Menahem Pressler plays Debussy

Here's some wonderful solo piano playing by a remarkable man, Menahem Pressler. Known primarily for his incredible 55 year tenure as the pianist of the Beaux Arts Trio, Pressler excels in the highly individual solo sound world of Claude Debussy. This MGM monaural record dates from the late 50's

When you think about it, 55 years of excellence in such an intimate ensemble as a trio is downright astonishing! Pressler was the anchor of the Beaux Arts Trio and during its run, this trio was probably the best and most consistently fine of its time. We think so highly of Pressler's work as a chamber musician that his work as a soloist is all but neglected. And its a shame because in Debussy, he is in complete sympathy with the writing and his artistry really shines out here. I would characterize Pressler's playing as clean, unfussy, honest and forthright. His tone is beautiful and fingerwork immaculate.

I will have more from Pressler in Bartok in coming weeks.

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Albert Spalding's Last Recital at Boston University

This was a terrific find.  It shot to the top of the queue based on my own selfish, personal preferences. From a Halo lp, this record contains the contents, minus Spalding's vocal introduction to Malguena, of the violinist's last public recital (really a master class presentation) at Boston University, a mere two weeks prior to his death at sixty four in 1953. This program features piano accompanist Jules Wolffers.

The style of playing here is from a time when people were still fascinated by the sight of a horseless carriage and musical entertainment was most convenient for people by attending a band concert in the park. With gentle and lyrical phrasing and judicious use of portamento, Spalding coaxes the listener into special, personal musical world. Just listen to the two Hungarian Dances of Brahms and you'll get my drift. This is not to say that Spalding is a relic from the past, he is in perfect tune to the music of  deFalla and Albeniz and he creates quite an authentic Iberian sound if I say so myself. This is playing, that though it is far from technically perfect, is nevertheless self assured, direct, and well, joyful. Oh, and if Ave Maria does not cause your knees to buckle......

This Halo recording has ok sound and was probably recorded in some cheap setup. However, it is an important document of one of the first great American born violinists and that's treasure enough for me!

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A Josef Lhevinne recital

Above is the Camden release cover to my Victrola reissue. This is a recital by the great Russian-American pianist, Josef Lhevinne. These recordings date between 1928 and 1935 and capture the pianist during his final decade on God's Green Earth.

Josef Lhevinne was a genius. Regarded as maybe the greatest technical player of his day, he is above known for his devotion to teaching  at his beloved Juilliard where he, and his equally talented wife Rosina, built the greatest program for aspiring pianists during the 20th century. To his students and contemporaries he represented the pinnacle of taste, craftsmanship, and technical proficiency.

The performances on this record of Chopin, Schumann, Debussy and Johann Strauss are beautifully rendered  with the highest level of musical excellence. Lhevinne has not only the highest regard for the written note but his presentation is set forth with respect, humility and responsibility. You can hear this being conveyed through his ten fingers onto the eighty eight keys. This is a must hear experience. I especially want to call attention to the Debussy which pairs Josef and Rosina in the real definition of marital bliss!

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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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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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Leonid Hambro and Jascha Zayde perform Saint Saens, Debussy, Franck, and Poulenc

I seem to have developed a "thing" for four hand piano music over the last few years. I cannot really explain why this is so but the combination of two like minded individuals, pounding the ivories in great music is, well...so irresistible!

Here we have the contents of two LP's, issued on Columbia and Command Classics, that feature the talents of the all but forgotten piano duo of Leonid Hambro and Jascha Zayde. Hambro is best known for his long association with the legendary Victor Borge while Zayde, I must confess, was totally unknown to me. Turns out that Zayde was a fixture on New York radio for many years while Hambro, after pretty much retiring from concertizing, taught at the university level. Together, they prove to be excellent collaborators and they play with good taste and superb musicianship in this program of French music.

I want to call attention here to the exquisite performance of Carnival of the Animals with words by Ogden Nash recited by the great Noel Coward. This really is, in my opinion, a definitive take on this delightful work, Hambro and Zayde are magnificent and Andre Kostelanetz leads his New York musicians to the manner born. You will enjoy this immensely!

I have another Hambro and Zayde LP, Mozart and Schubert, and I will upload at sometime down the line.

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Two Pianos are Better Than One!

A little while ago, The High Pony Tail posted a very lovely, but neglected, LP of Schubert's Grand Duo that featured the wonderful duo of Gold and Fizdale. Though much celebrated in their day, the recorded legacy that they left behind has sadly languished in the vaults. I greatly enjoyed the Schubert and recently, I was fortunate to come across this record of the two performing Brahms and Debussy.

Brahms' Haydn Variations is just a superbly realized creation and Debussy's "Children's Games" sparkle with an effervescence that only "little ones" can innocently muster. Very different compositions yes, but Gold and Fizdale manage the transitions between the two in a masterful fashion. This is excellent music making by the premier duo of the time. Artists like the Lebecque sisters don't hold a candle to G & F and  the former often resort to cheap trickery to get their message across. Gold and Fizdale let the music breathe and fly on its own initiative and this Odyssey reissue was well pressed for a budget offering.

I've included another wonderful duo to round off the program, the husband and wife team of Walter and Beatriz Klien. Walter Klien was a very admired interpreter of Mozart, however, he and his wife make a strong impression in this French program of Debussy, Ravel and Milhaud. I especially like the Scaramouche of Milhaud though the Debussy in the Klien's hands is handled so delicately and with a tender touch. A beautiful program released by Vox.

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