A Stunning Firebird led by Eugen Szenkar with the RIAS Orchestra

Every so often, one record just absolutely blows me away based on a combination of factors: musicianship, interpretative insight, suitable sound quality and a sense of occasion. I hardly thought that THE record would come on a Remington reissue (Masterseal) featuring a relatively obscure Hungarian conductor leading the RIAS Orchestra in of all things, Stravinsky's Firebird Suite. Surprises, surprises!

The conductor, Eugen Szenkar, is a name totally unknown to me. At first, I thought this was a pseudonym, but no, Szenkar is the real deal. As a conductor, he had a thriving career in prewar Germany but the Nazis put an end to that since Szenkar was a Jew. Like many other scores of displaced musicians, Szenkar had the most difficult time sustaining momentum and jump starting his career after hostilities ended. He landed lesser assignments in Germany and Central Europe along with guest conducting stints, mainly in Israel. That 10-12 years in "limbo" saw others surpass Szenkar while he, himself, could not get back on "fast track" to bigger and better opportunities.

Szenkar's Firebird with Fricsay's RIAS orchestra is absolutely magnificent from start to finish. Everything is perfect:  tempos, transitions between sections, articulations and dynamics, excellence of solo passages. Make no mistake that in 1952-3, when this record was cut, the RIAS orchestra was the creme of Berlin orchestras. Fricsay might have been the greatest orchestral builder at that time and his efforts are on full display in this brilliantly orchestrated piece of music. And the sound is incredible for the age of the record and well, for Remington in general!

The filler is Tchaikovsky's Romeo and Juliet with another orchestral builder, Kurt Woss, leading his Tonkunstler Orchestra, Vienna (Austrian Symphony). This is a credible performance but no where near the extreme excellence of the Szenkar led Firebird. The latter is in a class of its own.

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Tchaikovsky by The "Burgin Quartet"

From Boston Records, this is billed as the first recording of Tchaikovsky's 3rd Quartet, performed by the "Burgin Quartet." In reality, there was no Burgin Quartet, but rather a group of long time Boston Symphony colleagues who got together, from time to time, and cut a record apart from their activities as BSO and Boston Symphony Chamber Players members. Richard Burgin and Leo Panasevich on violin, Joseph de Pasquale on viola and Samuel Mayes on cello. Exquisite musicians who give a rather persuasive account of this rather "on the fringe" piece.

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Natan Rakhlin conducts 'Winter Dreams" and "Little Russian"

From an old Stradivari release, Tchaikovsky's symphonies "Winter Dreams" and "Little Russian, led by Natan Rakhlin with the Bolshoi Theatre Orchestra. Yes, complete on one lp and yes, they both have cuts, but all the same are invigorating performances in a very Soviet kind of way.

I could find no reference to this record and maybe there are healthy doubts to be had. Stradivari was one of the labels of "Record Corporation of America" a somewhat spurious enterprise by reputation. Many of its issues were pirated performances or legitimate records utilizing pseudonyms to mask the true identities. However, for the couple dozen Soviet issues that it released, performers listed were tried and true though the orchestras were not fully or completely listed. So, that said, there is a strong chance that this is a true Rakhlin performance and if so, we are richer for it.

Natan Rakhlin is virtually unknown in the US and much of Europe. As a Soviet Jew, he was closely monitored by the "organs" and since his fame was not of say an Oistakh, his trips abroad were relatively few. He was a very fine talent though and premiered a number of Soviet works, probably the best know being Shostakovich's 11th symphony. I would characterize Rakhlin as no nonsense, straightforward and breathtakingly honest in the records that I have heard.

The Tchaikovsky here is brisk, totally, totally unsentimental and never lingering. These are definitely "period" performances and the sounds of the orchestra will kindle some nostalgia among older listeners. I'm still astonished that these two symphonies could be fit on one lp! Oh!, make some allowances for sound quality, ok?

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A Virtual Concert with the Stadium Concerts Symphony Orchestra

Fredell Lack

Recently, I came a number of items destined for the great mound of garbage at the transfer station. These records were Music Appreciation and Musical Treasures of the World issues. Released beginning in the 50's, these records were sold by subscription, club membership and in places like the local supermarket and Woolworth's. Some were older recordings relabeled with pseudonyms while others were fresh new recordings cut by musicians looking to make a couple bucks outside of their normal concertizing. Today, I offer two records from the Music Appreciation series, released by the Book of the Month Club. Both feature the "Stadium Concerts Symphony Orchestra" aka the Philharmonic Symphony Orchestra of New York. The Mendelssohn Violin Concerto is performed by Oklahoma born violinist  Fredell Lack with radio conductor Alexander Smallens conducting and the Tchaikovsky Symphony No 5 is led by famed resident conductor at the Met and former Cincinnati SO director, Max Rudolf.

Alexander Smallens

Prior to this recording, I had never heard of Fredell Lack. Ms Lack appears to have had a relatively short career in the limelight, primarily as a soloist and member of the Little Orchestral Society in New York City. By the age of 30, she had relocated to Texas where she would spend many years as a distinguished professor of music at the University of Houston and, as leader of the Lyric Arts Quartet. On evidence of this recording, she is strong soloist with a sweet tone and impeccable finger work. Lack is ably supported by noted radio conductor and arranger, Alexander Smallens. The latter was one of these musicians who could apparently step in to a scene quickly and coax fine results by musicians with little preparation for producers whose eyes were constantly on the clock.

Max Rudolf

Max Rudolf is a name familiar to most, a conductor of impressive stature who spent his earlier years in the opera pit but emerged later as a conductor who could lead convincing performances in the concert hall minus the trappings of the operatic stage. Rudolf's Tchaikovsky is taut, no nonsense and almost businesslike but not in a way that would denote boredom or indifference. This is Tchaikovsky for people that do not want over exaggeration but rather prefer the music to speak for itself. In essence, this is performance by an operatic conductor who has to regularly bring differing performing styles together and have them coalesce into a work that is interpretively consistent. I find Rudolf refreshing and he coaxes some very good playing from an orchestra that is probably recording late into the evening or into the wee hours of the morning.

These mono records were a bit of a challenge to work with. Again, I would guess that there were not many takes as time and money dictated that a product had to be produced quickly, efficiently and cheaply.  Consequently, I don't believe that recording conditions were at all ideal. Even so, its nice to have these recordings available as they are a fond remembrance of musicians that left their individual imprints on the music of the day.

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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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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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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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Artur Rodzinski and the Pathetique

A few weeks back,  I offered Dean Dixon conducting Tchaikovsky's Pathetique. That version is a fine performance but admittedly falls short to the absolute splendid take here under Artur Rodzinski. From a "Columbia Special Products" release, this performance is simply one of the finest, if not the finest, interpretations of this over recorded classic that I know of. It is too, a rather melancholy reminder of what should have been and, alas, what did not become of Artur Rodzinski as his career in the United States was self destructing on account of his severe personality disorder.

No doubt that Artur Rodzinski was a man of considerable gifts and high expectations. Respected by Toscanini and Stokowski for his supreme orchestral training skills and infallable ear, Rodzinski during the mid 1930's through the mid 40's acquired a reputation as one of the most brilliant orchestral leaders anywhere. Within a short period of time, he took a provincial Cleveland ensemble and raised its standards to close to the very best. George Szell would dispute that last statement but the proof exists in the excellent recordings that came out of Cleveland during Rodzinski's tenure.

From Cleveland, Rodzinski moved to the dangerous waters of New York to head the Philharmonic Symphony. This was the beginning of his psychological meltdown though moments of brilliance were captured, like this Pathetique. Recorded in 1947, shortly before Rodzinski fled to Chicago, the PSONY play like men possessed. Detail, phrasing, sense of "line" are magnificent. This is a Pathetique for the ages, much like I would say of Mravinsky's anguished, and rather polar opposite, 1960 recording. Rodzinski's entirely unemotional approach works superbly.

If Rodzinski had been able to maintain focus, his career would not have shattered, only to resurrect late in life as he approached his end on earth. No, he most likely would have assumed the mantle of the leading orchestral conductor in the US, probably succeeding Toscanini as a household name. Well...speculation I know but what if?

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Kjell Baekkelund plays Grieg and Dean Dixon conducts Tchaikovsky

A couple more transfers for requests that were made sometime ago. Man oh man, I'm starting to develop quite a backlog!

First off, we have the Grieg piano concerto played by the very, very fne pianist Kjell Baekkelund. This release was part of the series of recording made in Oslo for RCA and released on Camden, Victrola and licensed to the National Recording Society for distribution through non traditional channels like supermarkets and drug stores. This particular recording is led with great authority by Odd Gruner-Hegge, a Grieg interpreter whose only peer was probably Beecham and maybe Barbirolli. The Grieg is one of the most glorious of war horses and is often over played to the point of auto pilot play but, in this instance, pianist and conductor bring a certain freshness to the score while the latter takes pains to point out superb orchestral detail. For my money, this is one of the better Grieg's out there.

The "symphony" part of the program features a conductor who I've long taken a special interest in, namely Dean Dixon. Tchaikovsky's Pathetique symphony is given a very broad reading, actually rather expansive, and as typical with Dixon, there are no mannerisms and/or hidden emotions that are pulled way the hell out of whack. This conductor simply lets the music unfold naturally with minimal interference - with this particular symphony, this may or may not totally work for the listener. For a contrast of styles, I suggest a listener comparison of Mitropoulos v. Dixon! This Everest issue identifies the orchestra as the "Rundfunk Symphony Orchestra,"but declines to mention which "radio" orchestra. I've seen reference to the orchestra as being the Cologne or Hessian (Frankfurt am Main) and I'm inclined to say Hessian since Dixon was general music director there for a number of years. The orchestra has great discipline and it is obvious that this is far from being a run through. Whomever the orchestra is, the body of musicians play quite well with sensitivity and refinement.

I will be offering my take on Dixon's "Scottish" symphony of Mendelssohn shortly. reDiscovery offered it during the summer but it was not a transfer from the Nonesuch lp. It is a very, very romantic iterpretation and the contrast between it and the Boult (offered here on my blog) is beyond striking. In fact, it is rather mind blowing! But more on that later.

Both recording are stereo and available in FLAC format.

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Ormandy conducts Haydn along with a dose of Fiedler for good measure!

Though I have been somewhat ambivalent about Eugene Ormandy over the years, when I saw this lp of him conducting Haydn's Symphonies Nos. 7 and 45, I had to pick it up and offer a transfer, if anything because my fine colleague Mr. Austin would enjoy it immensely...at least I hope he does! The cover above is from the CBS Special Products issue though my copy is the ML 4673 edition. 

Eugene Ormandy did conduct relatively little Haydn perhaps being that Szell, and later Bernstein, were so darn successful with this composer and Columbia could not afford to flood the markets with too much Haydn you know. After listening to this fine issue, I feel that it is a real loss that Ormandy did not explore more of Haydn for he does have a way with these symphonies and his way is superbly supported by the wonderful Philadelphia Orchestra. Let me tell you, the proof is is in the pudding - just listen to the adagio "farewell" from Symphony 45, so beautifully shaped and played. This is probably the finest "exit" I have ever heard for this unique work. In the earlier, "Le Midi", Ormandy's interpretation affords this early symphony a greater stature and place in the canon. It just sounds not too far away from the "London" symphonies which were years in the future. I say this as a compliment to Ormandy's interpretative skill, not as a cheap shot towards Haydn as a composer. All in all, I am glad to have come across this in the dollar pile; it is worth many times that!

The filler: I've had this under 30 minute Camden reissue of Fiedler conducting the 1812 Overture and the William Tell Overture for sometime. I've been waiting to find a suitable place for it in a post and I think its a nice filler here alongside the Ormandy. Two rather contemporary recordings by two outstanding musical ensembles. Those accustomed to Fiedler's later 1812's may be in for a surprise here. This is Markevitch type conducting, no nonsense, brisk, totally unsentimental, and technically impressive on an instrumental level. Without cannons and other electronic gimmicktry, Fiedler lets the percussion cut loose for a battle royale. Very impressive job by all and I'm sure this one is up my friend Buster's alley!

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Khachaturian and Tchaikovsky conducted by Dimitri Mitropoulos

Anything conducted by Dimitri Mitropoulos is always welcome, as far as my opinion counts. A titan of a musician but more importantly a pillar of decency, generosity, and honesty, Mitropoulos' interpretations are so individual and charged, that quite simply, there is no way to peg him into a category. What one gets with Mitropoulos is a well thought out performance that usually brims with an electricity that can not be explained by mere mortal! Here, we have two works that appeal to Mitropoulos' creativity and imagination: the Khachaturian Piano Concerto and the Pathetique Symphony of Tchaikovsky.

The Khachaturian concerto features Oscar Levant as soloist. Levant is one of those pianists whose star rose quite high during his time but today, he is mostly forgotten. In this concerto, he and Mitropoulos prove strong partners and they collaborate to make this music sound more interesting then it really is. For the most part, Khachaturian was a second rate composer, prone to effect over substance, and his work can fall to the banal in the wrong hands. Fortunately, here are two musicians that believe in this work and play it for what it is worth.

Tchaikovsky's sixth symphony is, of course, a whole other matter. Consider this: the Pathetique was the greatest Russian symphony for some 60 years until, I think, Shostakovich's 10th surpassed it for power, emotion, orchestration, and overall structural integrity. In Mitropoulos's hands, this  masterpiece of Tchaikovsky's moves to another plane altogether. The emotion, the soul of Tchaikovsky, is exposed in its rawest, basest form. This is, quite simply, a totally organic experience that will tire you because it makes you completely focus on it for 40+ minutes. It just pulls you in; this is the magic of Dimitri Mitropoulos at his very finest.

The Khachaturian on this CBS Special Products disc dates from 1950 and the Odyssey issue of the Tchaikovsky was recorded in 1956.

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Two First Symphonies: Tchaikovsky and Kalinnikov conducted by Yevgeny Svetlanov

I'm actually sitting in the local public library while my 8 year old attends a workshop. So, now's as good a time as any to offer another post that's been sitting in the dock for awhile. I will come back to the reload of the Boult (previous post) later at home, where my files reside, I promise!

Two first symphonies here, both flawed to some extent, yet each containing interesting material just the same. Tchaikovsky's "Winter Dreams" and Kalinnikov's Symphony No. 1 have both had somewhat erratic histories and today languish out of the performing mainstream. Kalinnikov, especially, achieved some popularity 60 to 70 years ago, however his conservative style coupled with a tendency to offer "too much of good thing" has all but relegated him to obscurity. Too bad!

Not to fear! Yevgeny Svetlanov rescues both of these works from the routine and offers up a strong case on why they should be more centered within the repertoire. Idiomatic musicianship, exciting playing, and oh, that distinctive Russian sound make for a stirring listening experience. I said it before, I'll say it again, oh how I miss that once distinctive Russian orchestral experience! Both of these performances are from the last 60's, early 70's with Svetlanov's own Academic Symphony Orchestra of the USSR captured at the height of its Soviet era best. Sound is typical Melodiya; Tchaikovsky was released on Quintessence while the Kalinnikov appeared on Columbia Masterworks. All courtesy of the good old days of detente!

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Swan Lake Excerpts played by the Ballet Theatre Orchestra under Joseph Levine

Joseph Levine and his Ballet Theatre Orchestra made a number of very good recordings for Capitol during the 1950's. I especially like his Billy the Kid Suite and  Gould's Fall River Legend. Well, here is Maestro Levine leading extended excerpts from Swan Lake.

I think that the music is wonderfully realized by this small, but fine orchestra. In fact, the forces here are more in line with  what you would expect while attending the ballet. Here, much detail is revealed and the winds are not overwhelmed by massed strings. Levine is wholly convincing.

Enjoy!

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More from Hans Swarowsky

Yes...a few more items from the esteemed Hans Swarowsky. We have here Tchaikovsky's Little Russian Symphony form a Parliament LP and Saint Saens' Organ Symphony from a Urania LP. Professor Swarowsky conducts the Vienna Philharmusica Symphony Orchestra in both works; this orchestra is obviously a pseudonym for the famed Philharmonic, the Symphoniker, the Tonkuenstler, the Volksoper....who knows? Well, I'm sure someone out there has the answer!

These are good performances, well played with no mannerisms or eccentricities.  I find both works enjoyable and recorded  sound is pretty good  for the late 50's to mid 60's. LP pressings are budget so results are somewhat variable on that end. My hope is that this offering will lead to other transfers of Swarowsky's art.

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