The Chinese Flute by Ernst Toch

Bryan over at The Shellackophile recently posted the premiere recording of Toch's Piano Quintet so I thought I'd add by "toch" cents and offer up this Alco recording of Toch's "The Chinese Flute" for soprano and orchestra.

As the years have gone by, Toch's star has definitely lowered in the skies. Once considered one of the preeminent avant garde composers of his generation, his career definitely stalled after being forced to flee Germany as the Nazi's came to power. In the United States, where he finally settled, his music was met with ambivalence, possibly because his creative style was geared toward 1920's Germany and not the cinematic world of 1930's and 40's Hollywood. Whatever the case, Toch was unable to sustain his reputation like compatriot Paul Hindemith as the years progressed.

I'm not sure how to describe this work from 1923, The Chinese Flute. Perhaps a chamber opera or a cantata? A song cycle, a symphony? You got me. What I can say is that Mahler utilized the same collection of texts for Das Lied von der Erde and achieved a masterpiece while Toch produces a bit of a oddball piece with its dense chromatic writing and weak connection between the text and the music. Worth a listen yet hardly memorable. Rather, this is a document of the experimental years of between the wars Germany.

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Schubert's Mass No 5 in Ab conducted by Carl Bamberger

Here was a very, very pleasant surprise for me! The name of Carl Bamberger was known to me as a conductor who appeared on budget labels, often "supermarket" titles during the 1950's and 60's. A German kapellmeister obviously able to work inexpensively and quickly for these record companies that sought to mass market at rock bottom prices. So, when I saw this Urania stereophonic lp for 50 cents, I thought why not give it a shot? I would guess the recording dates from the early 60's.

And am I glad I did! This is one terrific performance, full of intensity, red blooded singing and urgent directing. I think it blows away the famed Sawallisch recording but then again, I've never been a fan of what I consider his stolid conducting style. I'm sure that this orchestra and chorus "The North German Philharmonic" is a pseudonym for probably one of the German Radio ensembles but no bother, it doesn't phase me in the least. When music making is purposeful, it really does not make a difference who it is. The soloists, by the way, do their job well - I think they are all opera house residents.

Schubert's way with the liturgy was much like Brahms, as he constructed his musical argument from the parts of the Latin Mass that had greatest appeal to him. Though not an overtly devout man, Schubert's mass has an intensity and joy which could only come from a person who recognized the link between man and a higher being. It's marvelous music that is surprisingly symphonic in it's scope and structure.


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Leon Fleisher performs Hindemith's 'The Four Temperaments'

A big thank you to Ray in Montana for sending long this lp to me for transfer. Epic LC3356 featuring Szymon Goldberg leading his Netherlands Chamber Orchestra with Leon Fleisher and Paul Godwin taking up the solo duties in wonderful music of Hindemith.

Paul Hindemith is one of my favorite composers and I absolutely never tire of either the Symphony Mathis der Maler of the main work on this record, The Four Temperaments. The music his completely accessible and masterfully orchestrated and in both pieces the ideas are fresh, engaging and in places poignant. This Four Temperaments is fortunate to feature Leon Fleisher in the concertante role. At the time of the recording. Fleisher was at an absolute artistic peak, having set down benchmark records with Szell of concertos by Beethoven and Brahms.  The collaboration here is one of cohesion and though it does not displace my favorite record of Victor Aller with Felix Slatkin, it is nonetheless, highly musical and worthy of Hindemith's intentions. The works on side two are beautifully rendered and a tribute to the excellent orchestra that Goldberg developed.

Goldberg's "take" of Op 44, No 4 got me thinking about another old MGM lp that I transferred unsatisfactorily sometime ago. This lp features the complete "Educational Music" of Op 44 with the Maurice Levine  String Ensemble. I gave it another go and it came out better. Like Orff, Hindemith was interested in musical learning and in the spirit of teaching, he created an interesting work in its complete form.  Unfortunately, both lps add up to about 85 minutes of music so if you download both, it'll be two burned cd's.

A curious note: though the MGM is expectantly mono, I would have expected the 1957 date of the Goldberg record to have a stereophonic edition. Alas, no.

Always a good day with new Hindemith discoveries!

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Tchaikovsky by The "Burgin Quartet"

From Boston Records, this is billed as the first recording of Tchaikovsky's 3rd Quartet, performed by the "Burgin Quartet." In reality, there was no Burgin Quartet, but rather a group of long time Boston Symphony colleagues who got together, from time to time, and cut a record apart from their activities as BSO and Boston Symphony Chamber Players members. Richard Burgin and Leo Panasevich on violin, Joseph de Pasquale on viola and Samuel Mayes on cello. Exquisite musicians who give a rather persuasive account of this rather "on the fringe" piece.

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More from Robert Gerle

More music (this time authentic Hungarian) played by Robert Gerle. This is a Westminster stereo issue from 1968. Accompanied by pianist Regis Benoit, Mr Gerle plays a variety of shorter pieces by Bartok, Kodaly, and Dohnanyi. The front covers features a photo of Kodaly congratulating Gerle at a Budapest recital given by the latter.

I like this lp better than the previous post of Brahms' Hungarian Dances. Perhaps it is me, but I sense that Gerle delves into the guts of the music with more intensity, perhaps due to the fact that this is music that he grew up with and is native to his soul. I would suppose that returning to his native country after being in "exile" in the US was an emotional experience and performing works by men that played a role in his development brought out the best in this artist. I really sense a strong attachment to the Kodaly works, especially so.

This is a nice recital.
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Robert Gerle plays Brahms' Hungarian Dances

More music celebrating the spirit of Hungary. Brahms' Hungarian Dances featuring the  Hungarian American violinist Robert Gerle with pianist Norman Sheltler. This is the monaural issue of a Westminster recording dating from the mid 60's.

One interesting thing to point out is that the dances were not recorded in numerical order but rather in sets arranged by Mr Gerle. Therefore, the tracks are numbered based on their appearance on the lp.

These are well played but admittedly rather subdued encounters of these spicy gems. if the listening is expecting bravura playing with a hint of zigane flair, than this record might disappoint. However, if beautiful tone, attention to detail and a flawless technical display are in order, there is much to soothe and satisfy here. On a piano note, I do find Shetler a competent but somewhat invisible partner.

I have some more Gerle if there is further interest in his artistry.



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Music of Weiner and Bartok with Antal Dorati

An monaural Epic lp, from around 1960 I think, of Antal Dorati conducting the then newly formed Philharmonia Hungarica. The program features Bartok's Divertimento for String Orchestra and Weiner's Suite Op 18 on Hungarian Folk Dances.

Bartok's Divertimento has been well served on record and Dorati himself made at least 3 recordings of the piece; I think one of his first records in Minneapolis featured the Divertimento. Weiner, unfortunately, has fared less well though Dorati and Fritz Reiner were among a small group of conductors who would feature their fellow Hungarian's output from time to time. It's too bad because it is good music and can stand alongside Kodaly, Dohnanyi and Bartok.  Dorati, of course, achieves the desired result with his band of mostly exiled Hungarian musicians. The orchestra itself had as its nucleus, Hungarian who had fled Hungary after the failed 1956 uprising. The orchestra lived a distinguished 35 year existence ultimately disbanding after the iron curtain fell.

Antal Dorati does not get the kind of credit he deserves as an orchestra building. Along with Artur Rodzinski, in his prime, he was viewed as a conductor who could achieve quick and sustainable results. His efforts in Minneapolis, London, Washington and Detroit all offer proof of a thoughtful and meticulous musical mind. And, lending his name to the Philharmonia Hungarica ensured success to that ensemble during its fledgling years.

A nice record of music that Dorati could not disappoint in.

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Dean Dixon conducts symphonies by Cowell and Piston

Two years ago, I had the pleasure of posting the original 10 inch ARS of Dean Dixon conducting Walter Piston's Symphony No 2. Good fortune has shined down on me as I recently found the "reissue" of that recording coupled with Dixon's strong reading of Henry Cowell's Symphony No 5 on an ARS full play album.

As I mentioned in previous posts, Dixon was a unique and gifted talent but, because of the period in which he was active, his native American audience would never fully come to appreciate the gifts of this highly principled, sensitive and intelligent man. Known and respected throughout Europe, where he settled during the 1950's, Dixon as a conductor was as comfortable in Mendelssohn as he was in music by Walter Piston or Henry Cowell. Astonishing for me is how he was able to achieve such an idiomatic sound from Viennese musiciansfor these recordings. The offbeat folksiness of Cowell and somewhat spikey New England sound  of Piston shine through without a forced or agitated manner. In fact, I'll go so far as to say that that under Dixon, these Austrian musicians sound like they are actually enjoying these two unfamiliar pieces which had no real place in their repertoire.

It is disappointing that Henry Cowell's star has diminished over the years. He had a great way of balancing modern techniques against the simple folk rhythms that formed the base of his creative style. I don't think him far removed from Virgil Thomson though oddly, Thomson has fared well though he was, in my opinion, not as original, or interesting, as Cowell.

I'm really glad that I found this very clean lp. Great introduction to mid 20th century American music.

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Michel Podolski plays lute suites of J S Bach

On the Period label, a pleasant recital of J S Bach by Belgian lutenist, Michel Podolski. I'd reckon mid to late 50's on this lp. Like many Period lp's however, detail was not first and foremost on the minds of the producers so there are some abrupt cutoffs on a number of the pieces that have to do with insensitive engineering and not me!

Podolski was long a member of Safford Cape's Pro Musica Antiqua of Brussels. If you know their work, they were scrupulous pioneers in the field of period performance. I previously offered this group's lp devoted to Josquin des Prez and the fruits of the efforts there are simply stunning. High level musicianship coupled with exquisite taste. It;'s really a fantastic achievement.

Lutenist Podolski offers up some terrific lute playing at a time when he probably had the stage pretty much to himself without many peers to learn from or use as guides and/or inspiration. This is a nice record to help you wash those cares of the day away.


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