of Aase" is profoundly touching in its poignancy.

The Symphonic Dance is a treasure—the oboe solo has a gentle, slightly elegiac lyrical feeling that is unforgettable. One could not call In Autumn one of the composer's best works, but Beecham relishes its melodramatic tuttis (there is splendidly uninhibited use of the cymbals) yet elsewhere he is characteristically affectionate and entices the listener by his elegance and spontaneity. The remastering is highly successful, the sound fuller and warmer than before, the upper range a little restricted but agreeably so.
IM