Schubert played by Johanna Martzy

Here is a Mace reissue of recordings made by Electrola in 1955. Violinist Johanna Martzy is joined by her longtime accompanist Jean Antonietti in readings that capture the lyrical beauty of Schubert's writing, effectively making the case that Schubert was truly the first romanticist. Though closely modeled on Beethoven, nonetheless, I hear a unique and progressive voice, one that seeks to break free from classical models.

Here's what reviewer Gary Lemco had to say regarding this recording's reissue on Testament some while back:

"These pieces were published posthumously, though Schubert composed them when he was nineteen, likely as vehicles for his brother Ferdinand. The D Major flows so effortlessly we might miss the suave artistry that conceals art. The Andante enjoys pellucid articulation of its motto theme, and then Martzy breaks out into a seamless legato statement that expands its natural lyricism. More than one commentator has remarked on the exquisite tone she elicits from her G and D strings. No small contribution emanates from Antonietti’s delicate but firm keyboard support.

The A Minor Sonata, D. 385 presents largest of the three canvases: though delicate in its opening motto for the Allegro moderato, its emotional tenor has a sturm und drang affect, troubled waters below an otherwise balanced surface. Martzy projects an edgy violence into the melos that will bear repeated hearings. Marty’s expressive control then invests the wonderful Andante with an exquisite melancholy, restrained but ardent. A no less anxious Menuetto leads to the final Allegro, whose dark color and demure sense of tragedy find an eloquent realization whose capacity for visceral passion must be heard–those last chords!

Finally, the impassioned G Minor Sonata, D. 408, clearly a Beethoven clone but nonetheless revealing Schubert’s idiosyncratic dramatic sense. Playing in something of the “gypsy” tradition Martzy imbibed as a student of Hubay, Martzy invests the piece with dazzling personality, and Antonietti can be heard clearly warming to his own task. The purity of line in the Andante induces us to want to hear Martzy’s Mozart, Schubert’s spiritual model extraordinaire. Martzy and Antonietti appear to relax in the Menuetto and Allegro moderato movements, though Martzy’s razor-sharp intonation drives the music into our collective imagination."

Indeed, a special and unique recording by a truly gifted artist.

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Schubert and Schumann with Leonard Shure and John Barrows

An interesting find, this VOX lp from the late 40's. Catalog number VL6050 features Leonard Shure performing Schubert's  Moments Musicaux along with Schumann's Andante and Variations highlighting duo pianists Appleton & Field, Ralph Oxman and Bebe Sarser on cello, and John Barrows as the horn soloist.

I really, really enjoyed Shure's marvelous take on the Moments Musicaux. His keyboard touch and sense of phrasing are ideal and the results are effervescent. What a wonderful artist he was! Also, nice to hear the fine horning John Barrows too in this not often heard Schumann work.


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

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

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

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


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Duo Schnabel performs Schubert and Brahms

Regular readers of this blog know how much I enjoy programs featuring duo pianos. What surprises me is the number of husband and wife teams that have performed regularly, and successfully, over the years. Luboshutz and Nemenoff, Babin and Vronsky, The Dichlers and Kliens, all have made significant contributions to the art form from their arrangements of pieces to their almost "oneness" when playing together. I guess you could call it non physical lovemaking to some extent!

Karl Ulrich Schnabel and his wife Helen performed together for many years and for a time, the "majors" tried to capitalize on the magical Schnabel name in marketing their efforts. Though both accomplished artists, to be fair, neither approached the level of genius of Karl Ulrich's father Artur. Much the same can be said for Soulima Stravinsky, a talented pianist himself, but far removed from his father's great gifts.

This Epic release, the artwork here is from the identical Philips lp, features the Fantasy for piano four hands of Schubert and a select grouping of Hungarian Dances by Brahms. This is a program well suited to Karl Ulrich and Helen's strengths. The Schubert is definitely the stronger of the performances as it is well crafted and polished in a Viennese kind of way. The Brahms lacks just that bit of "zigane" which adds flair, bite, and spontaneity to these delightful dances. However, they are well prepared with sharp articulation. Above all, I would call this program and performance honest, direct and to the point.

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Schubert and Haydn as played by Helene Boschi

A great find here. Schubert and Haydn sonatas played by the virtually unknown Swiss-French pianist Helene Boschi.  Released on the Artia label in monaural sound, I would guess these records were made about the time of Mademoiselle Boschi's frequent appearances in Prague during the mid 50's.

I was introduced to Boschi via a transfer made of the 22nd piano concerto of Mozart by Rolf Otterhouse. Otterhouse is one of the masterminds behind the European Archive, a superb collection of records from a bygone time. His transfer of the Mozart can be found on his  blog. It is an excellent performance, well balanced with tempos immaculately judged and orchestral support just about perfect. A true collaboration this record.

Here, Boschi works her magic in a solo setting. The results are impressive indeed. Not only does she have the "chops' but her musical judgement rates as pure and genuine. I don't know what to say other then she seems to be able to get under the skin of the music and produce results that are true to Schubert and Haydn respectively. You will wonder and ask, "why don't I know this woman?"

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Rene Leibowitz conducts two firsts - Schubert and Bizet

Two first symphonies, those of Schubert and Bizet, presented here on the Oceanic label (though the Musical Treasures record label is shown above.)  Distinguished conductor-composer Rene Leibowitz leads the Paris Radio Orchestra, also known as the Paris Philharmonic in many issues, in these early 50's recordings.

I like the programming here. Both of these works were written during the respective composers' formative teenage years. The pieces are both sunny and well structured and are positively effervescent. Astonishing is that they are fully formed, mature works which I'm sure many an older composer would have been proud to pen.  The Bizet, in particular, is a real gem of a work and it is too bad that this composer did not write further in the idiom. Perhaps he might have if fate had not cut his life short at such a young age though, the same could be said for Schubert too.

Rene Leibowitz is a favorite conductor of mine. Every recording of his brims with excitement and sure handed authority. Though most of his records were made with second rate French orchestras during the mono age, he did leave a number of stereo records that are superb and highly valued by audiophiles and collectors. His Pictures at an Exhibition captures the intrumentation of Ravel in an eerily Mussorgsky way, as if Mussorgsky had orchestrated the pictoral episodes, while his integral Beethoven symphony set from London is considered by many cogniscenti to be among the top five sets ever recorded. It's a spectacular achievement of concentration and dedication.

In spite of sonic limitations, this record of Schubert and Bizet is very, very enjoyable.

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Friedrich Wuhrer plays Schubert

A request for more from Friedrich Wuhrer and he we have it. Wuhrer performs sonatas in C minor and B Major, originally issued on Vox and here on Dover. I would say these mono recordings date from the mid 50's since Wuhrer made a lot of records during this time frame, right into the 60's.

Unfortunately for Friedrich Wuhrer, he has been overshadowed by many geniuses of the keyboard and a few overtly strange and overbearing ones at that! Wuhrer himself was a consumate, quiet artist who possessed great technique, terrific and tasteful musicianship and a firm grasp of the keyboard works of the great German and Austrian masters. In short, he was a man that could go about his business in well, a businesslike manner, though producing a product that was not at all businesslike sounding. Good music, without extremism, consistent, and faithfully rendered, that's Wuhrer.

I have grown to love, and appreciate, these Schubert sonatas because they are so beautiful and bear the stamp of the master lieder writer that this composer was. Unlike the drama and angst of late Beethoven, the exhaustion of it you might say, Schubert's music unfolds naturally and gradually. Given Wuhrer's strength's, he is indeed a superb advocate for Schubert.

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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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Schubert - Four Hand Piano Music with Badura Skoda and Demus

Another visit to some four hand piano music, this time by Schubert,  recorded in the early 50's by Paul Badura Skoda and Jorg Demus for Westminster.

I cannot stress enough the level of maturity and insight that these two artists bring to this repertoire. Their instinctive response to each other is nothing short of remarkable. Rarely, do two artists connect on such a level of excellence as these two. Couple the artistry with the superb music and...a winner....unlike the Patriots on Sunday! :(

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Schubert's Trout with the Festival Quartet

Sometime ago, Squirrel posted two fine recordings by the aptly named Festival Quartet on his excellent blog Squirrel's Nest . In the spirit of those posts, I offer the ensemble in Schubert's masterpiece, The Trout Quintet.

Squirrel has added a fair amount of biography of the Festival Quartet so there is no need for me to elaborate further. They were an outstanding group of musicians, making music during a golden age of chamber ensembles. This particular Trout is quite beautifully prepared and presented and it is a pity that BMG has not seen necessary the need to release this, or other recordings by the group onto cd. Though my lp is mono, this Trout was released in stereo too as to the recordings of Faure and Brahms that Squirrel has offered. Often I wonder who makes these decisions....

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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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Schubert's Octet performed by members of the Fine Arts Quartet and New York Woodwind Quintet

From 1962, and my copy from an Everest LP, comes a very fine performance of Schubert's posthumous Octet.  The artists are the Fine Arts Quartet with members of the New York Woodwind Quintet. I transferred this some time ago and well, I'll just let this beautiful work, played by fine musicians, speak for itself!

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Sir Thomas Beecham conducts Schubert with the RPO

Friday night, beautiful weather, glass of wine on the porch, and Thomas Beecham in Schubert. Fits like a glove!

I've always admired Beecham for his way of getting lesser music to jump off of the page and take hold of the listener, all in the very best of taste. Here are Schubert's first two symphonies, teenage works yet full of mature ideas and pleasing melodies. Only a Beecham can transform juvenilia into something worthy of a more seasoned artist; how he does this remains a mystery to me. As with all Schubert - Beecham recordings, this is indeed indispensible and his presentation will charm and delight you. Beecham had that quality...je ne sais quoi...yes, what can I say?

Recordings date from the early 50's.

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Schubert's Incidental Music to "Rosamunde" conducted by Dean Dixon

I was lucky to find a decent copy of this first ever recording of the Incidental Music to Schubert's Rosamunde led by the fine, and underrated,  Dean Dixon. I've spoken in the past on Dixon; truly a man of great abilities who appeared on the American musical scene "before his time" as the old cliche goes. It's a damn shame that his greatest success was in Europe, with its more liberal racial climate and, not in his home country. Only toward the end of his life did he begin to gain recognition here - he died at the terribly young age of 61.

This recording is a fascinating and satisfying affair. Dixon strives for clarity and his brisk tempos would be more in line with period performance practice then the romantic, big bodied approach that Schubert was typically given during the early 50's when Westminster recorded this performance. I like Dixon's way, he doesn't linger or get overly sentimental and nothing is forced, in short, he lets the music speak for itself. His efforts are well supported by Ferdinand Grossman's fine Academy Chamber Choir and the famed contralto Hilde Roessel-Majden. Interestingly, the overture to Alfonso und Estrella is included as the opening number.

My opinion is that had Dixon lived, he would've achieved greater fame in the US and been counted as one of the major podium presences of his time. Instead, we have here a document of an immensely talented man whom the fates dealt not the best hand.

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