Debussy's Le martyre de Saint Sebastien from Oklahoma City

I am absolutely thrilled to be able to resurrect a very important recording, in fact probably one of the greatest achievements ever by a provincial orchestra led by a then, unknown conductor, for a label known for its dubious recording practices...at best.

In 1951, Record Corporation of America (the other RCA) engaged the relatively obscure conductor, Victor Alessandro, to record the first complete (more or less) edition of Debussy's mystery play, Le martyre de Saint Sebastien from Oklahoma City....of all places! Featured with the Oklahoma City Symphony and Chorale were the excellent Frances Yeend, a longtime member of the MET and NYC Opera, with vocalists Anna Kaskas and  Miriam Stewart. One might call this whole enterprise a brazen adventure but here's what Gramophone had to say in January of 1952:

"This recording provides one with a thrilling experience and one which I am unshakably convinced would be renewed with repeated playings after one had got to know the play well, and then restudied with the music in connection with its dramatic informant....The steady solemn passages seem to suit Victor Alessandro better than some other moods ; but he certainly allows Debussy power of evoking atmosphere full scope. The Oklahoma orchestra is remarkably good ; the tone is warm the balance of departments satisfying, the chording (especially in woodwind and brass) quite exceptional.... The choir has a large number of fine qualities, not least being firmness of intonation and persistence of tone. Their singing is always smooth, and consonants are not allowed to jerk the legato.... The soloists seem to be well cast and more than competent. I cannot praise the reproduction too highly—easy and even, this recording is of good range, full of colour, and always pleasant to listen to. I found the whole production one of the most impressive gramophone issues I have ever met."

Indeed, this was a triumph for Maestro Alessandro and Frances Yeend (pictured above). Victor Alessandro became an extremely important musical presence in the southwest for many years after. A native of Waco TX, he served first as music director in Oklahoma City and then as longtime director, until his death actually, of the San Antonio Symphony. Alessandro's twenty six year tenure saw the San Antonio orchestra's rise from being a competent orchestra to one of major importance in the southwest part of the United States. Frances Yeend's career was almost entirely focused around the two great opera companies in New York City and later, as a teacher and pedagogue. Yeend is best remembered as a flexible and hardworking singer, someone that had a wide repertoire and the talent to convince the listener in whatever role she took on.

As with many of these Allegro Elite issues, there are compromises on technical and pressing qualities. However, this performance makes up for deficiencies because it is a great sense of occasion. I'm sure the folks in Oklahoma were all absolutely thrilled with this once in a lifetime recording opportunity. I would have been!

A note: I do have a cd issue of Alessandro and the Oklahoma City SO performing what might be the first integral edition of all the Hungarian Dances of Brahms. I could do a "rip" if there is interest. It won't displace Dorati from nearabouts the same period but it does have its own unique merits.

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Paul Doktor and Nadia Reisenberg in Brahms' Viola Sonatas

In recent years, I have come to appreciate the chamber music of Brahms, especially his later works. These last works are wonderful because they are written by a self assured man, an individual who had conquered specific realms and now could relax and write music that was more for himself, and his own use, and less for the public at large.

So it is with these viola sonatas, which actually started life as clarinet sonatas. Interestingly, the clarinet was a particular favorite of Brahms though he seemed no less interested in the viola. And fortunately, with an advocate like Paul Doktor playing, the results are bound to be quite lovely and engaging.

Austrian by birth, Doktor was recognized by Adolf Busch while a very young man and gained an important mentor in this brilliant musician. In fact, Busch was so taken with Doktor that the younger man was engaged as the violist for the famed Busch Quartet, particularly during times of touring. Doktor's life, like many musicians, was disrupted by hostilities in Europe, but he was able to re-group and establish himself in the US, becoming a citizen in 1952. From that time to his death, Doktor preached the viola, concertized heavily throughout the country and taught a generation of violists who would occupy important seats in orchestras throughout North America. Doktor's musicianship is a combination of old and new world, taking the best from either side of the Atlantic and placing it at the disposal of this grand instrument.

Nadia Reisenberg is most noted today for her many Juilliard students and her landmark recordings of the piano music of Haydn made during the 1950's. A European transplant like Doktor, she embraced her new home in the United States and dedicated herself towards encouraging and teaching the methods of the great Russian pedagogue Nikolaev. Her consumate musicianship, combined with technique and taste, make her the ideal chamber music partner. So highly regarded are her talents that in 2004, former students and admirers began the Nadia Reisenberg/Clara Rockmore Foundation to honor, and remember, Reisenberg and her sister Clara, a renowned virtuoso of the theremin.

Again, I will say that I like these "sunset pieces" of Brahms. Some people may find them less than inspired, even quaint, but as I said earlier, this is music by a man with nothing else to prove. He was a master who was a champion in all forms of music for instruments and voice, with of course, the exception being opera. Beautiful listening, these recordings were originally released in 1954.

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Arthur Fiedler and the Boston Pops on Camden

Here's the contents of two very fine Camden reissues of early recordings by Arthur Fiedler and the Boston Pops. CAL-165 features the Mendelssohn Piano Concerto No 1 and Liszt's Totentanz and CAL-166 highlights extended excerpts from Glazunov's ballet Raymonda  and the bacchanale from Samson & Delilah  of Saint Saens. The pianist featured on CAL-165 is the excellent Jesus Maria Sanroma, who was the official pianist of the Boston Symphony for Koussevitzky during the 1930's and early 40's.

The Mendelssohn had been transferred previously, from the 78's, by Bryan at The Shellackophile. Bryan did a great job of retaining warmth from the original recording, something that the Camden reissue producers admittedly did not place high on their list while transferring from 78 to 33 1/3. (The Liszt on the flip side fares better.) In spite of any sonic limitations, Sanroma and Fiedler turn in a superb account of this well proportioned and inspired concerto of Mendelssohn. In  the Liszt, both experienced musicians keep the piece from turning into a gaudy display of overblown technique and banal passages.  I've got to say that Fiedler was a terrific concerto partner on evidence of this recording and others. I still wonder how he kept a straight face and musical dignity while accompanying Al Hirt in the latter's infamous account of the Haydn Trumpet Concerto!

The extended excerpts from Raymonda are simply superb. Glazunov often gets short shrift because he was so prolific and at times rather less then inspired. That is not the case with Raymonda. It is a marvelous ballet, right up there with the best of Tchaikovsky. Terrific tunes and masterful orchestration make this a delight for the ears and of course, Fiedler does not disappoint. Having the great Pops (actually the BSO minus the principals) strings caress Glazunov's skillful writing reaps great dividends in this recording. And, what an encore with a supercharged, but entirely tasteful, bacchanale from Samson and Delilah. Richard Strauss must have been taken by this for his Salome's dance bears striking characteristics of this gem of a piece.

Enjoy Fiedler at his best!

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Suites from Handel Operas & Oratorios as presented by Boris Brott

A while back, I offered a transfer of an Everest lp conducted by Canadian musicologist and conductor, Alexander Brott. The album, Beethoven - Young Prometheus contains arrangements for orchestra of studies completed by Beethoven as he was learning the art of composition. Fascinating listening.

Today, a stereo lp released in 1967 by Mace featuring Alexander Brott's son, Boris, conducting music from Handel operas and oratorios (Rodrigo, Martillo, Solomon, Jeptha) with the Northern Sinfonia of England. I believe this was Boris' first recording and it is a very convincing effort, though the Northern Sinfonia in this recording is hardly a first rate ensemble.

Boris Brott is not too well known south of the southern Canadian border but in his homeland he is well regarded as a conductor, educator, impresario, and motivational speaker. His background bears a striking resemblance to that of Boston's Benjamin Zander. Throughout his six decade career, Brott has conducted all of the major Canadian orchestras and has served as a distinguished professor at McGill University. He has been a tireless promoter of classical music and the education of children in music in Canada. For my northern friends, Brott would be regarded as a musical treasure.

Brott's Handel is sensibly performed on modern instruments and it bears a striking similarity to what Marriner would have produced around the same time period. In short, pleasing and musically stylish with a hint of period performance to it. When you think of it, it is so difficult to go wrong with Handel since his music is so well written and sparkingly tuneful. It really brings a smile to one's face!

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Stereo Jack's to bite the dust

If you happen to live in Greater Boston and love records, you know Stereo Jacks. Nestled between Harvard and Porter Squares on Massachusetts Ave, Jack's has been providing invaluable service to loyal patrons since 1982. In particular, it is probably THE place to go for jazz though Jack always has a good revolving selection of classical lps.  His dollar bin area is well stocked and the quality of the merchandise in terms of condition and value is beaten by no one.

I found out yesterday that Jack is closing shop. The lease has run out and the owner of the building has a pizza joint lined up for the space. Jack is sixty five and doesn't want to move and setup shop again. I can't blame him; a lot of work to reorganize and, in this economy, it could be all for naught.

Jack's has been a great place to haunt on a regular basis. As you can see by the picture above, it is orderly, neat, and an easy place to browse through. Though I enjoy rummaging through the Goodwill or both In Your Ear! locations, those places require time, patience and aerobic positions. Jack's is easy, just stand and thumb through the bins. No strain, pain, dirt, dust. I'll miss that!

I wish Jack well. He has served the community notably. His no-nonsense, somewhat gruff manner is a style of business that is fading fast and, will be missed. Knowledge, love, dedication, that individual touch...you don't find it at the Big Box. Jack's has been a happy escape for me and I'm sure, many, many others.

Godspeed Jack!

Orazio Frugoni performs Saint Saens

Though I have the Saga issue cover above, this offering today of Saint Saens' 2nd and 5th piano concertos originates from a mid 50's Vox lp. The featured performer is Italian born Orazio Frugoni and the Vienna Symphony is led by the esteemed Hans Swarowsky.

Orazio Frugoni's name has rather sadly faded from memory. Fifty years ago, he was a well recorded artist and teacher whose name rose to prominence for his advocacy of the piano music of Mendelssohn. In particular, Frugoni introduced the youthful, but excellent,  "two piano" piano concertos of Mendelssohn to the general public. However, during the 1960's Frugoni decided to primarily concertize "live" and teach, moving away from the recording process. He eventually returned to Italy as director of the fine arts academy in Florence and continued teaching and adjudicating through to the end of his life.

The music of Saint Saens is always a joy to listen to because it is tuneful and unencumbered by angst or emotional excess. It is for the most part music of entertainment and taken on its own terms is superb listening. Certainly Saint Saens understood the full breadth and scope of the keyboard since he, himself, was considered a master of the keyboard. Frugoni's performance here is musically sound and his technique captures the magic of the writing. Swarowsky, as to be expected, provides strong partnership with the redoubtable Vienna orchestra happily playing along. The mono sound is good, if not special, typical Vox from Vienna. Enjoy.

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Eugene Ormandy with those Fabulous Philadelphians in Bartok

I've really grown to appreciate the 1940's through 50's recordings that Ormandy made with his incredible Philadelphia band. Here's a very good one, the 1954 recording of Bartok's masterpiece, the Concerto for Orchestra. Ormandy would go on to record this two more times, in stereo, but I think the overall playing and energy level, not to mention concentration of the conductor is not to be beaten here.

This recording had the unfortunate timimg of having to compete with Reiner's Chicago stereo remake. Reiner was considered ,and billed as, the leading authority in Bartok's music, perhaps only rivaled by Fricsay, who was European based and little known on these shores. Reiner's record is excellent and has stood the test of time, but no doubt but there is much to enjoy here too. Ormandy, being a native Hungarian, understood the idiom well and was able to project the work honestly and with sufficient authority. And, this is a piece made for the virtuoso talents of the Philadelphia Orchestra as the section chairs have the opportunity to shine brilliantly. Great listening.

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The Golden Age of Brass with Roger Voisin and The Brass Ensemble

Well...guess I've been on a brass kick lately, what with the two Stagliano posts, so here is something by a distinguished colleague of James Stagliano's, namely Roger Voisin. Recorded in 1954 for Unicorn and re released on the Kapp label, Voisin leads the Boston based "The Brass Ensemble" in a program of favorites from the late Remaissance and early Baroque periods.

This recording is important for several reasons. First, it is one of the first, if not the first to explore the vast baroque literature that had been written for, or arranged for, brass instruments. Second, it is a testament to the lifelong work of Robert King as arranger and advocate of brass music for various sized ensembles. I mentioned in a previous post that Mr King for years ran a successful and indispensable mail order service for brass players just a few miles from my boyhood home. King arranged scores of pieces for quartet, quintet, octet etc. and his reasonably priced charts were the basis of many a brass ensembles' library. And, they are fun to play!

Roger Voisin needs no introduction however, I'll say that he was a man that dedicated his life to trumpet performance, brass music literature, scores of students and the city of Boston, of which he loved so deeply. Roger was one of the last proponents of the great French School of trumpet playing that dominated orchestras like the BSO for over half a century. I remember him from several master classes as kindly, patient, but authoritative just the same.

I have to admit that I was expecting more favorable musical results here. Most of the record sounds like it was recorded in someone's den, way too small an acoustic for the sounds of trumpets, trombones, horns and tuba. The overall playing at times is downright sloppy with out of tune horns, bunches of flubbed notes and numerous suspect entrances. I am also surprised at how Roger and Armando Ghitalla have a difficult time blending throughout the program. My suspicion is that these were no more than run throughs and that the recording process was maybe semi professional at best.. I recall that when Roger recorded his 4 or 5 lp set of trumpet concertos for Kapp, there were many instances where he sounded down right labored and worn out. I suspect that Kapp was trying to get everything done in one shot come hell or high water. Whatever the case, this particular record should be best remembered as possibly he first of its kind so as a historical document, it is vital, imperative and worth a listen. However, to be frank, all the repertoire has since been recorded in better acoustic, by technically sure musicians under proper recording circumstances.

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