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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Pierre Monteux, Beethoven and the San Francisco Symphony

A couple of years ago, I had the pleasure of reading John Canarina's illuminating biography of Pierre Monteux. Titled "Maitre," French for maestro, the book lovingly reminisced on the great musician's life and the impact he had on countless musicians and the public at large. My takeaways from the book were: 1. Monteux was a diligent worker and thorough man with impeccable taste and manners and,  2. Monteux absolutely hated, fumed at really, the notion that he was a specialist in French music. Given that Monteux was so darn authoritative on "French" music from Gluck to Honegger, it is not at all difficult to understand why the public, and orchestral management pegged him into this hole.

Well, here is ample, rather profound evidence, that Monteux was indeed more of a generalist,  a man with a catholic taste and understanding that bridged national borders. This Beethoven 8th from San Francisco circa 1950 is superbly paced and wonderfully effervescent. Phrasing is the way it should be and detail, especially from the woodwinds is immaculate. What we have here is natural, unfussy and right. This Beethoven is a document that is textbook on how the great composer should be approached - with awe, careful preparation and respect. This is a great listen in spite of sonic limitations, make no mistake!

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French Music for Piano and Violin with Fistoulari conducting

Another MGM record that sparked my interest. Interesting repertoire featuring a fine conductor, two excellent orchestras, and two rather less famous soloists.

Elizabeth Lockhart, the Scottish born violinist, was actually Anatole Fistoulari's second wife. A web search turned up a few reviews of performances dating from the 1940's but little else. From the evidence here, she is a self assured player, technically sound but, not someone that I would easily remember. I suppose Ms Lockhart had a rather provincial career of teaching and playing - she passed on in 1995.

Fabienne Jacquinot is new to me too, however there is recorded evidence that she collaborated frequently enough with Fistoulari. Again, not much to find on her though she was a judge at the International Piano Competition in Andorra as recently as 2008. Jacquinot's playing is very good though not top tier. However, as with the Lockhart pieces, a conductor of Fistoulari's stature can make all the difference and it does! The Milhaud and Honegger are delightful and a pleasant treat for the ears.

Anatole Fistoulari is too often earmarked as a ballet specialist and this recording does its job to cause us to rethink that assumption. Obviously, Fistoulari was a multitalented man with a healthy repertoire whose time for reassessment is long overdue. A retrospective by Decca or EMI would be nice.

Not sure of the exact date of these recording but I'd say mid to late 50's. 

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A grab bag of sorts - Mozart, Mahler, Vivaldi and Bach led by Reiner and Schneider

Reiner and Schneider..it rhymes! Busy last couple nights. Oktoberfest season is in full swing and between the beer, brats and brewhaha....the band had a great time last night (my lips are shot!), thousands at the Harpoon Brewery in Boston and oh, how I love taking those pictures with the younger crowd! Anyway...

Here are two short lps that I'm offering as a grab bag of sorts. We have Alexander Schneider leading Mozart and Vivaldi with the the Dumbarton Oaks Chamber Orchestra  and then Carol Brice singing Mahler's Wayfarer Songs with Reiner and the Pittsburgh SO and selected Bach arias with Daniel Saidenberg leading the Columbia Broadcasting Orchestra.

Though Dumbarton Oaks is outside of Washington DC, the music was recorded in 1949 in NYC if memory serves me right. This leads me wondering if Dumbarton Oaks is just a name for a NYC based pickup orchestra. Whatever the case, Schneider proves the experienced and vital leader and the Vivaldi and Mozart pieces come off marvelously. You know, my fear is that we are fast forgetting the immense contribution of Alexander Schneider to the American musical scene. Soloist, conductor, teacher, editor, impresario, the man did everything and did it so well. In my book, perhaps his single greatest achievement was to force the great Casals from retirement. No one else had the stature, or "balls" to do this and we all benefited beyond belief from Schneider's chutzpah.

I know not much of Carol Brice though her voice has at times a Ferrier quality to it. Primarily a musical theatre performer, Brice did record several times with Reiner, noting down a rather well regarded El Amor Brujo. A performer of African American background, Brice was one of those brave and focused individuals who laid the groundwork of integration and made possible the later successes of Leontyne Price, Kathleen Battle and Jessye Norman, to name a few. Her Mahler and Bach are thoughtfully performed and I especially hold her diction in regard. I do love it when I can hear the pronounciation of words! This must have been one of Reiner's first Mahler recordings and he shapes everything quite nicely. The same goes for Saidenberg and his studio orchestra - Brice performs the selected Bach arias flawlessly. Recorded dates are from the late 40's, give or take.

So, here's my "mono FLAC" grab bag for the day....Prost!

DOWNLOAD MAHLER AND BACH

DOWNLOAD MOZART