Mozart's Clarinet Concerto and Haydn's Symphony No 61 with Mogens Woldike

This is one beautiful lp record. Seeing the name Woldike, I grabbed it without looking closely and when I arrived home, I was stunned to find a near mint record inside the slipcase. And, one of the stranger lps that I've seen since both sides have different color labels! I have a number of these Haydn Society isues on hand but I've never seen one like this.

This record features Mogens Woldike leading the Chamber Orchestra of the Danish State Radio in Haydn's Symphony No. 61 and Mozart's Clarinet Concerto. I'll come back to the Haydn in a minute; I want to tell you all that this version of the Mozart is quite possibly the finest performance of the piece that I've ever laid my ears to...and I have heard it played by Wright, Brymer, Marcellus, Stolzman, Meyer, and Goodman. The soloist on this recording is esteemed French clarinetist Louis Cahuzac. Of Cahuzac - he was one of the great reed players of the first half of the twentieth century, in short a pathbreaker in modern orchestral clarinet performance. When he recorded this disc with Woldike, Cahuzac was over 70 years old and believe me, his technique is simply flawless. Combine that with mature insight and musical wisdom and you have a performance that balances the subtleties of the piece with the brilliance of the writing. This is a benchmark reading folks and Woldike provides the absolutely best brand of accompaniment possible.

Maestro Woldike turns in a splendid Symphony No 61. If you have heard his Haydn series from Vienna, you know what to expect here. This is insightful interpretation by a conductor who really knew how to scratch the surface and get inside these Haydn symphonies. I maintain that Haydn's Symphony No. 102 has never, and will never, get a better recorded presentation then Woldike's VSOO lp on Vanguard. Just great Haydn hereon this Haydn Society lp:  elegance where appropriate and rustic, hearty playing when required, all spendidly delivered by these fine Danish musicians.

This recording was released in 1952. You are in for a real treat here. Enjoy!

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Curtain Calls!

Home today on account of the East Coast Blizzard of  '10. After cleaning the driveway and well, not having to go to work, here's time for a small offering from the baton of William Steinberg. Aptly titled "Curtain Calls!" this lp features works that would either open a concert program or serve as appropriate encores.

One piece I'd like to mention from this collection is Saint Saens' French Military March from his Suite Algiers. This is a delightful little number, hardly heard today and I have fond memories of playing it in college band, in an arrangement by Dr Mark Hindsley, former director of bands at the University of Illinois. This march is Saint Saens at his best, captivating, invigorating and buoyantly optimistic. In addition, a wonderful rendition of Dvorak's Scherzo Capriccioso awaits the listeneer, not to mention a couple of Strauss polkas brilliantly rendered.

William Steinberg rarely put out a clunker and here is yet another winner. His success was probably due in part to careful and meticulous preparation. My only wish is that he got better overall sound though Pittsburgh never had consistent luck with sound engineering and this frustration goes back to the 40's! This compilation dates from the early 60's and is in decent enough stereo sound.

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Music of Giovanni Battista Sammartini with Newell Jenkins conducting

A while back, I posted a Dover reissue of conductor-musicologist Newell Jenkins leading music of Boccherini and Cambini. At the time, there was quite favorable feedback so I thought I'd offer another Jenkins momento, this time being music of Giovanni Battista Sammartini. Jenkins was instrumental in resurrecting Sammartini from oblivion and the former edited much of this composer's work during the 50's and 60's.

Sammartini's work inhabits that period between the late baroque and early classical stage, as musical styles were changing, rather dramatically in my opinion. This music, diifferent them a baroque sinfonia or suite, is quite easy on the ear and tuneful even if it does not meet the inspirational levels of say a Stamitz family member or Haydn. What is important is that Sammartini was an important figure in the development of the symphony as he sought a foundation for the symphony on sonata form and away from the Italian-French overtures beloved of the Baroque period. One could say that Sammartini as a theorist was more vital than Sammartini the composer, an argument that could be made for Sammartini's direct contemporary Johann Friedrich Fux. Still, Sammartini's music is engaging enough to warrant a listen and Jenkins was certainly a devoted and tireless advocate.

Jenkins leads the Orchestra Accademia dell'Orso in these performances. It is a solid, if by no means exceptional ensemble much like the Angelicum Orchestra that Jenkins also led in numerous performances. The recording is mono and my issue is the Dover pressing, though the Period Records cover is pictured above.

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Fausto Cleva conducts music of Verdi and Gounod

 A nice lp of familiar music by Gounod and Verdi conducted by Fausto Cleva, longtime resident conductor of French and Italian repertoire at New York's Metropolitan Opera. Maestro Cleva leads the Orchestra of the Metropolitan Opera Association in vigorous and purposeful performances, if not the first word in refinement.

Fausto Cleva was the real deal in that he was wholly and totally a creature of the opera house. A tireless conductorand trainer, he led over 700 performances at the Met, along with hundreds more at opera houses from Havana to Helsinki. Cleva had a strong reputation of working effectively and constructively with singers and his intimate knowledge of the stage led to a level of consistency that surprisingly few others could attain to. A Cleva production was usually a guarantee of quality and integrity.

The Met Orchestra during these recordings (mid 50's) was far from the orchestra it is today. In fact, some recent critics have labelled the Met as one of the great performing ensembles on the planet. Back in Cleva's day, the Met had fewer full time musicians and relied more on subs and  freelancers to fill the ranks. That said, Cleva does obtain the desired result as the the performances are idiomatic and appropriately exciting in all the right places.

A nice remembrance of a fine musician.
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Russian Brass with the Empire Brass Quintet - The Music of Victor Ewald

One of my favorite brass recordings during my youth was this record made in 1977 for Sine Qua Non that featured 3 brass quintets of Victor Ewald, performed by the Empire Brass Quintet. I wore out my cassette tape years ago and I've been searching the bins for the lp for quite some years. Well, good fortune shined on me this past weekend,  for buried on a bottom shelf at the Goodwill was this lp in remarkably fine shape.

About Ewald: Russian "amateur" composer of late 19th century who nearly fit the profile of the "Mighty Five." His music here is very nicely crafted, with a "Russian" flair and it is splendid in a sense that it does not overstay its welcome.  This is quality stuff and it is given immaculate and sensitive performances by the EBQ in one of the group's very first recordings, before they dropped the "Quintet" from the name.

I have fond memories of seeing the EBQ during my junior high and high school years. A product of Boston University, when BU was the place to go, the original group featured Rolf Smedvig and Charlie Lewis on trumpet, Norm Bolter on trombone, David Ohanian on horn and Sam Pilafian on tuba. What is striking about this original incarnation of the EBQ is the high level of musicianship and sensitivity that these guys brought to the table. In my opinion, it doesn't get much better than this. Sadly, I don't believe that later versions of the Empire Brass measured up to the maturity that these 5 young players had as a unit.

Couple other notes: the EBQ was based in Boston though took Empire as its name because the guys thought that after graduation, they'd end up in New York City which is in the Empire State! And, these old SQN recordings featured terrific notes by BU musicologist John Daverio.

Enjoy - I am happy to welcome back this old friend.

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Paul Badura-Skoda and Jorg Demus perform Mozart for two pianos

Two quite lovely lps from the early 50's that feature the piano talents of Paul Badura-Skoda and Jorg Demus in two hand/two piano music of Mozart. These exceptional records were issued when both artists were in their mid 20's; happily both are still alive and active, internationally known and respected, as they enjoy their ninth decade on God's green earth. As a note, months separate them in birth dates.

Paul Badura-Skoda probably has enjoyed the greater international solo career of the two though Demus, no less an artist, is regarded as one of the very finest solo partners of his time, whether as support to an instrumental soloist or a vocalist. Together, they strike the perfect balance and collaborate as a pair of equals, each intuitively understanding the next move of their partner. There is not one instance here of one of them trying to "out do" the other. They listen to each other and appreciate the fact that they are conduits for Mozart's genius.

What  really strikes me about these performances are the immediacy and afffection that these two, at the time very young, artists bring to the music. There is no youthful bombast or immaturity here. You know, last week I read in the Wall Street Journal an interview with Leon Fleisher in which he lamented the lack of sensitivity that many talented pianists bring to the keyboard. They have technique to burn but that sense of soul that Schnabel imparted onto Fleisher is missing from their artistry. Badura-Skoda and Demus, being contemporaries of Fleisher, understand that concept and the results of their labors are keen musicianship through effective listening. What Schnabel spoke of is presented here so engagingly and at appropriate moments, tenderly.

In the near future, I will follow this offering up with Schubert performed by these two exquisite artists.

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Bruckner's Mass No 3 in f conducted by Ferdinand Grossmann

I haven't offered much Bruckner previously, though I am admirer of this composer's unique symphonic style. I possess many different recordings of the symphonies but rather few of the masses since the choices are rather limited and, most cannot compare to Eugen Jochum's benchmark DGG recordings from the 60's. Happily, I came across this old Vox lp from 1953 featuring renowned Viennese choral conductor Ferdinand Grossmann leading the Academy Choir, the Venna Symphony and soloists Dorothea Siebert, Dagmar Herrmann, Erich Majkut, and Otto Wiener in the great Mass No 3 in f.

Ferdinand Grossmann was Vienna's leading choral conductor from before the war and into the 1960's. Director of the famed Vienna Boys Choir, he also founded the Academy Choir and led that group in  a whole slew of recordings issued for Vox, Austrian Radio, Philips, and other labels. Importantly, Grossmann was a direct link to he 19th century as he was one of Bruckner's choristers while a boy soprano with the famed Choir Boys. Grossmann enjoyed relating stories of Bruckner, highlighting the gentle and generous way in which he worked with his young choristers. As such, Grossmann's style of interpretation is probably as close to the master's intentions as we will ever get. For that reason alone, this is a vital document.

This performance is generally quite good, the chorus being the strongest partner here. The Vienna Symphony struggles in areas, probably as a result of little, if no rehearsal, and the lack of a firm orchestral hand at the helm. The soloists are competent if not especially virtuosic. The music is, of course powerful and majestic and Grossmann's understanding of this work, based on over 50 years of familiarity with the piece, is beyond reproach. Sound is typical early 50's Vox..you know what I mean.

I think this performance belongs on your shelf, in spite of the performance and sonic limitations.

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The music of Johann Strauss the younger presented Rodzinski and Rosenthal

A couple nice mid 50's recordings of music by the Waltz King.

Probably many of you would not expect Strauss waltzes by Artur Rodzinski but here it is. Recorded in mono with Beecham's RPO, these charmers sparkle with great tunes, of course, coupled with that Rodzinski ear for detail. Amazing how others just gloss over little things - witness the New Year's concerts from Vienna!  Without a doubt, the RPO was the right orchestra to record this fare with since Beecham did not give short shrift to the "lighter" classics but treated them to the care and attention that they deserve. The orchestra was well prepped to dive into Strauss with vim and vigor!

Manuel Rosenthal probably would more likely come to mind  for dance music and with good reason since he was one of the more renowned proponents of "dance" music in the 20th century. Rosenthal leads the Paris Opera Orchestra here - in fine form, on a Capitol mono release, in Roger Desormiere's arrangement of Strauss into a ballet known as Le Beau Danube. This arrangement is wonderfully crafted and it's a damn shame that these kind of ballet suites are hardly ever heard anymore. One thing I'll say is that a number of bloggers in the last year have done Rosenthal great justice by resurrecting lps that have otherwise fallen into the great vinyl black hole. This man was a very, very fine conductor and musician as evidenced by recordings that I have been privileged to listen to. Such is the case with Le Beau Danube.

Johann Strauss the younger was a truly talented and gifted composer. These two recordings bear witness to that statement through the superior efforts of Artur Rodzinski and Manuel Rosenthal. Enjoy!

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Richard Strauss with Reiner and Szell

Though I've got the 10 inch jacket pictured above, my transfer is from ML4800, which includes the Le Bourgeois Gentilhomme suite conducted by Reiner while in Pittsburgh. I picked up this really rough lp for the suite since I've had in my collecton a really crappy sounding Membran cd for sometime. Membran is the German company that puts out 10 cd boxes for under 15 bucks of historic performances.Their transfers leave something to be desired though because they over filter and the sound quality becomes incredibly muffled. This is especially pronounced when original recordings were less then their company's best efforts, as was the case with Columbia in Pittsburgh and Minneapolis.

People might scoff at me but I have long enjoyed Le Bourgeois Gentilhomme. This is delightful, unpretentious fare, wonderful melodies with skillful writing. Call it bottom drawer Strauss if you wish, but I love it and well that's that! Reiner, of course, recorded it twice - in Pittsburgh during the mid 40's and in Chicago in the late 50's. Outside of Bud Herseth's magnificent trumpet playing in the Chicago recording, I find the Pittsburgh issue more relaxed and inviting, less driven then Reiner's later recording. In addition, there is a more intimate feel which is wholly appropriate for this suite of incidental music.

As I stated earlier, this particular lp was in a real rough shape. Do people use lp's as frisbee's? I wonder. Running it through ClickRepair several times cleaned up a lot but a couple of hiccups remain and I think they are quick and not cumbersome to the listening experience. Oh! the sound is much better then the Membran cd and I can hear details that on the cd were muffled away. 

Reiner leads an engaging and impressive Don Juan and Szell, in one of his earliest Cleveland records, captures the vitality of Till Eulenspiegel ...with charm!

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Munch conducts d'Indy and Ravel

Gil from Arizona, one of my most faithful readers and throughtful commentators, requested this upload. Charles Munch and the BSO excelling  in the heart of the French repertoire. Featuring soloist Nicole Henriot-Schweitzer, the works presented are d'Indy's Symphony on a French Mountain Air and Ravel's Concerto in G. Released in 1959, my copy is the monaural version though the Living Stereo issue is out there and if I find it, I will upload it.

I must admit that under "normal" circumstances, neither work thoroughly engages me. However, with Munch at the helm in a French work, a new level of engagement unfolds for me. Unlike Paray or Monteux, who disliked heartily being pegged as French music specialists, Munch rather embraced the notion and for many people, he was synonymous with French music and culture. However, we must not forget that he had strong German ties and, that during the war years, evidence has been uncovered that he cooperated with the Vichy government and its pro German sympathies. I suppose Munch wanted to put much of that behind him after the war and therefore, became a great champion for all things French during the 50's and 60's. Interesting stuff and I suppose more will be released on the subject in the years to come.

Back to the music;  these are as fine performances as one will have though Nicole Henriot-Schweitzer, though a solid artist, is not, in my opinion, a front rank keyboard artist. But with Munch collaborating in music that he championed, even a middling conservatory student could come away sounding like a bona fide virtuoso. Per usual, the BSO plays this fare to the manner born as Munch could whip up a level of excitement and engagement that few others could.

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Glazunov and Auber from Paris with Albert Wolff

A couple fine recordings by the French conductor Albert Wolff made during the last gasp of the monaural age in the mid 50's. My hard working colleague Satyr at 78 toeren en LPs has been coaxing some remarkable offerings from 78's of Wolff's work during the 1930's, mainly with the Lamoureux Orchestra. Here, Wolff directs the Paris Conservatory Orchestra in very fine readings of Glazunov's wonderful Seasons ballet and a handful of overtures by Auber.

Sadly, we don't hear these overtures or this ballet score much today. The overtures are rousing, tuneful and a lot of fun. I think they are great concert openers however tastes must have changed over the decades so performances, and recordings, are few and far between. The Seasons is great Glazunov fare - wonderful melodies, beautifully orchestrated and, important for Glazunov, just the right length. In spite of his vast talent and easy way with melody, Glazunov did have a reputation at times for being a bit long winded and old fashioned. Happily, that is not the case in The Seasons. This is quite simply, excellent music which compliments the scores written previously, most notably those of Tchaikovsky.

Wolff's interpretations are products of many years of living with the music of Auber and Glazunov. He knows exactly what to do and the PCO responds to his direction instinctively. This is one of those probably happy occasions where everyone understands one another and the business at hand and gets it done efficiently and with A+ results. There is  satisfying listening here, for sure.

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Maryla Jonas performs Chopin

Every now and then, something catches my eye and I take a chance on it. Not knowing what it is can lead to either a ho hum or, in the rare and perfect instance, an oh boy! Such is the case with this special Columbia Entre lp that I bought yesterday. When I got home and looked up Maryla Jonas, I was positively stunned that I had never heard of this unique and tragic artist. Posthaste, I laid the lp on the turntable and within 90 minutes, listened to these Chopin mazurkas in an awestruck state. Never had I heard such melancholy, such world weariness, from these brilliant miniatures. Indeed, Chopin had painted, below the surface, a sadness of seeing his Polish nation subjected to rule and desecration by others, something that Jonas was pained about as she saw her beloved country, and its heroic people,  tormented by Nazis and Communists.

Maryla Jonas lived a tragic life which was shattered by World War II and  its aftermath. Death followed her and it affected both her physical and mental state during her short life (she died at age 48.) If not for the dogged efforts of her countryman Artur Rubinstein to get her back to the keyboard,  her story, and great talent, would never have been known. Rubinstein was a genius and knew genius - you can read more about this story here .

Please listen to these recordings with an open mind. This is not the Chopin that you are used to hearing and it is a polar opposite from the elegant, aristocratic approach of Rubinstein. It is music making of a kind that comes along once in a blue moon...if you are lucky.

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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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Another curiosity - Gregor Joseph Werner's The Curious Musical Instrument Calendar

Gregor Joseph Werner is known today, if he is known at all, as the predecessor to Haydn at the court of Prince Esterhazy. Much older, and musically conservative than Haydn, Werner's association with Haydn was tense and brusque, the older man considering Haydn ill suited for the demands and responsibilities of the illustrious Esterhazy family. Though it went so far as Werner recommending the dismissal of Haydn, the latter apparently bore no grudges to the old man. In later years, Haydn would refer to the compositions of his predecessor out of respect for tradition and, in a few cases, musical inspiration.

Though Gregor Werner was highly prolific, few of his works remain in print. Most likely this is because, as an employer of the Esterhazy's, Werner's output would have become their personal property. This relationship between composer and prince would, of course, change dramatically during Haydn's tenure as Haydn would sell a good deal of his output to competing publishers and retire a very well off man as a result of the proceeds. I suppose much of Werner's work remains in various Austrian libraries and collections waiting to be rediscovered and appraised. I'd be interested in his liturgical compositions since contemporary writings speak of them very highly.

The lp featured here offers selections from Werner's extended suite, The Curious Musical Instrument Calendar of 1748, which is a musical depiction of the months of the year. This is a rather extended work of about 90 minutes in length and conductor Paul Angerer presents roughly half of the composition here. Orchestral suites or ouvertures were highly popular n France and Germany throughout the first part of the 18th century and Werner's effort capitalizes on the tastes of the times. I would say that Werner probably knew of Telemann's suites, especially the ones that feature instruments representing sounds of nature, like a frog croaking or a bird singing. Werner does faithfully depict much of the spirit of the musical movements as you will hear as you listen.

This is a nice recording and Werner's voice is original enough to warrant a reappraisal and rediscovery of his art. It is sad that his tense relationship (a generational gap) with Haydn overshadows his significant musical output.

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Pictures at An Exhibition in the Tushmalov orchestration

An interesting lp from 1974 containing yet another orchestration of Mussorgsky's "Pictures at an Exhibition," this time from the pen of one Mikhail Tushmalov.

From Wikipedia:

Mikhail Tushmalov (1861 - 1896) was a Russian Georgian opera conductor who held posts in Warsaw and Tiflis (Tbilisi). He died in what is now the nation of Georgia.
The opening bars of Tushmalov's orchestration of Pictures at an Exhibition. Tushmalov is most widely discussed today as the first person to have prepared an orchestral version of Modest Mussorgsky's 1874 piano suite Pictures at an Exhibition. Tushmalov's version sets an abridged version of the piece. It may have been completed as early as 1886, when Tushmalov was a student of Rimsky-Korsakov. Reports circulate that Rimsky-Korsakov sketched the beginning of his own orchestration of Mussorgsky's piece, but abandoned the project when Tushmalov took up the task. The role possibly played by the teacher in shaping the orchestration by his student is not known. The first performance of Tushmalov's orchestration was conducted by Rimsky-Korsakov in Saint Petersburg on November 30, 1891.

Tushmalov's version of Mussorgsky's score is one of the least complete, as it omits 'Gnomus', 'Tuileries' and 'Bydlo' together with all the 'Promenades' except the fifth—which it puts in place of the first. Tushmalov's score is often described as dark and restrained in colour, and thus more authentically 'Russian' in its approach to the score than the later, more virtuosic orchestration by Ravel.

The Swiss conductor Marc Andreae leads very straightforward performances with the Munich Philharmonic. I've read a couple reviews describing these as "businesslike" and that is probably an apt description. The orchestration, however, has its moments and is somewhat reminiscent of Stokowski's, which too, is abbreviated from the original piano score. All in all, Ravel does provide the most color, which should not be surprising since he was one of the greatest masters of orchestration of all time.

An interesting curiosity indeed.

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Ruggiero Ricci plays Vivaldi and Tchaikovsky

Ruggiero Ricci is one of the greatest violinists that this country has produced. His career as a virtuso and teacher has spanned over 75 years and he is still with us, as he celebrated his 92nd birthday several months ago. Renowned as probably the greatest authority on the works of Paganini, Ricci has given over 6,000 concerts in 65 countries. He has been a great musical and cultural ambassador for the United States and is a living musical treasure.

I'm offering two special recordings by Ricci. First up is the Four Seasons, played by what is billed the Stradivarius Chamber Orchestra, since all musicians are playing valuable, and rare stringed instruments by Stradivari. Ricci's instinct for Italian string music is legendary and his feeling for these most over recorded four concerti is spot on. There is joy in his playing and the technique, combined  with his "earthy" approach makes this requisite listening. The 1964 stereo recording by American Decca holds up well.

The Tchaikovsky reading is also very fine. Malcolm Sargent proves a strong collaborator and Ricci's  approach to the Tchaikovsky is like a 180 degree turn from a Heifetz or Milstein performance. Where those two artists emphasize technique and the "Russianness" of the piece, Ricci injects that bit of Mediterranean sunshine that again, brings a degree of the "soil" to the piece. I guess what I'm trying to say is Ricci, though a virtuoso, projects a human quality to the proceedings rather then towering above all as a superman of sorts. Do you all get what I'm trying to say? This recording dates from around 1950 or so, I believe.

Ruggiero Ricci, a belated happy 92!

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Stravinsky played by Beveridge Webster

This was a great find, a two lp set, released by Dover in 1968 of important piano works, and arrangements, by Stravinsky. Played by the Beveridge Webster, these lp's fit conveniently onto one cd. This is an  indispensable recording for the fact that Webster was closely aligned with Stravinsky and these interpretations are probably as close to the composer's intent as is possible.

Beveridge Webster is a name that has been largely forgotten by the listening public. Though he lived a long life, into his 90's, his performing career gave way, rather early on, to the demands of teaching and adjudication. However, during his 20's through his 50's, he was in great demand as an intepreter and he premiered many works by American, as well as European, composers. Notably, his most famous premiere was that of Ravel's Tzigane, given when Webster was still a teenager! Webster was highly regarded as an artist that did his best to understand and interpret a composer's writing first and foremost. He was an honest musician.

Strangely, the piano works of Stravinsky are recorded few and far between. This is too bad since they are colorful, accessible, and wrought with genius. This particular collection belongs on your shelf.

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Sylvia Marlowe on Remington

Back around 1950, about the time this recording was made, the harpsichord was pretty much an oddity in the concert hall. Considered an ancient instrument for specialists, it was going the way of the Latin language, in other words slowly breathing its final breaths on the world stage. If not for a resurgence of interest in Bach and his contemporaries, new music by such luminaries as Manuel de Falla and the superb, dogged advocacy of two remarkable ladies, the harpsichord might have gone the way of the serpent or chalumeaux.

The ladies are, of course, Wanda Landowska and New York born Sylvia Marlowe. Both women, through recordings and concert appearances, deftly illustrated how the harpichord and clavichord were capable of tonal colors, contrasts in dynamics and timbre and, expressive beauty.

This particular issue features music by the three greatest composers for keyboard during the baroque, J S Bach, Couperin and Domenico Scarlatti. I'd like to call special notice to the Scarlatti sonatas. Hardly sonatas in the traditional sense, these are more like quick glimpses into Scarlatti's interior as they display mood and feeling in a way that is not anguished, self centered or protracted. There is contemplation, happiness, brooding, melancholy, all presented in a way that was acceptable for the time and place. These works are also technical gems, requiring an artist of intelligence and skill to execute them in a convincing way. Marlowe is certainly up to the task as is my favorite performer of this genre, the great Dubravka Tomsic, albeit the latter on piano. Listen carefully and you will hear magic from Marlowe's fingers; what a coup this record was for Don Gabor!

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More from Rodzinski and the PSONY

I've heard gazillion recordings of the Nutcracker Suite and so have you. After a while, the music just seems to play itself for god's sake. Well, if you are tired of the hum drum, cookie cutter, totally auto pilot approach, give this a listen. In short, this is the finest take on this overrecorded ballet suite that you are apt to lean an ear towards. There is a bounce in all the numbers and articulation, which often is glossed over, is crisp and clean. Most important, sunshine and a child's sense of merriment abounds in this most childlike of scores. My only regret is that there are a couple of unfortunate skips in the Miniature Overture due to the poor quality of the lp; everything else cleaned up rather well. A gem!

Nutcracker is not the end of the story. Tchaikovsky's Suite No 4 "Mozartiana" is served up in spades, the "prayer" will make your heart melt. To be truthful, I've never much cared for any of these suites or given them much thought but this Rodzinski recording opened my eyes up to Mozart's melodies brilliantly realized by the great Russian master. This is superb arranging and orchestration folks and, Rodzinski knows how to present the palette of colors truthfully and tastefully. 

And....as a fill, I've incorporated a 10 inch by Ormandy of Rimsky's Russian Easter Overture and Prokofiev's Classical Symphony. Each is immaculately performed by this great Philadelphia orchestra. These recordings made during Ormandy's first 20 years in Philly are the real deal.  There is an excitement level, an intensity you might say, that wore off as the stereophonic era took hold and made its way into digital.  Note: The cover above is not from my copy but from the French edition of the record.

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Symphonies by Frederick the Great

Frederick II of Prussia was a true renaissance man. As a stateman and soldier, he laid the foundations for Prussia's rise as the dominant German state which would, less then 100 years after is death, unify Germany into a mighty empire. As a man of learning, he encouraged and fostered philosophical dialogue, most notably with Voltaire, led great architectural projects that built his capital into a European showplace and, he actively supported the great musicians and writers of his time in performance and composition. Surely, it is no wonder why Frederick became known as the "Great."

Frederick, himself, was a talented musician, played the flute on what would appear a near professional level, and he dabbled extensively in composition, especially in his younger years. Here, we have four examples of his symphonies, works that are tuneful, structured accordingly to the methods of the times, and comparable to what comtemporaries were writing throughout the continent. These works are typical of Frederick's views on music: they have sunshine and little darkness and require no analysis or deep thought. Music, for Frederick, was a pleasurable experience, a diversion from the cares of the day, in sort, not at all a philosophical or biographical experience. In fact, much that was written at his court has pretty much faded for that reason; it is not all that memorable. Though the great CPE Bach was a fixture of Frederick's court for a number of years, most of the corpus of his writing lends itself from the Hamburg years, not from Berlin and Potsdam. In Hamburg, the free city allotted a composer greater freedom of "thought" then a royal court.

For some reason, these late 70's recordings never appeared on cd. Its too bad because they are worthy if taken as they are and, they are a great historical reminder of an extraordinary royal person.

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Walter Hendl conducts Sessions, Harris and Schuman on ARS

How happy I was to find this lp, again, last week. I've owned a copy for years but it proved to be in a very poor shape and though I tried to transfer it, the odds were against that enterprise. So, when I came across this in a second hand shop, I rejoiced. Great condition and eminently transferable...here it is.

We have here Sessions' The Black Maskers, Schuman's American Festival Overture and Harris' monumental Symphony No 3. Everything is led by the underrated American conductor Walter Hendl with the American Recording Society Orchestra, whomever they be.

These are strongly shaped and idiomatic performances. No excuses need to be made for committed music making even if the orchestra is less then first rate. Hendl understands, and loves, this music well and the results bear witness to that. Listen to the "dirge" from Black Maskers and you'll get the picture. Great mid 20th century fare, no doubt about that.

I'd like to hear more from Hendl. Hopefully some other bloggers will take notice; I'll be on the lookout for his other recordings.

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Mogens Woldike conducts Haydn's Missa Sancti Bernardi Con Offida (Heiligmesse)

One of my very favorite conductors of the music of Franz Josef Haydn was the esteemed Danish musician, Mogens Woldike. I can remember the first time listening to his Vienna recording of Symphony No 102. The performance bounced along with merriment and humor in a rustic, "everyman" kind of way. No pompousness, just exhiliarating music making, scrupulously prepared and observant of the composer's intentions which was to entertain and, subtly educate, the listener.


As I do love Woldike's Missa in tempore belli, also from Vienna, I was excited to come across this earlier recording, from 1953.  Woldike is on his home turf, utilizing an outstanding boy's choir for choruses and solos and the fine Copenhagen Opera orchestra for instrumental support. This Heiligmesse does not disappoint. Like Woldike's Missa in tempore belli, there is firm structure and movements are well connected since the conductor understands that the liturgy is cohesive in meaning and cannot be approached as a series of distinct musical movements. And, most important, the Copenhagen Boys Choir is marvelous, a superb assemblage of highly talented and motivated boys and young men.  Clearly they understand the intent of their director and the music and, their presentation has that nobility and spiritual quality that Catholic masses had to convey to the congregation and the celebrants. Importantly,Woldike is as "in tune" with the mass as he was with the symphony, though they are very, very different forms of writing. 

I think this recording has held up well, I prefer it to Gardiner and Hickox. I am most pleased to share it.

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Tchaikovsky and Rimsky - Korsakov led by Scherchen!

Ah! A special treat here...at least for me! Yes, Scherchen leading strong, monaural recordings of Rimsky - Korsakov's Russian Easter Overture and Tchaikovsky's 1812 with the London Symphony and then Tchaikovsky's Symphony No 4 with the Vienna State Opera Orchestra. I want to point out that the 1812 here is, in my opinion, better then the stereo remake with the VSOO. The LSO sounds like they are on a firmer footing then the often erratic Viennese ensemble.

The most pleasant aspect of these recordings is that Scherchen does not take the proceedings over the top, as was his case at times with Beethoven and Mahler, to name just two. The 1812, in particular is presented as good, noble music and every part is musically rendered sensibly and almost businesslike but with personality. Those expecting cannons and muskets and wind machines or whatever, should note that this performance is for musical instruments alone, and, played as they are here, the sounds of battle are conveyed in a wholly appropriate and effective manner. The Russian Easter overture has the requisite nobility and seriousness of the holiday, this is a broad approach taking into account the spiritual aspects of the most important holiday in the orthodox calendar.

The surprise of the 4th symphony is that precision is quite good and eccentricities are non existent. In fact I think Scherchen's approach is not far off from  that other fine 4th of the early 50's, Kubelik's marvelous Chicago recording. Especially delightful for me are the urgent, yet sensitive, pizzicato's  in the Scherzo. Again, I'll stress that the VSOO is very well behaved and obviously Scherchen took great pains to work out various technical challenges. All in all, a fine 4th!

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Wind Music by Beethoven performed by the NY Woodwind Ensemble

Delightful music, perfect for thoughtful relaxation. Impeccably played by the NY Woodwind Ensemble, this occasional music by Beethoven will bring a smile to your face. Players like David Glazer and Arthur Weisberg were among the very best on their respective instruments during the 50's and 60's and they set a standard that has kept the NY Woodwind Quintet, of which the ensemble in this recording is the augmented group, a viable and important institution for over 50 years. You'll enjoy this!

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Chamber Music by Brahms and Telemann



Couple early Westminster issues today.

First up is Brahms' posthumous Trio in A Major performed by the "Huebner"Trio. I admit to not knowing this piece but found it a rather pleasant discovery. From what I have read, there is some disagreement about authorship however, it is Brahmsian in structure and sound, at least to my ears! An interesting work though it strangely does not stay with me like the "opused" three trios.

I have included music from Telemann's Tafelmusik as a fill since it features the fine flute playing of Milton Wittgenstein with Sylvia Marlowe on harpsichord, Marcel Hubert - cello, and Engelbert Brenner - oboe.  I do not believe the Telemann to be an odd discmate for the Brahms since the latter would have known Telemann's music and drawn a level of inspiration from it. Of all his contemporaries, Brahms looked to the past quite often for knowledge and ideas.

These are early 50's recordings and soundwise not too bad.

 

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Respighi from Vienna with Argeo Quadri conducting

The second of two lps conducted by Italian opera conductor Argeo Quadri. This one features those two marvelous Roman tone poems, The Pines of Rome and The Fountains of Rome. One wishes that Feste Romane was included but that might have made the Fountains side prohibitively long and, a side break in any of these pieces would have been a very bad idea.

These are strong, vital performances and again, I will say how impressed I am with the execution by this notoriously inconsistent Viennese ensemble. There is a picture of Quadri on the back of the record, taken during recording or rehearsal, and his intensity is strikingly vivid. Perhaps it all lies in Beecham's observation that there are no bad orchestras, only conductors. Whatever the case, Quadri solicits brilliance from these Viennese players who were probably very unfamiliar with these colorful works.

These early 50's recordings were well recorded and packaged quite nicely, in my opinion.

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Munch and the BSO perform Haydn and Beethoven.

Here's one one that I have had "in the can" for a few weeks. Charles Munch and the "aristocrat of orchestras" in Beethoven's Symphony No. 1 and Haydn's "Drumroll" Symphony. I was lucky enough to obtain a fairly clean copy of LM 1200 and here it is for your listening pleasure.

Munch is too often pigeon holed as a "French" specialist and this is not at all a fair assessment of his abilities and talents. People tend to overlook the fact that he was, for the most part, German trained and, while a violinist with the Gewandhaus, he had the opportunity to play the German-Austrian masters under the likes of Furtwangler, Klemperer, Walter, to name but a  few. In short, his background and training provided him the authority to present credible renditions of works by these composers. Munch himself,
did not appreciate the "French" tag in much the same way as Paray and Monteux bristled at it.

There is good Beethoven and Haydn here, played with spirit, panache and, a sense of earthiness. I suspect the Beethoven suffered in sales since it was released near about the same time as Toscanini's early 50's traversal of the complete set for RCA. In regards to Haydn, probably the shadow of Beecham in this music was tough to overcome? Be that as it may, no excuses need be made for vital music making by a conductor who had the ability to electrify and an orchestra that was as refined and beautiful instrument. as any out there.

There are a couple of slight skips in the Drumroll that I believe are the result of the pressing and not human damage. I don't think these are enough to deter you from a pleasant listen. As I have said before, transferring from shellac or vinyl is not an exact science.

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Argeo Quadri conducts Scheherazade

An extremely pleasant discovery! Recently, I happened to come across a couple of old Westminster issues conducted by Argeo Quadri, a name that honestly meant nothing to me. This will be the first of two transfers and based on the musical evidence here, I am at a loss on why I do not know Quadri.

Argeo Quadri was for most of his career an opera "house" conductor and his career was Europe centered and based out of Vienna. For whatever reason, his discography is small but certainly vital, consisting of a handful of orchestral issues, full length operas and "recital" accompaniment albums. This recording in question, Rimsky Korsakov's masterpiece Scheherazade, is truly outstanding, brilliantly interpreted and played with a vitality that I find lacking in many recordings of this overplayed warhorse. In Quadri's hands, the work comes alive and the you can sense that the Viennese musicians are playing on the edge of their seats. This is one time where the overworked and often under rehearsed Vienna State Opera Orchestra sound positively razor sharp and whip smart. Quadri's sense of story telling and structure is second to none and his Viennese musicians play with a wonderfully idiomatic flair!

I want to stress that this was a great surprise for me. An Austrian orchestra under an Italian opera conductor playing the socks off of a piece that has had gazillion recordings by some of the greatest maestros of the last 75-80 years. I will be offering Quadri's magnificent traversals of the Pines and Fountains of Rome as my next post.

This recording was released in 1953. By the way, I want to point out the wonderful cover art by Otto Rado. Really exquisite isn't it? Enjoy!

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Eugene Ormandy Conducts Richard Strauss from 1947

A quick one here as I'm going to be out of town for several days. Eugene Ormandy conducting Richard Strauss' Death and Transfiguration and Suite from Der Rosenkavalier, presumably the Dorati arrangement. This is a Columbia Special Products reissue restored to its mono original. Recordings date from 1947.

I've grown to like these early Ormandy recordings. If you only know Ormandy from his later recordings, you are not getting the full picture of the man. In his younger days, he was clearly inspiring and somewhat daring and, he had the great fortune of having a brilliant orchestra at his disposal. These are vital recordings and thoroughly engaging, in fact, I got to thinking about Beecham while listening!

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Beethoven - The Young Prometheus

Several weeks ago, I came across this fascinating lp in a second hand shop in West Dover, VT. The album features orchestrations by musicologist Alexander Brott of contrapunctal and fugal exercises done by Beethoven early on in his career. These delightful "etudes" pay homage to the past masters and are examples of the "rote" that students go through as they begin to grasp the dsicipline of composition.

Brott's orchestration are for traditional "Beethoven" size orchestra and they are quite faithful to the master's style of instrumental orchestration. I would advise all that this is not revolutionary music but evolutionary, a step on the way towards Beethoven discovering his own, unique voice. In other words, the "text" here contains no forgotten masterpieces. A curiosity you could say but listening is well worth while since it will give you additional appreciation of Beethoven's genius and, the hard work that he put into his craft.

These recordings date from the early 70's, I believe, and were made by the CBC "Festival" Orchestra. I'm not sure if Alexander Brott is the brother of conductor Boris Brott. Both centered their careers in our neighbor to the north.

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Emanuel Bay in Recital

I picked this Tops LP up yesterday at the local Goodwill store. I immediately recognized that I had something special so I transferred the forty odd minutes, ran it through ClickRepair twice and crossed my fingers, hoping, rather praying, that this scratchy old thing would yield magic. And.......

....One magnificent recital by one of the most underated and unassuming artists of the 20th century. Recorded in 1957, though mono, it captures Bay at the right time, a 60+ year old man with mature insight, commanding technique and above all superb musicianship. It is no small wonder that Heifetz found such great satisfaction with Bay as a recital partner and collaborator.

I'm done "talking." Please listen, you'll be better for it! If Traumerei doesn't get to you....

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Simon Barere "Farewell" Recital from Carnegie Hall

Here is a special and rather unique find performed by a truly gifted artist. Simon Barere was coming into his own when fate struck him down at age 54. Born and raised in Russia, a pupil of Glazunov and Blumenfeld, Barere's career was in part hampered by developments in Soviet Russia and the tumult of the war years. As the 1950's dawned, a promising future held forth for this somewhat reserved, serious, and modest artist.

Barere was quite a coup for the new Remington label and its ambitious founder Don Gabor. The latter had snagged the talented Edward Kilyeni and the pianist Kilyeni had a friendship with Barere which lead to a recording contract with Remington. A number of discs were made, both live and in the studio, and this one from Carmegie Hall (199-141) was billed as the "Farewell Recital." The disc features brilliant performances of music by Schumann, Balakirev, Liszt, Blumenfeld, and Rachmaninoff. I will point out that the highlight of this disc is the stunning, quite idiomatic, traversal of Liszt's Rhapsodie Espagnole.

As my friend Buster at Big Ten Inch has pointed out, the Remington pressings are quite a challenge to deal with. However, this particular record was very clean and the results are good. I have another Remington with Alexander Jenner playing a wonderful Moonlight Sonata but there are defects that mar the first movement terribly. Oh well...

Enjoy the artistry of Simon Barere, a man of incomparable stature at the keyboard.

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The Eleven Chorale Preludes of Brahms played by Virgil Fox

Here's something a little different but quite special all the same. There are not many recordings of these rather reflective preludes for organ by Brahms. And surprisingly, I did not expect such sensitivity and insight from Virgil Fox who is best known for the rather crass "heavy"organ recordings from the 60's and 70's. What makes collecting classics so rewarding is the surprises along the way and this is one of them.

The Preludes for Organ by Brahms are among the master's last works. They owe their inspiration to Bach as Brahms sought to complete his musical  journey with a "tribute" to teh composer that offered him guidance throughout his life and especially during his final months. Like Brahms' choral Motets, these Preludes are, I think, the best example of Brahms' inner piety and spiritual outlook. Though Brahms outwardly was for the most part indifferent towards organized religion, these musical gems point to a man who held deep convictions expressed in a highly personal way. This is a Brahms that is far and apart from the one of the symphonies, concertos and larger choral offerings. Here is the direct, unbroken line to Mendelssohn, Bach, Buxtehude, Schutz, and Scheidt.

Virgil Fox plays splendidly and the Hammond Castle organ in Gloucester Massachusetts proves the right vehicle for this tour of meditation and reflection. These recordings date from 1953.

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Dvorak and Smetana played by the Stradivari Records Quartet

I love the quartets of Dvorak and Smetana and, I was very pleased to pick up this old lp recently. It is a mono Stradivari Records release featuring the "From My Life" and "American" quartets of Smetana and Dvorak respectively. These masterworks are played by the Stradivari Records String Quartet, presumably a house creation of New York based musicians? In short, these are nice renditions, idiomatic and well played by the quartet. Really, these works are so well written, with beautiful melodies and phrases, that it is quite difficult to NOT present them well. Not to worry here!

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Hunter Johnson - Letter to the World & Vaughan Williams - Flos Campi

An interesting disc that I happened to save from the trash. Concert Hall 1151 featuring music of Vaughan Williams and Hunter Johnson. Longtime Director of Choruses at Cornell University, Robert Hull, leads the "Concert Hall Society" Chamber Orchestra, the a Capella Chorus of Cornell, and distinguished violist Francis Tursi in Flos Campi and Letter to the World.

North Carolina born Hunter Johnson is a composer new to me. A quick scan of his biography shows that his career was centered around the university where he served as a professor in composition. Interestingly, he was the first ever composer named as composer laureate of his home state. Though a composition teacher, Johnson does not appear to have been especially prolific and most of his works were for smaller ensembles. However, "Letter to the World" is for full orchestra and it was a commissioned ballet for the illustrious Martha Graham and company. The ballet itself was designed to reflect upon the life and works of Emily Dickinson. The music is accessible and closely resembles the language of Piston and Sowerby. An interesting listen but do not expect an "Appalachian Spring" type score.

The Vaughan Williams is, of course, a known entity by all. The performance here is solid with exceptional contributions by violist Tursi and the wordless a capella chorus from Cornell. The presumably New York pickup orchestra plays sensitively and Hull provides good leadership, among stiff, mainly British, competition. I love Vaughan Williams' music and any new recording peaks my interest as this one did.

Admittedly, this is an odd program, a coupling of two disparate pieces. Yet, it is a pleasant reminder of a nearly forgotten composer, the high quality of musicianship at our colleges and universities and, that vibrant musical scene of New York City. Enjoy the mono FLACs.

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Erno Balogh plays the music of J S Bach

A while back, my fine colleague Larry at Vinyl Fatigue prepared and posted an exquisite recording by Hungarian born pianist Erno Balogh playing the the Italy portion of the Années de Pélerinage by Ferenc Liszt. Lucky me was able to pick up this superb Bach issue by Balogh and his playing, like that in the Liszt, is utterly incandescent. It's a damn sahme that he is all but forgotten, except perhaps by his many students from the Peabody Conservatory.

Unpretentious playing like this is all too rare these days. Phrasing, dynamics, timing and technique are impeccable. I consider this recording indispensable.

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The Casadesus Duo performs Mozart and Schubert

Greetings from Mt Snow, Vermont! The band participated in the annual Oktoberfest and it was the usual great time, inspite of the cold wind blowing down the mountainside on Saturday. However, with ample quantities of fine, local microbrew and the elixir known as Jaegermeister, we were able to stay sufficiently warm and give the masses the show they expect....and deserve.

Here's another of those fake stereo, Columbia Special Products reissues this morning. I've dissed the fake stereo and in its mono excellence is the Casadesus Duo performing Mozart and Schubert. And, as a fill we have a little more Hambro and Zayde, from a Command Classics record, thrown in for good measure.

I really love the playing of the Casadesus couple. Both Robert and Gaby were superb solo artists and unlike some soloists who have difficulty collaborating in "committee," this husband and wife instinctively support and value each other's unique contribution. With the Casadesus, the playing is aristocratic, and when I say that I mean, beyond reproach. It is unfailingly elegant, precise, and deferential to the composer, without being slavish. I hope I'm clear here! Mozart and Schubert with delicacy, power when needed but always properly controlled and lucid. This is the real deal!

Hambro and Zayde offer another type of playing, more muscular and with a different palette of color. It is a "larger" conception, less intimate, however striking in its own right. If I was to sum it up simply, I would say that the Casadesus are best enjoyed in a salon setting while Hambro and Zayde are Concert Hall listening.

Hope you enjoy two distinctive styles of Four Hand piano music. As I have said before, I've grown to really love and appreciate this kind of collaborative art form. As a side, I picked up Brendel and Klien in Brahms' Hungarian Dances and I hope to get that up here within the near future.

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