Manoug Parikian and Walter Goehr in Mozart Violin Concertos

A little Mozart for the soul. This is a beautiful partnership between two excellent musicians who both played "under the radar." Being half Armenian, I was delighted to find this lp since it features the great Armenian violinist-conductor Manoug Parikian partnered with one of the finest accompanying conductors of the last century, Walter Goehr. Your day will be all the better after listening to the concertos numbers 3 & 4!

Manoug Parikian was one of those players who played with practically everybody in his adopted country of England. Like many Armenians living in the Turkey during the first half of the 20th century, he left to seek better, more favorable opportunities elsewhere. Settling in the UK as a student, Parikian would remain there, making it his home base, first as a concertmaster of numerous orchestras, and then later as a soloist and conductor. Walter Goehr, of course, fled Germany prior to the second world war and settled in the UK as a conductor with, I think the BBC. Goehr made a ton of records, mostly with second and third rate orchestras however, he is recognized today as having the ability of coaxing terrific results from these lesser orchestras often under very tight recording and rehearsal schedules.
Parikian and Goehr make wonderful, wonderful partners. Goehr does a marvelous job of getting his recording chamber orchestra to match Parikian's sweet tone and earthy approach to these concertos. I always enjoy these recordings where it is not soloist vs orchestra and here is a fine example of how the proceedings should go, always! A fine tribute to two strong, vital musical personalities.

I'm not sure of the dates of this monaural release but probably mid 50's.

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The Kroll Quartet plays Beethoven and Haydn

What good fortune one has sometimes! Sometimes the "three for a buck" god casts his/her glances my way enabling me to acquire great music played by great musicians at about the price of a gumball. Here the contents of two lps released by that "other RCA" on their Allegro Elite label. Haydn's Op. 54 No. 2 and Op. 77 No. 1 along with Beethoven's second and third Op. 18 quartets played by the Kroll Quartet.

In its heyday, the Kroll Quartet was justly renowned and often mentioned in the same breath as the famed Budapest Quartet. As we all know, many have held the Budapest to be a gold standard though admittedlly personal changes through the years often played havoc with the end result. Well, no bother, here it is the magnificence of the Kroll, an ensemble truly made of peers who play for, and to, each other.

The Haydn and Beethoven quartets are immaculately played and oh, so intimate in style and texture. If you are tired of quartets that try to find the "symphonic" in these rather personal works, this is your antidote. I cannot stress the intimacy of the playing and the apparent joy that these musicians convey by the act of purely playing together. It reminds me of the famed Casals-Schneider-Istomin recordings. So refreshing and beautiful! Such a shame that the "other RCA" could not provide the recording excellence that the Kroll richly deserved though the mono sound is quite listenable.

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Ivry Gitlis performs Stravinsky

My apologies for kind of falling down on the job. As most of you know, it is Oktoberfest season and I've been especially busy bringing the sounds of Munchen to the good people of New England.

This Dover release of Stravinsky compositions is a compilation of Vox issues from the 50's. The featured works are the Violin Concerto, the Duo Concertante and Jeu de Cartes. The very fine, and somewhat forgotten though still living, Ivry Gitlis performs in the concerto and the duo. Harold Byrns conducts the Concerts Colonne Orchestra and Charlotte Zelka accompanies Gitlis in the duo. Filling out the program is a highly enjoyable performance of Jeu de Cartes under Heinrich Hollreiser with the Bamberg SO.

I like Gitlis' playing very much. His musicianship is spot on and he possesses a sweet, loving tone which helps to smooth out, in a positive way, Stravinsky's spiky melodies. Both Byrns and Zelka provide strong partnership. Hollreiser's Jeu de Cartes was a pleasant surprise for me. I've always thought of him as rather a kapellmeister type but he fully immerses himself into the humor and spirit of this rather "French" music.

Enjoy!

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Robert Shaw's first recording of Ein Deutsches Requiem

Robert Shaw made two recordings of Brahms' masterpiece Ein Deutsches Requiem. Though separated by some 35 years, both represent well Shaw's devotion to the score and his understanding of the deep sense of humanity captured in the words and brilliantly supported by the music. Here from 1948 is the first recording with Shaw leading the RCA Victor Chorale and Orchestra with soloists Eleanor Steber and James Pease.

Robert Shaw was a remarkable man. When I was in college, he visited and gave several lectures which culminated in a marvelous performance of Bach's St Matthew Passion. What struck me most about Shaw was his inner strength and spirtuality. His communicative style was based on personal reflection and the need to include everyone in the dialogue while his words were measured, humble, yet authoritative. I found him to be a man that spoke to one's soul through music and philosophy in an engaging, inclusive manner. Truly a wonderful human being.

Perhaps Shaw's personal characteristics play a major, if not pivotal role, in the interpretation of this Brahms masterwork. I find the sense of "line" to be just right and the singing is impassioned with a lyric gentleness to it. Though the RCA Victor orchestra cannot match the tonal lushness of the later Atlanta Symphony, these seasoned musicians from the Philharmonic and NBC Symphony propel the music along nimbly and with a lean sound they prevent the "full cries" of the chorus from becoming garbled and bloated. Though other conductors might have more outward passion, listening to this and the later recording are antidotes to a world of rush, rush, rush and grave inpersonalism.

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Karl Haas and his London Baroque Ensemble in the Brandenburgs

I'm on a bit of a Bach "binge" lately and here's the complete Brandenburgs conducted by scholar-conductor Karl Haas with his London Baroque Ensemble. Recorded in the early 50's, this set was held in high regard into 60's surpassed only by versions featuring Menuhin, Richter, Marriner and Pailliard. With musicians such as Jean Pougnet, Georges Tessier, Emmanuel Hurwitz  Anthony Pini, Frederick Riddle, Richard Adeney, Carl Dolmetsch and Sydney Sutcliff, it is not difficult to understand why this set held ground for such an extended period of time.

As mentioned in a previous post, Haas was one of the more important influences on what we know as today's style of period performance. A German refugee, he settled in London and spent many years there teaching, conducting, and doing scholarly research. It's no wonder that London was probably the "capital" of the early music movement due to, in no small part, to Haas' presence and that of his numerous students and acolytes. 

Karl Haas

For sure, this set peels away a lot of the varnish and exposes Bach's intricate and detailed writing in a clear and precise manner. Details are abundant and lines that were formerly buried in excess string personnel leap off the score. If I have any criticism it is that some of the tempos, notably the first movement of No 6, are somewhat slower than what we are used to today. And, the recorder substituting for the clarino in No 2 is far less satisfying than the brilliant trumpeting that we would have afew years later by the likes of  Andre and Scherbaum. Still, the sum of this accomplishment of Haas is greater than the parts so we should be fortunate to have this document which, when all is said and done, is a step on the road to a better historical understanding of the needs, demands, and wants of J S Bach.

I'd like to mention that for some reason, the first lp (featuring No 2) of this three lp series was recorded in the UK while the remaining two were recorded in France. Looking at the personnel on these records, I noticed a mixed French and English ensemble for the French recordings and an "all" English crew for the record from the UK. Quite interesting and if anyone knows the tale behind this, I'd love to hear it!

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Agi Jambor performs Bach

Followers of this modest blog probably figured out long ago that I love Bach's keyboard works played on piano. There is just something completely satisfying and mesmorizing when listening to one masterpiece after another brought to life on a concert grand piano. My latest installment features Toccatas and Fantasias as realized by the Hungarian-American pianist/teacher Agi Jambor.

Jambor was a fascinating woman, an excellent pianist and a true citizen of the world. From a 1993 Baltimore Sun profile, Stephen Wigler writes:

" She achieved fame as a pianist twice, and was forgotten each time; she used to play duets in Berlin with an amateur violinist named Albert Einstein; she arrived penniless in America after World War II, unable to speak English and without a piano, and resumed her career by practicing on a battered upright at a YWCA in Washington; she married and divorced a Hollywood star; and she was a hero of the anti-Nazi resistance in her native Budapest, where she narrowly escaped death several times by passing herself off as a prostitute named Maryushka."

Incredible stuff I would say. If Jambor did not play Bach with such conviction, she would surely have won an Emmy for a reality television series! Her mastery of the material is without a doubt absolute and it is quite obvious that the fingerprints of her esteemed teacher Edwin Fischer are liberally spread throughout this program. This is strong, reverential Bach played with a masculine touch by a remarkably feminine but strong willed woman. That is fascinating in itself. I am pleased to have come across this unique 2 lp set for it adds to another dimension of my listening from this greatest of masters.

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The American Brass Quintet in Modern American Music

The old brassman in me really loves the terrific playing on this lp. Modern American Brass Music as interpreted by the "original" members of the American Brass Quintet.

There is great sensitivity, insight and intuitiveness here. Let me point you, the reader and listener, to the original Gramophone review from 1969. I cannot better the critic's assessment of this challenging program. What I will say is that it was a damn shame when esteemed conductor Gerard Schwarz placed his trumpet in the case and closed it in place of a baton. Schwarz was one of the most gifted young trumpeters of his day - he had awesome technique, incredible chops and was blessed with keen musical insights  for a trumpet player!  I guess those qualities played a mjaor role towards him developing as an international conducting sensation.

This music on this record is not for the weary by any stretch of the imagination. It is demanding, atonal, and requires a fair amount of study and above all, an open mind. I don't usually post music such as this but the virtuosity of the musicians compels me to do so. Hopefully, you will not be disappointed.

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George Szell and Thomas Scherman conduct Brahms

From a Music Appreciation issue, the glorious music of Brahms juxtiposing perennial favorites, the Academic Festival Overture and Variations on a Theme by Haydn with the less heard "New" Liebeslieder Waltzes. The orchestral selections are led by George Szell with "his symphony orchestra" while Thomas Scherman conducts the choral waltzes.  Vocal soloists are Lucine Amara, Frances Bible, David Lloyd and  Hugh Thompson. The duo pianists are the excellent Abba Bogin and Eileen Flissler.

Music Appreciation, Book of the Month, Musical Masterpieces of the World were great services in their day. Marketed to the masses, their issues introduced many a lay person to the great classics by "assisting" the listener in choice of repertoire and performance. In essence, the services made choices for listeners who might have not made a choice at all if left to their own devices. For the most part, performances were well chosen and the artists often musicians overlooked or underappreciated by the big labels.

As you would expect, George Szell leads pointed and detailed renditions of the Haydn Variations and the Academic Festival Overture. A total unsentimental approach ensures an orchestral approach which is above all, based on precision with respect to the architecture of each piece. With Szell, the overall structure does not break down into mere episodes. If one can say anything about Szell, he was a consistent artist whose recordings came to symbolize "quality," both in sensible interpretation and immaculately prepared performances.

Scherman's New Liebeslieder waltzes are more thean adequate though strangely, I feel that vocal contributions are rather pushed and pulled at times. With a solid quartet, I find this quite odd however, there is an  upside in that Bogin and Flissler are quite effective as duo pianists. These waltzes are beautiful examples of Brahms' mastery of the human voice though Scherman could have introduced a little more subtlety to the proceedings.

Both recordings are decent mono and date from the mid 50's.

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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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