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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Sviatoslav Richter performs Russian concertos with Kondrashin conducting

A transfer I did sometime ago and I've had it in the can for a while. This one does not benefit from ClickRepair but rather Click Removal in Audacity. And, I believe that the files are mp3 if that matters.

The Monitor label released  a sizeable number of these early to mid 60's Soviet produced recordings and many were benchmark quality, at least for performance!  I would consider these peak Richter performances with Kondrashin and the Moscow PO to be right up there in terms of performance, insight, command of repertoire and interpretative quality. In Richter's hands, the Rimsky comes off as being a minor masterful creation, something that it ain't, certainly not approaching the genius of a Scheherazade. The Prokofiev 1 is a masterpiece and is given a reading that befits its status as one of the great piano concertos of the 20th century. And, the Glazunov 1's interpretation leaves one wondering why this little gem is not more securely fastened to the standard repertoire list. Richter and Kondrashin are like minded artists and this release is a terrific illustration of how the soloists/collaborator role should be followed.

Everything here is quite listenable if forever imprisoned in that distinctive "Melodiya" sound, love it or leave it, depending on your kind of audio preference. Richter is one of the great giants of the keyboard, in any kind of sound!

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Rossini's The Barber of Seville - opera without words

During the late 50's through the mid 60's. Kapp Records released a number of "opera without words" recordings, presumably to offer an alternative to the ones that Kostelanetz was issuing through Columbia. Altogether, there were about a dozen of these arrangements, asssembled and conducted by longtime Columbia Broadcasting System music director, Domenico Savino. The orchestra credited ihere is the Rome Symphony Orchestra. Interestingly, some of these Savino recordings found their way into the underside of pirate recordings where the Rome SO became the Rome Radio Orchestra, not to be confused with RAI Rome, of course.

Domenico Savino was an immensely talented, and jack of all trades kind of guy for CBS. Producer, arranger, composer, administrator, this guy apparently could do it all. Later in his life, after his successful career with CBS, he became involved in this opera without words project and he put his vast grab bag of skills in gear and cranked out this interesting series.  I think the arrangements are first rate and though the orchestra is small, it plays well given that rehearsal time was probably short and to the point. I do have my suspicions that the Rome SO is actually a bunch of New York theatre, freelance and moonlighting symphony players since Savino would've have had strong connections to these folks by virtue of his many years as part of the New York music scene. Perhaps someone out there can enlighten me further?

I hope you enjoy this 3/4 of an hour of sparkling Rossini. I have a couple more of these Savino recordings and I'll post 'em if there is an interest. Stereo FLACs.

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Hermann Scherchen conducts Beethoven overtures

Here's a little more Scherchen for you Scherchen lovers. A bunch of Beethoven overtures from Vienna circa 1952 or so. European Archive had this available but it was a mess so I obtained a copy of the record and transferred it myself.

Scherchen includes a couple of less often played overtures, namely Consecration of the House and Namensfeier along with the usual suspects, Coriolan, Creatures of Prometheus etc. All works are whipped up into a proper frenzy though one gets the impression at times that the maestro is pushing the envelope with these Viennese musicians. Oh bother, Scherchen is just a wonderful advocate for Beethoven...nuff said!

You know, I often wonder what Scherchen would have done if he had had access to truly world class orchestras, like the BSO, Cleveland Orchestra, Concertgebouw. The man had such an incredibly huge and varied repertoire and his creative mind was second to none. Was it is socialist politics that closed some doors? Was it his acceptance of often slipshod orchestral execution? Again, I am left wondering, what if and why?

Mono recordings in FLAC files for your listening...

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The Seven Last Words of Christ on the Cross - the legendary Scherchen recording.

I finally found a decent copy of this rather legendary recording. This is for Maready at The High Pony Tail. He requested the Seven Last Words sometime ago and while rummaging through a rather uninspiring shop during lunch the other day, I came across this Westminster Gold reissue for 2 bucks. Though I would prefer the original vinyl release, this will do and ClickRepair cleaned it up rather nicely.

Oddly, there have been too few recordings of this oratorio version dealing with the meditations of Christ along the seven stages of the cross. I know of Harnoncourt's reading and I'd bet money that he was somehow involved with the Scherchen recording while a string player in the Vienna SO. Just a hunch since both men have very individualistic approaches that often diverge in a quirky kind of way. I do have several versions of the string quartet version on hand but I do not find one adagio after another satisfying in the quartet medium as I do with the oratorio presentation.

Scherchen really connects with Haydn in a way not dissimiliar to Bernstein. His reading is very much one that revolves around the words, the message, and not necessarily the music. For me, this works exceedingly well. Though a powerful intellect and a rather scientific kind of thinker (Scherchen was a keen student of rational socialist thought), the conductor makes a powerful connection with the religious and mystical side of this passion of Christ. This connection pays great dividends, especially when working with second tier soloists and a knowingly inconsistent Viennese band. Not to digress too much, but I wonder what Scherchen would have accomplished with truly first rate musicians at his disposal. A topic for another posting indeed!

This recording dates from 1962, is stereo and FLACs are awaiting download.

Oh! and please remember to check the Vinyl Fatigue blog for the series of Scherchen led Bach cantatas. You will not be disappointed!

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Howard Mitchell and the National SO in an all Copland program

Here's a recent acquisition and with due thanks to ClickRepair, it is now quite listenable! From around 1956, an all Copland program on Westminster - the usual suspects, Appalachian Spring, El Salon Mexico, Billy the Kid Suite and Fanfare for the Common Man played by the National SO of Washington DC.

Howard Mitchell had a nearly 20 year tenure as conductor in Washington and the general appraisal of his efforts is mixed at best. A solidly trained musician from the American midwest, Mitchell, nonetheless, lacked the intellectual gifts of a truly inspiring conductor. For the most part, his reviewed performances document a generally well prepared ensemble which offered no new insights in to the repertoire but rather followed conventional norms and practices. Interestingly though, Mitchell did achieve some status for his Shostakovich recordings in which he displayed a certain affinity for this complicated artist. Go figure.

The Copland program is, well, pretty difficult not to play well. These pieces are crowd pleasers and Mitchell, as expected, knows the "American" idiom well. What is served up here is enjoyable, though not life affirming, as you would get with Bernstein. The NSO plays well but not as well, surprisingly, as it does in Shostakovich's 1st and 5th symphonies or, The Age of Gold ballet Suite, RCA and Westminster releases. Those expecting the NYPO or the Philadalphia Orchestra won't get in Washington. What one does get, is a good second tier orchestra, of mainly American musicians, enjoying and playing music by one of their own.

Oh, these are mono FLAC's.

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Carl Weinrich and Arthur Fiedler in Handel's Organ Concertos, Op. 4

I was lucky to run across this set yesterday, in great condition, for all of one buck! I wanted to post it for my esteemed colleague Larry at Vinyl Fatigue. Previously, Larry had offered an early Handel organ concerto recording with Biggs and Fiedler with the "real" Arthur Fiedler Sinfonietta. Here, I have transferred the complete Op. 4 but not the fugues. The Op. 4 concertos fit conveniently on one cd.

I find it interesting that Fiedler did not reconnect with Biggs for another go around in Handel. Biggs, instead, went to London and recorded all the organ concertos with Boult. Perhaps it all had to do with Fiedler being an exclusive RCA artist and Biggs a Columbia one. Whatever the reason, Fiedler does have a sensitive partner in longtime Princeton University organist Carl Weinrich, though I do think Biggs would've pulled out the stops a bit more in places.

For this 1967 recording, the orchestra used is credited as the Arthur Fiedler Sinfonietta but in fact it is no relation to the longtime ensemble that was Boston based and had fizzled out of existence some years prior to the recording. What we have here is a rather large chamber orchestra made up of New York musicians, presumably the usual cast of characters that performed as the RCA Victor Symphony, the RCA Italiana Orchestra...who know the deal. These are good players, responsive to Fiedler, but RCA should be ashamed for implying that the earlier Sinfonietta has a relationship to this one, assembled only for this recording and for one of the Mozart church sonatas.

Fiedler pined desperately to be taken serious as a conductor of "classics" and not just "pop" classical repertoire. Towards the end of his years, RCA, and later DGG, obliged him somewhat. Here we have the Handel, with the BSO he was able to realize his dream and conduct that orchestra in Dvorak's New World Symphony. Though the Pops was basically the BSO minus the prinicipals, actually conducting the "real" BSO was huge for Fiedler.

Back to Handel. Those expecting period performance will be disappointed here. Fiedler, and Weinrich were men educated in the first part of the 20th century and their understanding of Bach and Handel was grounded in 19th century traditions. Still, they are of one mind here and these works should be taken on their own terms and recognized for the excellence of the performers.

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Boyce's Eight Symphonies Op. 2 conducted by Jorge Faerber

Reading through a number blogs, I observed that a number of people were eager to see this lp resurrected. Well, here is is! William Boyce's delightful Op. 2 symphonies played quite stylishly by Jorge Faerber and the Wurttemburg Chamber Orchestra.

I've always found these works a delight - if you like the "spirit" of Handel or Arne, these little gems will make you smile. Framed in a Handelian mode, they go a step beyond Handel and are more "English" for Boyce was, unlike Handel, a man of the countryside and he absorbed the native jigs and other country dances into ihis music. What we have then is a rather rustic temper infused with the style loved in the capital. Boyce, of course, is no Handel in an intellectual sense but his output here is tuneful and stylish, all the same.

Most of you know Jorge Faerber and his Wurttemburg orchestra from the scores of recordings released on Vox throughout the 60's and 70's. Too bad that precious few have made it to cd since his readings are always well prepared and musically coherent. The sound he gets from modern instruments really makes a difference in Boyce. It is fuller and, unlike Pinnock or Hogwood, Faerber is not afraid to use a bit of rubato here and there - I believe this really assists in the presentation of this delightful, yet admittedly, second tier music. You be the judge. Paraphasing travel guru Rick Steves, "keep on listening!"

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Chamber Music of Spohr performed by members of the Vienna Octet

An absolute delight here! I'm glad I found this gem of chamber music, actually in the 3 for a buck box too!

Ludwig, or Luigi if you prefer, Spohr was a highly regarded contemporary of Beethoven and Schubert, living far beyond their lifespans, into the the time of the "new" music of Liszt and Wagner.   Sadly, Spohr's long life and prolific, albeit conservative, oeuvre have left him somewhat forgotten, eclipsed by those whose ideas were broader and far more reaching. A pity since his music is well crafted, tuneful and, at its best, highly appealing in a "sunshine" kind of way.

These two chamber works, the Nonet and Double Quartet, op. 87 are delightful in every way for they combine melody and a distinctive character into a highly enjoyable listening experience. These are works that bring warmth and a degree of comfort through an understandable and not too overwhelming listening experience. Beethoven and Schubert may have ultimately played at a higher level but Spohr's triple "AAA" efforts bring enjoyment and satisfaction all the same.

This well preserved London Stereo Treasury Series recording originally dates from the early 60's,  I believe.

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