HiFi Feast for Orchestra with Argeo Quadri conducting

Today, a really neat orchestral compilation conducted by Italian maestro Argeo Quadri. With the Philharmonic Symphony of London (I believe it is the LPO in disguise though it could be the RPO too), Quadri leads bouyant performances of  Dukas' The Sorcerer's Apprentice, Saint-Saens' Danse Macabre and Bacchanale from Samson and Delilah, Chabrier's Marche Joyeuse and  Espana, Mossolov's The Iron Foundry, and Revueltas' Sensemaya and Cuauhnahuac. This is mid 50's Westminster monaural sound with an impressive dynamic range.

 Argeo Quadri was primarily a conductor of opera and he spent many years as a resident in Vienna. Westminster, obviously playing into the Toscanini craze and legend of the 50's, signed Quadri as their resident Italian, probably in the hopes that another Italian, known for firm technical control and a fidelity to the score, would increase their sales exponentially. Quadri made a number of records, a very fine Sheherazade, a strong Respighi issue (posted here on this blog) and surprisingly, an excellent set of Corelli's Op 6 Concerti Grossi. Unfortunately for Westminster, Quadri did not develop into a seller like Scherchen, Rodzinski, or Boult. Probably a lot of that had to do with the fact that Quadri did not have much of a physical presence on this side of the Atlantic nor was he a larger than life figure as was Westminster stallwart Scherchen. Quadri also was not a martinet or an excessively ruthless person. All speculation, of course.

Argeo Quadri

The surprise of this program has to be the inclusion of the two pieces by Revueltas. I suppose that these were new to the London players and I find it fascinating that this Italian opera conductor would program these little known works when no one else did, maybe with the exception of Stokowski. The results are positively splendid, with the orchestra playing in a "by the seat of the pants" fashion. Juxtaposed with warhorses Espana and The Sorcerer's Apprentice, Quadri manages to craft a varied and interesting program. I think you will like this alot. Oh....and if Iron Foundry doesn't get your attention!?

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Luboshutz and Nemenoff perform Brahms, Schumann and More

A wonderful rescue from the trash heap here. Though the cover slipcase was waterlogged and ruined, this Camden reissue cleaned up quite nicely (once I removed pieces of cardboard that had adhered to the vinyl). The husband and wife piano duo of Pierre Luboshutz and Genia Nemenoff play Brahms, Saint Saens, Schumann and Mendelssohn.

I never tire of the Brahms' Haydn Variations in any shape or form and it was good to make the acquaintance of this record. Luboshutz and Nemenoff play in a very direct, almost willful way, but what is most stunning is the unity of interpretation. If there is a definition of harmony in marriage, I would say this performance is the musical equivalent. Listen and you will swear that this is one artist and not two, it is that cohesive. This is unsentimental playing, hardly heart on the sleeve, and the artists let the music speak for itself. I was surprised that there is little reflection at the end of each variation, one seems to march into another almost in a brusque way, though it is not to the point of annoyance or is it damaging to the structure of the piece. Again, I want to stress the unity of the presentation is what sells me here.

Very much the same approach holds forth in the Beethoven Variations of Saint Saens, the Allegro Brilliant of Mendelssohn and the Schumann Andante and Variations. The Saint Saens, in particular, is tossed off in a brilliant tour de force - it is simply a delight and reminder of what a creative, and at at his best, inspired composer Saint Saens indeed was.

I've mentioned before that I have come to really enjoy the two hand and two piano art form especially when the artists subordinate their solo will to the fine art of collaborative dialogue. Luboshutz and Nemenoff are the benchmark in this regard.

I believe that the recordings are all mid to late 40's, Camden provides no information.

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Arthur Fiedler and the Boston Pops on Camden

Here's the contents of two very fine Camden reissues of early recordings by Arthur Fiedler and the Boston Pops. CAL-165 features the Mendelssohn Piano Concerto No 1 and Liszt's Totentanz and CAL-166 highlights extended excerpts from Glazunov's ballet Raymonda  and the bacchanale from Samson & Delilah  of Saint Saens. The pianist featured on CAL-165 is the excellent Jesus Maria Sanroma, who was the official pianist of the Boston Symphony for Koussevitzky during the 1930's and early 40's.

The Mendelssohn had been transferred previously, from the 78's, by Bryan at The Shellackophile. Bryan did a great job of retaining warmth from the original recording, something that the Camden reissue producers admittedly did not place high on their list while transferring from 78 to 33 1/3. (The Liszt on the flip side fares better.) In spite of any sonic limitations, Sanroma and Fiedler turn in a superb account of this well proportioned and inspired concerto of Mendelssohn. In  the Liszt, both experienced musicians keep the piece from turning into a gaudy display of overblown technique and banal passages.  I've got to say that Fiedler was a terrific concerto partner on evidence of this recording and others. I still wonder how he kept a straight face and musical dignity while accompanying Al Hirt in the latter's infamous account of the Haydn Trumpet Concerto!

The extended excerpts from Raymonda are simply superb. Glazunov often gets short shrift because he was so prolific and at times rather less then inspired. That is not the case with Raymonda. It is a marvelous ballet, right up there with the best of Tchaikovsky. Terrific tunes and masterful orchestration make this a delight for the ears and of course, Fiedler does not disappoint. Having the great Pops (actually the BSO minus the principals) strings caress Glazunov's skillful writing reaps great dividends in this recording. And, what an encore with a supercharged, but entirely tasteful, bacchanale from Samson and Delilah. Richard Strauss must have been taken by this for his Salome's dance bears striking characteristics of this gem of a piece.

Enjoy Fiedler at his best!

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Orazio Frugoni performs Saint Saens

Though I have the Saga issue cover above, this offering today of Saint Saens' 2nd and 5th piano concertos originates from a mid 50's Vox lp. The featured performer is Italian born Orazio Frugoni and the Vienna Symphony is led by the esteemed Hans Swarowsky.

Orazio Frugoni's name has rather sadly faded from memory. Fifty years ago, he was a well recorded artist and teacher whose name rose to prominence for his advocacy of the piano music of Mendelssohn. In particular, Frugoni introduced the youthful, but excellent,  "two piano" piano concertos of Mendelssohn to the general public. However, during the 1960's Frugoni decided to primarily concertize "live" and teach, moving away from the recording process. He eventually returned to Italy as director of the fine arts academy in Florence and continued teaching and adjudicating through to the end of his life.

The music of Saint Saens is always a joy to listen to because it is tuneful and unencumbered by angst or emotional excess. It is for the most part music of entertainment and taken on its own terms is superb listening. Certainly Saint Saens understood the full breadth and scope of the keyboard since he, himself, was considered a master of the keyboard. Frugoni's performance here is musically sound and his technique captures the magic of the writing. Swarowsky, as to be expected, provides strong partnership with the redoubtable Vienna orchestra happily playing along. The mono sound is good, if not special, typical Vox from Vienna. Enjoy.

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Piero Coppola conducts Saint Saens' Organ Symphony

Here's my addition to the Piero Coppola trend of late. Recent postings by Neal's Historical Recordings and 78 toeren  led me to dig out this "Past Masters" lp, that I've had for a long while, of Coppola conducting Saint Saens timeless Organ Symphony. The recording dates  from 1930 and was made with the "Gramophone Symphony Orchestra- La Voix De Son Maitre" in Paris. Coppola was the artistic director of the French arm of HMV - The Gramophone Company for the better part of the 1920's and 1930's.

I'm really glad that I transferred this record. Past Masters or "PM" was apparently a company located in New Jersey that produced reissues and housed them in a plain white jacket with a sticker that identified the performance: very much a no frills shop you might say. Quite honestly, I'm not sure if this was some sort of quasi pirate operation but what I will say is that the results of their transfer of this symphony are stunning. You will not believe that this record was set down in 1930. It's so vivid, the balancing is superb and details jump out of the speakers. Combine great sonics with a superb performance and you have an absolute winner. This was probably the finest recording of the Saint Saens on the market until the stunning stereo spectacular of Munch in Boston, nearly 30 years later!

Featured performers for this symphony are Alex Cellier on organ, Lucien Petitjean on piano and Denise Herbrecht on piano. I cannot help but wonder if the Gramophone Symphony Orchestra is indeed the Paris Conservatory, Lamoureux or Pasdeloup in recording disguise. A thought...

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Music for Two Pianos performed by Ferrante & Teicher and the Casadesus Duo

Many folks know the duo of Ferrante and Teicher for their quasi lounge/elevator music type programs. In that genre, they are truly excellent and here, in a program of Brahms, Saint Saens and Schumann, they are highly persuasive and strikingly individual. I never tire of the Haydn variations and this rendition held my attention - quicker tempos and softer dynamics are the features of this well thought out performance.  An interesting take on this warhorse though, admittedly not my favorite one; I have a fondness for the Paratore brothers in this work. I do like the other major work in this program very much, Saint Saens' rarer Beethoven variations. In this work, I think Ferrante and Teicher get things just about right. It's a delightful work, not heard enough these days, I am sad to say. These performances date from a  50's Westminster recording.

I came across a Columbia 10 inch of Robert Casadesus' own Mediterannean Dances and these are simply delightful. Played alongside his partner, and wife Gaby, these colorful miniatures are wonderfully evocative of the south of France. Forgotten today is that Casadesus was a very fine composer; at some point I will post his piano and 3 piano concerto, performances featuring him, Gaby and son Jean.

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Leonid Hambro and Jascha Zayde perform Saint Saens, Debussy, Franck, and Poulenc

I seem to have developed a "thing" for four hand piano music over the last few years. I cannot really explain why this is so but the combination of two like minded individuals, pounding the ivories in great music is, well...so irresistible!

Here we have the contents of two LP's, issued on Columbia and Command Classics, that feature the talents of the all but forgotten piano duo of Leonid Hambro and Jascha Zayde. Hambro is best known for his long association with the legendary Victor Borge while Zayde, I must confess, was totally unknown to me. Turns out that Zayde was a fixture on New York radio for many years while Hambro, after pretty much retiring from concertizing, taught at the university level. Together, they prove to be excellent collaborators and they play with good taste and superb musicianship in this program of French music.

I want to call attention here to the exquisite performance of Carnival of the Animals with words by Ogden Nash recited by the great Noel Coward. This really is, in my opinion, a definitive take on this delightful work, Hambro and Zayde are magnificent and Andre Kostelanetz leads his New York musicians to the manner born. You will enjoy this immensely!

I have another Hambro and Zayde LP, Mozart and Schubert, and I will upload at sometime down the line.

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More from Hans Swarowsky

Yes...a few more items from the esteemed Hans Swarowsky. We have here Tchaikovsky's Little Russian Symphony form a Parliament LP and Saint Saens' Organ Symphony from a Urania LP. Professor Swarowsky conducts the Vienna Philharmusica Symphony Orchestra in both works; this orchestra is obviously a pseudonym for the famed Philharmonic, the Symphoniker, the Tonkuenstler, the Volksoper....who knows? Well, I'm sure someone out there has the answer!

These are good performances, well played with no mannerisms or eccentricities.  I find both works enjoyable and recorded  sound is pretty good  for the late 50's to mid 60's. LP pressings are budget so results are somewhat variable on that end. My hope is that this offering will lead to other transfers of Swarowsky's art.

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