Trumpet, Flute and Horn Concerti of Haydn conducted by Fritz Lehan

Posting again from a very warm Bulgaria, here's a nice mono Mace lp of Haydn wind concerti featuring the Consortium Musicum with Fritz Lehan leading soloists Helmut Schneidewind on trumpet, Valerie Noack on flute and Erich Penzel playing horn. These recordings date from the early 60's.

I enjoy this simple and honest way with Haydn. In particular, I've heard a lot of recordings of the trumpet concerto and enjoy very few of them, usually because of excessive brightness in tone and technical displays that jar the overall ebb and flow of the writing. I'm happy to say that Schneidewind plays warmly and collaborates with the members of the Consortium Musicum in a concertante style which I attribute to Lehan's firm leadership and a partnership of intrepretive ideas.

On my vacation: Here in Bulgaria, we spent several days in Sandanski, a spa town of sorts close to the Greek border and the reputed home of Spartacus, the "Thracian barbarian" who led a great slave revolt in the last days of the Roman Republic. In the days of Communist Bulgaria, the leaders played up the Spartacus connection as one of the first great "proletarian" uprisings. From Sandanski, the important and impressive historical sites of Rila Monastery, Melnik, and Rozhen Monastery are within easy distance. While in Sandanski, we took a brief trip to Rupite, the final resting place of Baba Vanga, a mystic who combined prophetic insights with Orthodox Christian teachings. Some consider her a saint and on her grave was an icon of her with a saint's halo. In Melnik, the famed caves hold barrels of rich red wine that is definitely the drink of the gods. We will be traveling for a few nights to Hisar, which is an ancient spa town with waters possessing curing powers  for a whole host of diseases and ailments....not that I have any ailments at this time..or that I know of! Bulgaria is an amazing country, with great beauty, variety and a rich history. Also, I will mention that the fruits and vegetables here are the best, simply delicious, a treat for the eyes and the tongue!

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Independence Day with The Goldman Band

It's the grand old 4th of July and here I am in Bulgaria thinking of fireworks, band concerts and the like. Actually, I had the good fortune to catch a free concert by the Sofia Brass Band this past Saturday and they opened the program with, what else but the Stars and Stripes Forever! So, in the spirit of the festivities, I'm able to post from abroad a classic band recording by the famed Goldman band under their founder Edwin Franko Goldman. This particular issue was the first in Columbia's "Harmony" series, the budget label that was the forerunner of the much larger, and expansive Odyssey one.

Edwin Franko Goldman is probably the most influential, and important American Bandmaster after Sousa. Besides being a superb conductor, he was a terrific composer and arranger, excellent cornetist, teacher, and founder of the American Bandmaster's Association, probably the most important fraternal band instructors organization in the world. The Goldman Band, in its heyday, was a great professional band, that set incredibly high standards for band performance and did much to popularize the medium beyond the setting in the park. These performances of Sousa marches by the Goldman Band carry on the tradition of Sousa and set the stage for Fennell and his revolutionary work at Eastman. Important documents they are indeed and a clear and clean record of a bridge of style from the 19th to the 20th century. I'm not sure of the recording dates here but I would guess the 1940's.

I have included four of Goldman's own marches as fillers. These recordings are from the mid 30's and are available on the Internet Archive. Excellent music it is with a strong imprint of Sousa.

Happy 236!

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A little Brass and with some Woodwind tossed in for good luck!

Some great brass and woodwind music today. First, by request(s), The Modern Age of Brass with Roger Voisin leading a bunch of his BSO colleagues followed by Frank Glazer and the NY Woodwind Quintet in music by Riegger and Poulenc. Both records date from the mid 50's, the Voisin in mono and the woodwind in stereo, though I have seen the latter's recording date as 1953! The stereo here appears natural.

Brass players are so indebted to Roger V for his pioneering recordings and editions of various works for trumpet and brass. Though admittedly, I have never been a great fan of the bright French school of trumpet playing that he was one of the last proponents of, I recognize him as a tireless promoter of the trumpet and music for brass ensembles. And, as I said previously, Roger was completely and utterly dedicated to music in Boston, especially the next generation of brass players. This important record, from MIT, preserves strong, pioneering excursions into great works. In particular is the masterpiece of Ingolf Dahl, his Music for Brass Instruments, a brilliant work of colors and invention. There is some fine playing by Voisin, Armando Ghitalla and Kauko Kahila here. Great stuff.

The woodwind album features two works, Wallingford Riegger's Concerto for Piano and Woodwind Quintet and Poulenc's "Piano" sextet. We all know Poulenc whose star shines pretty bright these days but Riegger is shamelessly neglected, in fact nearly forgotten. Though Riegger primarily composed within the twelve tone system, he was not orthodox enough to make his output difficult to listen to, The concerto, Op 53 and written in 1953(!) is a marvelous piece of imagination and beauty. I think it to be a great display of Riegger's understanding of the instruments and the colors and sounds that they make. Now, if we can only get a recording of his Music for Brass Choir! The Poulenc is delicious in that French 20th century kind of a way and players like Samual Baron and David Glazer eat it up for all its worth. Frank Glazer's piano conributions are insightful and a pleasant reminder of this fine, and underrated, artist.

Both of these lp's add up to a well filled cd. It all works well together, at least I think so.

Personal note: I will be on vacation through the middle of July. More posts will come after I return.
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Piano music of Faure played by Emma Boynet

I found this rather best up old record on a recent trip to the Goodwill. After transferring it and cleaning it up a bit, (Sacqueboutier is sooooo right about the value of ClickRepair!) the resulting product proved quite lietenable and I'm glad for that! This ravishing and lush music receives an exquisite performance by Emma Boynet, a performer that I knew nothing about. A little web search brought up the information that she was associated with Faure during his later years and, was a favorite soloist of Koussevitzky during his tenure in Boston. She also taught here in the States for a number of years.

To my ears, I hear connections to the music of Chopin. The great 19th century Polish composer was the master of the smaller piano art forms and Faure obviously knew, studied and absorbed Chopin's style. The Barcarolle's, in particular, are works of relaxed lyricism that incorporate quieter melodies with precise and gentle harmonies. This is pleasurable listening, however in an urgent way, because Boynet performs with a deep understanding and love for this composer. It is one of those records where the performer gets as close to the composer as one can, maybe even closer to the composer's intention than the composer himself. If you do not know these gems, and admittedly I had a vague recollection, this is the introduction disc to the piano music of Faure. You will play this twice through on the first listening and let me know if you do not, ok?

I am so happy to have acquired this lp. I believe the recordings were made around 1951 or 2.

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Victor Aller joins Felix Slatkin in Shostakovich and Hindemith

Today's lp features strong familial ties along with terrific playing by an orchestra that was for all practical purposes the cream of Hollywood Studio musicians. Pianist Victor Aller joins his brother in law Felix Slatkin and the Concert Arts Orchestra in Shostakovich's Concerto for Piano, Trumpet and Strings and Hindemith's The Four Temperaments.

During the 40's and 50's, Hollywood was home to some of the very best classically trained musicians in the country. Many, were drawn to the optimistic outlook of California, often coming from disparate circumstances in Europe, and others liked the idea of good pay, steady employment and, superb benefits that the studios lavished on their best of the best. Of those working in the studio were the extended Slatkin family, Felix, his wife Eleanor and her brother Victor Aller. Felix and Eleanor would found the Hollywood Quartet, which in its day was one of the finest quartets in the Americas and a pioneer in performing newer works for the string quartet medium.

Felix Slatkin was the longtime concertmaster of the Twentieth Century Fox Orchestra and often conducted this fine band, which many considered the best studio orchestra and, even a better ensemble then the famed Los Angeles Philharmonic. Slatkin had developed a relationship with Capitol through the Hollywood Quartet and during the early 50's, Capitol sought to offer a "pops" type series to rival RCA's Boston Pops and Columbia's Andre Kostelanetz. Capitol settled on Felix Slatkin to conduct larger works with Carmen Dragon directing the "lollipop" type offerings. Mostly Slatkin was put to work with overtures and ballet suites but here he is with a full scale recording of two serious and contemporary works.

Both the Shostakovich and Hindemith are well played and ideally interpreted. Aller and Slatkin are truly of one mind and what is beautiful about the performances is that Aller does not view these as solo concertos but rather as works for orchestra with a "leading" piano part. I really like this approach as I view the works in this way. The Shostakovich is a marvelous and colorful piece, probably one of the five best concertos of the last century. The Hindemith, not heard often enough, is a strong work and this performance softens ever so slightly Hindemith's often spiky manner in a beneficial way. Though very different composers with styles that are hardly congruent, this pairing makes sense and flows naturally under Slakin's able direction.

These recordings date from 1953 and were well recorded by Capitol.

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Music of Jacques Ibert led by Henry Swoboda

An early Westminster issue from 1951 with Henry Swoboda conducting a program of music by Jacques Ibert. Leading the Winterthur Symphony, Swoboda directs energetic performances of Divertissement and Capriccio and with the Vienna SO and women of the Akademie Chorus, he conducts an enjoyable Suite Elizabethaine.

This has to be one of the very first records ever to focus solely on Ibert and the program is a great window into this composer's varying styles. Swoboda, impresario, record producer, conductor was extremely adept at crafting recorded programs that were unique not to mention in some cases, premiere recordings. Though imaginative, Swoboda was not considered a great conductor but rather a competent, workaday one. However, I think that he rises above the typical assessment of his abilities on this Ibert record. This music is lively, with first class orchestral writing and its, well, all very "snappy." One cannot imagine why musicians would not like playing this fare. And, I would think that many of the musicians here were playing Ibert for the first time making the session a sense of discovery in which Swoboda rises to the occasion, much in a way we would expect from Munch, Ansermet or Monteux.

I will call your attention to the Suite Elizabethaine which is Ibert's delicious recollection of music from another time albeit with a marvelous modern twist.

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Walter Hendl conducts Copland and Barber for the American Recording Society

Today, American Recording Society Number 26  featuring Walter Hendl and the "American Recording Society" Orchestra in Copland's Appalachian Spring Suite and Barber's Overture to the School for Scandal and Music for a Scene from Shelley.

This is a very persuasive offering by an American  born conductor who has all but disappeared from the musical radar. Though Hendl would rerecord with Copland with the formidable Chicago SO, this earlier effort from Vienna captures beautifully the spirit of Copland's great rural ballet with surprisingly alive and alert orchestral playing. I will echo the same for the Barber pieces as they positively come to life with great energy and virile excitement. Considering that this was the first time these Viennese ever saw the music and, recorded with minimal rehearsal time, the results are simply astonishing, at least for this listener's ears. Hendl was known as a conductor who could work under extreme conditions and this record  is a testament to his excellence as an orchestral coach with solid interpretive skills, second to none.

You will love Hendl's Appalachian Spring. What gorgeous music!

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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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Gliere's Horn Concerto in its World Premiere Recording

An interesting, and quite historical, edition from Classic Edition. The world premiere of Reinhold Gliere's Horn Concerto with the great horn soloist Valeri Polekh and the composer conducting. Along with the horn concerto are orchestral works of Prokofiev, Glinka and Amirov led by the underrated Samuil Samosud.

The Gliere work is an extensive piece at nearly a half hour in length and unabashedly romantic in its conception. Polekh commissioned this piece in 1951 and it is probably one of the last compositions by Gliere. It is tuneful, masterfully orchestrated and the horn part is highly interesting. I love these old Russian small bore horns, I swear at times the horn sounds like a viola! If you are a horn afficionado, this is a great and amusing listen, both for Polekh's superb musicianship and as a recollection of an instrument design which has all but disappeared as Eastern Europe's musicians have adopted the best from the west as their weapons of choice. Gliere and Polekh work very well together, needless to say.

The orchestral fillers are tossed off in the best Soviet style with Glinka's Jota Aragonesa sounding like one Russian's recollection of a Spanish holiday. Amirov's Azerbajian specialty is highly atmospheric and was made for Leopold Stokowski. It's really all quite enjoyable and Samosud displays a deft leadership of the Bolshoi and USSR State Orchestras. I love this music played by the natives!

Admittedly, the sound is rather constricted and lacking much depth or ambiance. This is Melodiya of the early 50's when their state of the art was the US recording industry circa 1935. This all doesn't bother me since I feel priviledged to listen and learn from one of the great brass players of the last century.

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