Handel's St John Passion...well, maybe by Handel

Here's a work that I never knew existed, probably because there remains great doubt to whether it was actually composed by George Frederick Handel. The Passion According to St John led by Bernhard Henking with the Bach Choir of Zurich and Winterthur Symphony. This release is on the Concert Hall Society's "Handel Society" sub label. I'd like to point out that this two record set features one disc of red vinyl branded "Concert Hall Society" and one disc of black vinyl reading " Handel Society. Funky and cool I think.

Back to the authenticity of the work. Scholars believe that it was written in or about 1704 while Handel was in Hamburg. Certainly upon listening to the work, there are a number of places where the style is definitely Handel however, sections exist that bear a closer relationship to Handel's predecessors, namely Reinhold Keiser. Could it be that this work is part Handel and part someone(s) else. A pastiche of sorts? Whatever the true providence, this is a nice work, hardly approaching the depth of emotion of Bach but rather, like Telemann, capturing an event honestly, succinctly and in an approachable way.

This performance is actually quite good. The orchestra and choir are smaller than one would expect from this time period and the conductor paces the performance well. Of the singers, you will well recognize a young Ernst Haeflinger  and possibly soprano Kathryn Harvey. I'm surprised that this early 50's recording sounds as well as it does, pretty immediate and not too harsh as was many a Concert Hall offering. I managed to squeeze everything down to just under 80 minutes in order to accommodate the transfer to one cd.

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The Baroque Oboe with Harold Gomberg

While I'm thinking New England Patriots at the moment, I suppose I can take a few minutes and concentrate on the classics!? With the recent shutdown of Megaupload, who knows how long any of us will be around doing our thing? As Otter says in Animal House, "What a shame that a few bad apples have to spoil a good time for everyone."

so....Harold Gomberg performing baroque works for the oboe accompanied by continuo and small chamber ensemble. Interestingly, this must be one of the very first conducting efforts on record by the much maligned Seiji Ozawa, probably made while he was Leonard Bernstein's assistant in NY and right before he headed north to Toronto. Gomberg, of course, is the consumate artist, with a mousselike tone and elegance in phrasing. Though a somewhat controversial figure (many fault him for being in the ring that led to the great Mitropoulos' demise in NY), he was nonetheless an oboist on par with Tabuteau as having the greatest influence on a school of players that now hold important chairs in many orchestras throughout the USA. This record is a pleasing document of his artistry. And, the music is wonderful too!

With that, Go Patriots! It all comes down to Tom Brady, a superb artist in his own right!

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Messiah from Boston

A very fine Messiah, from Boston, featuring the Handel and Society conducted by Thomas Dunn. From 1977, this record was one of a handful of excellent "local" issues recorded and released by the now defunct Sine Qua Non label.

Messiah is magnificent work, in my opinion, the greatest work in its genre. No other oratorio so captures the meaning of the text in its music as this one does. If Handel had written nothing else, Messiah would have marked him as a genius of music and words. For me, Messiah is a desert isle work; I could not live without it since it is a constant rediscovery for me everytime I listen to it.

This performance is a marvelous document of the high choral and orchestral standards that conductor/musicologist Thomas Dunn set while he directed Boston's Handel and Haydn Society, the oldest organization of its kind in America. When Dunn took over the directorship of H & H, the performing organization was a quasi professional ensemble whose programs were often inconsistent, both musically and technically, from year to year and concert to concert. During his tenure, Dunn fully "professionalized" the organization, envisioning it as a resource that could, as its core, set performance practice standards for the great choral literature. In addition, Dunn expanded the concert series to include strictly orchestral programs and settings for smaller choral pieces, usually presented in churches or smaller halls rather than the imposing Symphony Hall. Dunn's reputation and work was such that upon his retirement, the H & H hired the highest profile artistic director it ever had, to that point, in one Christopher Hogwood.

This particular Messiah incorporates period practice with the benefit of modern orchestra and mid size chorus. In short, Dunn's Messiah is sensible and moderate and listeners should find the experience to be thoroughly enjoyable. The soloists are all quite competent and well prepared but they are not an "all star" cast. I am delighted that one of my heroes, Armando Ghitalla, is the featured trumpet soloist alongside the  bass David Evitts. The word and message is the real star in this glorious work and I suppose Maestro Dunn has chosen wisely in his staffing for this record. A real pleasure.

One note: The entire contents excepting "Behold a Virgin Shall Conceive" have been transferred. Unfortunately Behold was at the begining of side 2 and was marred by a deep scratch. I could not repair the track in a way that would do justice to the text.
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Roman Totenberg performs Baroque Violin Concertos

Here's a special record by one of the greatest, and most respected, teachers and performers of the last century, Roman Totenberg. From time to time, I'm privileged to offer music by musicians who have given much to the City of Boston and Totenberg is right up there with the very best of them. On this MHS record, Totenberg performs violin concertos of Pisendal, Handel, Fasch and Heinichen. He is able supported by the Vienna Chamber Orchestra under the Bulgarian conductor Zlatko Topolski. These stereo performances were recorded around 1966 or 67.

Roman Totenberg is happily still with us as he approaches his 101st birthday! Totenberg was a student of the great pedagogue Carl Flesch and he embraced the latter's views that violinists are not merely skilled virtuosos, but creative, thinking, organic artists. Certainly, the repertoire chosen for this lp was not conceived as a virtuoso display but rather has an intelligent, educational exercise on the development of the violin as a solo instrument during the baroque period. This is not to say that Totenberg plays these rare pieces as exercises - he treats them in an intelligent, musical way by using his knowledge and skill in the position as advocate for this music. Totenberg's beautiful tone and sure phrasing make this record a sincere pleasure to listen to and he makes the best possible case for these "lost" concertos.

I'm so happy I rescued this lp from the 50 cent bin!

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L'orchestre Hewitt performs Handel's Water Music

I'm not exactly being "random" what with two baroque posts in a row but I came into possession of a very clean copy of the Haydn Society issue of the French lp pictured above. Maurice Hewitt conducts L'orchestre Hewitt in Handel's Water Music in more or less an edition which presents most of this wonderful music.

Maurice Hewitt is one of the pioneers in the performance of the the baroque masters. In fact, you might say that he laid the groundwork for such artists as Rampal, Pailliard, Pierlot, Andre, Veyron Lacroix and others. The performance here is faithful to the score, free from large orchestral excesses though admittedly, one must recognize the fact that the Hewitt Orchestra was not a first rate band since there are some obvious technical issues especially with intonation in the winds. Still, we have to be grateful for musicians like Hewitt who took time to blow the cobwebs off of "ancient" music and present it in a more faithful fashion then many of his predecessors.

The Haydn Society issue lists a release date of 1954 but this record was probably recorded two to three years earlier.

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Suites from Handel Operas & Oratorios as presented by Boris Brott

A while back, I offered a transfer of an Everest lp conducted by Canadian musicologist and conductor, Alexander Brott. The album, Beethoven - Young Prometheus contains arrangements for orchestra of studies completed by Beethoven as he was learning the art of composition. Fascinating listening.

Today, a stereo lp released in 1967 by Mace featuring Alexander Brott's son, Boris, conducting music from Handel operas and oratorios (Rodrigo, Martillo, Solomon, Jeptha) with the Northern Sinfonia of England. I believe this was Boris' first recording and it is a very convincing effort, though the Northern Sinfonia in this recording is hardly a first rate ensemble.

Boris Brott is not too well known south of the southern Canadian border but in his homeland he is well regarded as a conductor, educator, impresario, and motivational speaker. His background bears a striking resemblance to that of Boston's Benjamin Zander. Throughout his six decade career, Brott has conducted all of the major Canadian orchestras and has served as a distinguished professor at McGill University. He has been a tireless promoter of classical music and the education of children in music in Canada. For my northern friends, Brott would be regarded as a musical treasure.

Brott's Handel is sensibly performed on modern instruments and it bears a striking similarity to what Marriner would have produced around the same time period. In short, pleasing and musically stylish with a hint of period performance to it. When you think of it, it is so difficult to go wrong with Handel since his music is so well written and sparkingly tuneful. It really brings a smile to one's face!

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James Stagliano and Arthur Berv - Baroque Style

Some fun listening here from two of the 20th century's greatest orchestral horn players, James Stagliano and Arthur Berv. These two giants of the horn play works from the baroque period and have a hell of a good time doing so!

Both of these soloists had long and prestigious careers. Arthur Berv, at the time of this recording, was well into his fifth decade of performing. Elevated to the principal horn chair at age 19 by none other than Toscanini, he never looked back and preceded to set a standard of excellence that successive hornists have aspired towards. For the most part, Berv's career centered around New York as he performed with every New York ensemble of consequence.

One of Berv's younger and most talented colleagues was James Stagliano, longtime principal of the Boston Symphony. Stagliano had horn playing in his genes as his uncle was recognized as a great orchestral player and teacher. Prior to becoming a member of the BSO, Stagliano played in Los Angeles and Cleveland where he developed a reputation of being able to play at an exceptionally high register. While in Boston, Stagliano recorded a number of recordings of which one of the best features the four horn concertos of Mozart with the Zimbler Sinfonietta. I have this recording and can transfer it if there is sufficient interest in the art of James Stagliano.

Stagliano and Berv play wonderfully together and I note that Berv plays the second parts. This is a compliment of the high regard which the older musician held the younger one. The orchestra is the "Kapp Sinfonietta" probably a New York pickup group and they are ably led by Richard Dunn of whom I know nothing. With a program of Telemann and Handel you can't go wrong you know.

So, enjoy some really great horn playing. I wish that I had the stereo lp instead of the mono edition but beggars cannot be choosers!

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Scherchen's First Messiah from London

Several months ago I was extremely fortunate to come across a near mint Bach Guild issue of this 1953 recording at one of my favorite haunts. It was to be a good day as I blew the dust off of the box set and set down my wrinkled one dollar bill on the proprietor's counter.

Indeed, this is the Scherchen Messiah to have, NOT the Vienna remake from 1959. I'll cut to the chase and tell you that yes, Scherchen pulls and stretches tempos, some are almost glacial while others bounce around merrily; His Burden is Light is simply incandescent. Orchestral textures are light for the times and the LSO is not at all first rate and yes, portamento slips in when you least expect. Soloists are ok if strained in certain passages, since Scherchen challenges their breathing and control like no other conductor. This is, a very personal Messiah, maybe too personal but...the choral contributions are well, simply excellent. The London Philharmonic Chorus is rather smallish but under renowned chorus master Frederick Jackson, their phrasing and diction is magnificent. I stress diction, you can understand every word, it is that immaculate. I absolutely love it - they listen to each other!

Back to personal. Scherchen's Messiah is like no other. It is so well thought out and it is appropriately dramatic and inspirational. This is of the first "complete" versions ever recorded and one that faithfully adheres to the orchestration specified by Handel for 1742 Dublin, no more, no less. At about 2 hours and 45 minutes, this is not Messiah lite but rather, a lesson to be learned properly and fully, digested as a whole. We need to be thankful to Scherchen for brushing the cobwebs off of tradition and presenting works, like Messiah, as close to the composer's intent as possible. A remarkable achievement in itself.

There are three downloads here, two lp sides per download. I have not broken down lp sides since these recordings have no bands. I read that this was done this way in order to accommodate the work onto 3 lps. I have included notes that list what sections are included on respective lp sides. I do not find this arrangement to be at all inconvenient.

I'd like to stress, again, that this Messiah requires careful reflection and must be taken on its own, special terms. For most listeners, the suggested Colin Davis LSO version is well suited to meet their listening requirements as it presents Handel's masterpiece in a straightforward and inobtrusive way. Scherchen, like everything Scherchen, is not so simple. As a deeply intellectual man, there are discoveries to be made as layers are pulled back, much like peeling an artichoke. But, time and patience is worth the effort. And, I cannot stress the really fine contribution by the chorus here!

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Carl Weinrich and Arthur Fiedler in Handel's Organ Concertos, Op. 4

I was lucky to run across this set yesterday, in great condition, for all of one buck! I wanted to post it for my esteemed colleague Larry at Vinyl Fatigue. Previously, Larry had offered an early Handel organ concerto recording with Biggs and Fiedler with the "real" Arthur Fiedler Sinfonietta. Here, I have transferred the complete Op. 4 but not the fugues. The Op. 4 concertos fit conveniently on one cd.

I find it interesting that Fiedler did not reconnect with Biggs for another go around in Handel. Biggs, instead, went to London and recorded all the organ concertos with Boult. Perhaps it all had to do with Fiedler being an exclusive RCA artist and Biggs a Columbia one. Whatever the reason, Fiedler does have a sensitive partner in longtime Princeton University organist Carl Weinrich, though I do think Biggs would've pulled out the stops a bit more in places.

For this 1967 recording, the orchestra used is credited as the Arthur Fiedler Sinfonietta but in fact it is no relation to the longtime ensemble that was Boston based and had fizzled out of existence some years prior to the recording. What we have here is a rather large chamber orchestra made up of New York musicians, presumably the usual cast of characters that performed as the RCA Victor Symphony, the RCA Italiana Orchestra...who know the deal. These are good players, responsive to Fiedler, but RCA should be ashamed for implying that the earlier Sinfonietta has a relationship to this one, assembled only for this recording and for one of the Mozart church sonatas.

Fiedler pined desperately to be taken serious as a conductor of "classics" and not just "pop" classical repertoire. Towards the end of his years, RCA, and later DGG, obliged him somewhat. Here we have the Handel, with the BSO he was able to realize his dream and conduct that orchestra in Dvorak's New World Symphony. Though the Pops was basically the BSO minus the prinicipals, actually conducting the "real" BSO was huge for Fiedler.

Back to Handel. Those expecting period performance will be disappointed here. Fiedler, and Weinrich were men educated in the first part of the 20th century and their understanding of Bach and Handel was grounded in 19th century traditions. Still, they are of one mind here and these works should be taken on their own terms and recognized for the excellence of the performers.

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Heroic Music for Organ and Brass with E Power Biggs and members of the BSO

 As I mentioned before, I'm a long time trumpeter and, when the mood strikes me,  I love to hear good brass and organ music. So, here are the contents of a Columbia Masterworks 2 LP set  featuring E Power Biggs with the New England Brass Ensemble (members of the BSO). Music featured is by Giovanni Gabrieli, Frescobaldi, Telemann, Handel, Clarke and Purcell. 

E Power Biggs kind of gets short changed nowadays. I've known a couple organists that considered him rather wooden in style with technique that they labeled hardly exceptional. However, in spite of any inadequacies that he might have had, as we all do, Biggs played an extremely important, and serious, role in disseminating much organ based literature to the general public. In addition, Biggs worked with first class musicians throughout his career and that is exemplified by the presence here of the BSO brass, conductor Richard Burgin, and the fine scholar/harpsichordist Daniel Pinkham.

The contents of these lps are festive and joyous. This is music to lift one's spirits and the musicians do just that. I want to point out that the great Armando Ghitalla is contributing his very best trumpet work here; Ghitalla's influence on a whole generation of orchestral trumpeters cannot be understated, his ability to phrase and project great warmth is captured here at the height of his powers. The second trumpet is Andre Come, long the BSO second chair, a down to earth man who absolutely never moved a muscle (outside of his diaphragm and lips) when he played. Stiffness aside, Come was a durable and consistent player and, quite versatile at that! Come really could swing when playing in the "Pops."

Biggs plays on the Arp Schnitger organ at Harvard's Busch Reisinger Museum and I presume everything was recorded there. This edition was released in 1973 but I think that the earliest of the recordings date from the late 60's.

Savor away heroic brass and organ! More Boston based music will be on the way...
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Music from England conducted by Sir Adrian Boult

Here's one for my friends in the UK, who've recently been through the most tumultuous general election in years! There is no better way to soothe emotions and bring the masses back together then with great music conducted by Sir Adrian Boult.

I've assembled a program of England's best through three centuries. Handel's Water Music is performed by the "Philharmonic Promenade Orchestra" on a Westminster release while Elgar's Three Bavarian Dances and Arnold's English Dances are from a London issue with the more familiar London Philharmonic name of the Philharmonic Promenade Orchestra. All recordings date from the mid 50's.

Boult's Handel is very, very well done. Though performed by a larger body of strings then we are now accustomed to, everything is done so....tastefully...yes, that's the word... that any thoughts of period instrumentation etc..are quickly forgotten. Beautiful playing and Boult moves the music in just the "right" way. Elgar's Bavarian Dances are tossed off with aplomb;  lilting, playful, sparkling with sunshine and rustic peasant humor. The first dance always reminds me so, so much of Dvorak. It's really delightful. Arnold's English Dances are marvelous miniatures; tuneful and simply virtuostic for the orchestra. If you do not know them, you'll love them on first hearing. It doesn't get any better than this.

The older I get, I appreciate musicians like Sir Adrian Boult more and more.  Good musicianship, thoughtful preparation, devotion to the music and....taste.

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Oistrach conducts Bach and Handel from Moscow

Everyone knows that David Oistrach was a superb violinist, technically without par and with a sound so individual and special...where are these guys today? Many don't realize that he was also a very fine conductor, no mere beater of time!

Oistrach loved Bach and Handel and this recording of him conducting the soloists of the Moscow Philharmonic in Bach's Suite in b and Handel/Harty's Water Music Suite provide ample evidence of his podium gifts. The results here are tasteful, elegant  and wholly appropriate to the style of the baroque.

From a Melodiya LP that I purchased in Bulgaria some years ago, recorded some 40 years ago, give or take.

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