The Pittsburgh Press from Pittsburgh, Pennsylvania • Page 104

F6 The Pittsburgh PreSS Sunday, December 15, 1985 RECORDS 'Sweet Dreams' sound track recaptures Patsy Cline flair By Jerry Sfaarpe The Pittsburgh Press Although MCA goofed by releasing the sound track album of "Sweet Dreams" long after the movie about the late Patsy Cline had left theaters, the album was worth waiting for. At the same time, MCA has redistributed an old album, "Today, Tomorrow, Forever," which captures Miss Cline's early struggles with recording long before she was "discovered." Miss Cline, described by those who worked with her as a wildcat who drank, smoked and cussed, is portrayed just that way in the movie by Jessica Lange. However, inside she was a sensitive artist, and that's the side of her that comes out on the two albums. Born Virginia Patterson Hensley, she got the name Cline from her first husband, Gerald Cline, whom she married in 1953 and divorced three years later. She married Charlie Dick in 1957 and was 30 when she died on March 5, 1963, in an airplane crash at Camden, which also took the lives of her manager, Randy Hughes, and performers Hawkshaw Hawkins and Cowboy Copas.

The "Sweet Dreams" album (MCA-6149) is excellent. Four of the 12 songs are original vocals and tracks: "I Fall to Pieces," "Crazy," "She's Got You" and "Sweet Dreams." The other eight are original vocals redone by her producer, Owen Bradley, with state-of-the-art equipment. An added pleasure is that the songs, the same that were used in the movie, trace Miss Cline's career. For instance, "Walkin' after Midnight" put her on the road to stardom by gaining her national attention on the Arthur Godfrey Talent Show in January 1957. The version on the album, although a good one, was recorded almost four years later, on Aug.

25, 1961, and was redone with the addition of brass and horns by Bradley for this album on Oct. 18, 1984. "I Fall to Pieces," written by prolific Nashville songwriters Hank Cochran and Harlan Howard, was Miss Cline's first No. 1 hit, zooming to the top in 1961. The Nov.

16, 1960, version is the one on the album, and (MCA 1463) portrays a less sophisticated Patsy Cline searching for a style as she tries a variety of material between 1955-1959. "Honky Tonk Merry Go Round" is hardcore country from her first recording session Jan. 1, 1955. Her second session produced "I Love You Honey," written by a 14-year-old Eddie Miller who was later to mature as the writer of such hits as the Wilburn Brothers' "Release Me" and the Carl Smith and Loretta Lynn number, "There She Goes." Miss Cline took a whirl at early rock 'n' roll with the help of the Jordanaires and turned out "Gotta Lot of Rhythm in My Soul," "Love, Love, Love Me, Honey Do" and "Let the Teardrops Fall." She did some super versions of such heartfelt country ballads as "I've Loved and Lost Again," "Today, Tomorrow Forever" and "Try Again" and the more pop "I Can See an Angel." "I'm Blue Again" and "I'm Moving Along" are from her first stereo recording sessions in January 1959. Hughes, a stockbroker and part-time Grand Ole Opry picker before he became her manager, is one of the guitarists.

"Crazy," written by Willie Nelson, who then was a struggling songwriter, was Miss Cline's second big hit. The Aug. 21, 1961, version is included, with Hughes and guitarist Grady Martin among the pickers. In 1962, Miss Cline rolled to the No. 1 spot again, this time with "She's Got You." The basically authentic Dec.

17, 1961, recording session version is included. From her last recording sessions in February 1963 are Bill Monroe's "Blue Moon of Kentucky" and Grand Ole Opry singer Don Gibson's "Sweet Dreams," which was released after Miss Cline was killed. Two of the late Hank Williams's songs, "Your Cheatin' Heart" and "Lovesick Blues," clearly point out that Miss Cline, like many top stars, was a stylist whose voice was unmatched on material that suited her, but was limited in versatility. Her versions of Williams's songs are terrible. The "Today, Tomorrow Forever" album ffi tt-g- 1 Patsy Cline Shows sensitive, artistic side Three Previn recordings bring back the good memories TOP RECORDS By Carl Apone The Pittsburgh Press These are trying days for the Pittsburgh Symphony at Heinz Hall.

The departure of music director Andre Previn with two years remaining on his contract resulted in orchestra management scrambling for guest conductors. Christoph Eschenbach was hired to fill many of Previn's dates and he' proved to be a major disappointment. Now, to add salt to the wounds, Previn continues to be something of a one-man recording industry. If management hoped he would be out-of-sight, out-of-mind, such has not been the case. Previn stars on three current recordings: Rachmaninoff's Symphony No.

2 with the Royal Philharmonic, of which he is music director, Gershwin's "Rhapsody in Blue" and Piano Concerto in with the Pittsburgh Symphony, in which he appears as both soloist and conductor, and Mozart and Beethoven piano and wind quintets with the Vienna Wind Soloists. RACHMANINOFF Previn, of course, can do no wrong in the Rachmaninoff. When he came here as guest conductor in 1975, he was not considered to be a serious candidate for music director. But his deeply moving performance of the Rachmaninoff Symphony No. 2 with the Pittsburgh Symphony at Heinz Hall bowled over audience and orchestra.

He got the job, and Previn continued to display immense affinity, understanding and flair for Russian music during his eight years in Pittsburgh. The sound of the Royal Philharmonic, on the Telarc Label (DG-10113), is not as voluptuous as the Pittsburgh. The string section lacks velvet and heft, but the orchestra plays very well, the soloists are first-rate, and Previn gets the most out of the orchestra and Rachmaninoff. Previn is at his best in this music. The dash, sparkle and warmth are all there.

This a record worth having, especially for those who have fond memories of his days here. GERSHWIN If you are sentimental, the Gershwin pieces are likely to bring back strong memories of those dramatic, emotion-charged, May 1984 concerts Previn's last days here. In his early career, Previn was closely identified with pop and jazz but avoided such music with a vengeance when he became a symphony conductor. He turned his back on anything that might remind people of his early days and, in doing so, he even turned his back on the marvelous music of George Gershwin, whose compositions were often a superb blend of jazz and classical. In his last concerts here, Previn played and recorded Gershwin's Concerto in "Rhapsody in Blue," and "An American in Paris" at Heinz Hall.

This recording is on the Philips label (412611-1). Previn's performance in Concerto in is very much the way it was the night of the performance pensive, caring, refined and fleet, with a definite affinity for the music. MOZART AND BEETHOVEN -Chamber music was mother's milk for Previn in his days here. His performances with members of the Pittsburgh Symphony were among the best of the short-lived chamber concerts at Heinz Hall. Now he joins members of the Vienna Philharmonic, on the Philips label (412524-1), in some tender, gentle and intelligent performances of Mozart and Beethoven.

It is the kind of classy playing you would expect from Previn and the Vienna. BRUCKNER Carlo Maria Giu-lini conducts the Vienna Philharmonic in Bruckner's Symphony No. 8 on the Deutsche Grammophon label (28941-51241). Giulini was Previn's Eredecessor at the Los Angeles Phil-armonic, and Previn has consistently declined to conduct Bruckner. Previn consistently mumbled something to the effect that he disliked Bruckner "because he never got off his knees." The weakness, of course, was Previn's rather than Bruckner's.

When you find a first-rate Bruckner interpreter, there is cause for celebration. William Steinberg was one, and Giulini's effort is sympathetic and communicative. Some of emotional and inspirational re-. Suirements are missing. At times, iruckner sounds more like Verdi, and there is not always cohesion in the massive work.

But overall this is an attractive, warm and vibrant reading. MAHLER Rafael Kubelik is an-old friend of the Pittsburgh Symphony who appeared here regularly in former years. His appearances were always among the most memorable. Nowadays, he seems to limit his appearances in this country to the New York Philharmonic. He has recorded Mahler's Symphony No.

1 and No. 4 with the Bavarian Radio Orchestra on Deutsche Grammophon (415012-1). Kubelik and the West German orchestra are reliable interpreters of this music. Kubelik's reading in Symphony No. 1 is sensitive, warm and understanding.

The Symphony No. 4 performance is sympathetic, assured and colorful, with orchestra and soloist responsive to his demands. (Carl Apone is The Pittsburgh Press music editor.) TVje top singles according to Billboard: 1. BROKEN WINGS Mr. Mister 2.

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