Couple more Remingtons - The Jilka Sextet and Felicitas Karrer in Beethoven

Two additional Remingtons to offer today: The Jilka Sextet performing Beethoven's Septet and pianist Felicitas Karrer, along with conductor Kurt Woss, in the immortal "Emperor" Concerto.

The Jilka Sextet, or rather septet, was an augmented version of the Jilka Trio, an ensemble led by violinist Alfred Jilka. A search yielded surprisingly little other than a reference to them on the Remington Records site. References aside, this is an enjoyable and vivid performance of this delightful work from Beethoven's early period. This is Beethoven without the angst and working within set forms, rather than stretching them to their melodic and harmonic ends as is best illustrated in the last quartets.

Felicitas Karrer offers more of a biographical background. Born in Vienna, she was quickly recognized as a gifted artist and embarked on a recording career shortly after her 21st year. Karrer, though, chose personal and family affairs over that of a busy concert artist so by her 30th birthday, she had practically receded into the background as a significant concert performer. A very fine detailed biography of Felicitas Karrer can be found here.

In the Beethoven "Emperor" she is well paired with the fine conductor Kurt Woss and his Austrian Symphony Orchestra (known today as the Tonkünstler-Orchester Niederösterreich). Woss had organized this orchestra after the war as the "official" state orchestra of Lower Austria and remained its principal conductor until being called to Japan to help reorganize the NHK Symphony. Later, Woss would return to Austria and rebuild the Bruckner Orchestra Linz. He is best remembered as an orchestral builder and trainer. There is an excellent recording of Woss conducting Bruckner's 4th symphony available at abruckner.com.

Karrer and Woss are two very likeminded partners on this recording of the Emperor. Though Karrer admitted that these Remington affairs were often recorded "on the fly," there is little sign of this based on what I hear. Piano and orchestral contributions compliment each other throughout and there is a healthy elasticity in the performance. In short, this is a joyous collaboration, one where everything just seems to fall into place with ease, naturally unfolding for the ears. There is no "Her versus Him' here. So pleasing are the proceedings that one overlooks any instrumental inadequacies from this hardworking, though technically challenged orchestra.

As always, working with these early 50's records poses challenges and difficulties. It is darn near difficult to get perfect results, unless one wants to dedicate literally hours to the process. I admittedly don't! What I strive for is something eminently listenable and honest. I hope that you enjoy these two Remingtons as much as I do.

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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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F Charles Adler conducts music of Lora and Weiss

An early Composers Recordings today featuring Eva Wollman as soloist and F Charles Adler as conductor. The program consists of Antonio Lora's Concerto for Piano and Orchestra and  Adolph Weiss' Theme and Variations for Orchestra. Since both composer's are unknown to me and, I have nothing to compare the performances to, I will offer the original liner notes from the lp. I will say that this recording is an important document regrading Adler's important role in promoting contemporary composers to wider audiences.

"""THE COMPOSER-PIANIST, ANTONIO LORA, was born in Italy, but since his early youth,
has lived in the United States. His studies in theory and composition were pursued with Rubin
Goldmark and Eduardo Trucco; his piano training with Alberto Jonas. In 1924, he made his
pianistic debut at Aeolian Hall in New York City.

The following year he began studies at New York University, where his teachers were Philip
James and Albert Stoessel. In 1927, having been awarded a Fellowship in Composition at the
Juilliard Graduate School of Music, he embarked on a four-year period of advanced study from
which he was graduated with honors.

Then, exchanging the role of pupil for that of teacher, he joined the Juilliard faculty and
remained there until 1936, when he relinquished his post in order to concertize in Europe. His
recital appearances took him to Holland, Switzerland, and Germany, and in addition to his
many performances, he found time to supervise presentations of his own music. He was invited
by Alexander Spring, then General Manager of the State Opera in Cologne, to write an opera.
The outcome was a three-act music drama, “Launcelot and Elaine,” with a text by Josephine
Fetter Royle, based on Tennyson’s “Idylls of the King.”

In addition to the opera and the Concerto for Piano and Orchestra here recorded, Lora has
composed two Symphonies, a ballet, a light opera based on “The Legend of Sleepy Hollow,” an
operetta for children, numerous chamber works and instrumental pieces, and about fifty songs.
Concerning the latter, the late Marion Bauer wrote:
“The style of Antonio Lora’s songs is dominatingly impressionistic—not the impressionism of
Debussy or Ravel, but of the modern Italians. This impressionism shows more in his
accompaniments than in the melodic line. His harmony is definitely coloristic and chromatic;
the deft hand of an excellent pianist is evident in his treatment of the accompaniments, which are
always effective musically, and occasionally on the difficult side. They are more influenced by
harmonic principles than by contrapuntal ones, and he knows the secret of unification by the use
of reiterated pattern. The composer understands the possibilities of the voice, and his music is
well written for this medium.”

The CONCERTO FOR PIANO AND ORCHESTRA was composed in 1948, while Lora was
a member of the faculty at Ohio State University. It is cast in three movements, of which the
composer has given the following descriptive analysis:

Maestoso-Allegro
 “The piano, opens with a series of powerful introductory chords and octaves, followed by the
announcement of the first theme in the orchestra. This pattern is reiterated before an episode
leads us into the second theme, which is again announced by the strings and repeated by the
piano. The development is animated and vigorous. There is interesting interplay between solo
instruments and orchestra, culminating in an orchestral climax and the cadenza. The
recapitulation, with foreshortening of both themes, leads to a brilliant coda.”

Andantino, quasi Andante
 “The theme proper is preceded by contrasting solo utterances from piano and front orchestra.
An obbligato-like thread in the piano’s upper register decorates an elegiac theme which the
strings sing out, growing in intensity until the solo instrument breaks forts with a surging and
impassioned presentation of the subject matter. There is a brief respite before a restatement of
the opening measures.”

Allegro molto-Burlesco
“Like the first movement, the third is cast in the traditional Sonata Allegro form. After a few
octave passages in the piano, the orchestra launches into the theme proper, which typifies the
articulate and rhythmic nature of the entire movement. The jaunty mood is sustained with no
letup, save for the contrasting second theme and the short cadenza. If the orchestral texture is
restrained and rather subdued, this was intentional, for I wished the sonorities and crystalline
tones of the piano to be heard at all times above the orchestra.”

WHEN ADOLPH WEISS’ THEME AND VARIATIONS FOR ORCHESTRA were
premiered in April, 1936, by the San Francisco Symphony Orchestra under Pierre Monteux,
Alfred Frankenstein, critic of the San Francisco Chronicle, described them in these terms:
“Weiss succeeded in combining the utmost scholastic craft with powerful and poignant
expressive values. On the purely musical side, the impression of the first hearing is one of
tremendous concentration of energy. The theme is put through a series of brilliantly designed
transformations, but there is no meaningless elaboration of unessentials. Astonishing twists of
texture are unfolded; new and interesting orchestral devices are revealed.”

An interesting bit of information not mentioned in this quotation is that the variations are based
on the sequence of stanzas in Whitman’s “When Lilacs Last in the Dooryard Bloomed.” The
music does not describe the stanzas, nor could it be called programmatic. But, in the composer’s
own words, “The spiritual content of the poem fixed the sequence of musical ideas as well as the
form of the composition.”

The variations are twelve in number, growing out of the original theme, a broad, highly-arched
melody which progresses mainly in sevenths. The first phrases of the theme are stated by a solo
bassoon, supported by a richly swelling texture of strings. The high woodwinds are introduced
momentarily, still supported by strings. Finally, in the theme’s closing portion, the bassoon
reaffirms its opening phrase; a triplet motif which has played an important part in the melody is
again brought forward, and the section ends. At the conclusion of the entire work, this same
theme is recapitulated literally, giving a sense of completion to the form and acting as a reorienting
point for the ear.""

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Lili Kraus and Pierre Monteux in Mozart

A French RCA release of  Lili Kraus and Pierre Monteux, from Boston, in Mozart's Piano Concertos numbers 12 and 18. Recordings were made live in 1953 from Symphony Hall.

Lili Kraus was best known as a specialist in late classical and early romantic piano music. Especially noted for her Mozart, she recorded all of the piano concertos and piano sonatas, in some cases two or three times. I have the bulk of her set of concertos recorded with Stephen Simon and though her playing is pristine, the accompaniment by Simon and a suspect pick up orchestra is utilitarian at best. That said it was most welcome that I came across this issue where Kraus receives the finest support possible from the BSO and the beloved Maitre. Monteux always had great taste and sensitivity when working with soloists and Kraus is supported in the best possible way by a great, great musician.

I do find it interesting to compare Kraus with one of my favorite pianists, Clara Haskil. The former's approach I find more straightforward, almost academic while the latter, blessed with technique second to none adds an almost spiritual aproach to her playing. This is not to say that Kraus is inferior, just different, more of an intepreter of design rather than of the composer's soul or angst I guess. Each approach is equally valid and of great historical importance, given the personal integrity of both women.

Enjoy Mozart on  a Monday.

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Two Bach Sonatas for Unaccompanied Violin performed by Bronislaw Gimpel

The 21st century got you down? Is the fast paced, impersonal, technology driven society enough to give you a longterm headache and fuel your desire for an alcoholic relaxant? Well, I have a better idea. Relax for a about a hour with Bronislaw Gimpel playing Bach at his best (by himself!) and you'll have an antidote for the weary, crazy days we are living in at this very moment!

Bronislaw Gimpel needs no introduction from me. A career that spanned well over half a century, he was justly praised as a soloist, orchestral concertmaster, chamber music partner, teacher, theorist and conductor. For more information about him and, and his talented family, I will direct readers to the excellent Gimpel Family Archive .

There is a style of playing in these two sonatas for unaccompanied violin (Nos. 2 & 3) which partners technique, musicality, wisdom, and intellect all into one neat package. Many violinists have recorded these pieces but I think, few have been as persuasive as Gimpel. (For the record, warts and all, I love best Enescu's set of the complete sonatas and partitas, his swansong to his extraordinary instrumental and interpretative prowess.) When Gimpel set these sonatas to record, he was in his mid 40's and had been concertizing for well over 40 years. He also had witnessed destruction on an unimaginable scale and therefore set out, like others, to preserve something of the old world amid the chaos and changes of a brave new world. Hence, this style of playing which is intimate, approachable yet dazzling, and so infused with the spirit of being "human." And like Schnabel, Gimpel practices the concept that the music is not necessarily captured solely in the notes but it also resides in the silence between the notes.

Gimpel recorded the entire set of sonatas and partitas. I have only located this Dover mono reissue. If I do come across the remaining items, I will, of course, post them. They deserve it. This playing speaks of genuine human goodness and I need as much of that as I can get.

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Piero Coppola conducts Saint Saens' Organ Symphony

Here's my addition to the Piero Coppola trend of late. Recent postings by Neal's Historical Recordings and 78 toeren  led me to dig out this "Past Masters" lp, that I've had for a long while, of Coppola conducting Saint Saens timeless Organ Symphony. The recording dates  from 1930 and was made with the "Gramophone Symphony Orchestra- La Voix De Son Maitre" in Paris. Coppola was the artistic director of the French arm of HMV - The Gramophone Company for the better part of the 1920's and 1930's.

I'm really glad that I transferred this record. Past Masters or "PM" was apparently a company located in New Jersey that produced reissues and housed them in a plain white jacket with a sticker that identified the performance: very much a no frills shop you might say. Quite honestly, I'm not sure if this was some sort of quasi pirate operation but what I will say is that the results of their transfer of this symphony are stunning. You will not believe that this record was set down in 1930. It's so vivid, the balancing is superb and details jump out of the speakers. Combine great sonics with a superb performance and you have an absolute winner. This was probably the finest recording of the Saint Saens on the market until the stunning stereo spectacular of Munch in Boston, nearly 30 years later!

Featured performers for this symphony are Alex Cellier on organ, Lucien Petitjean on piano and Denise Herbrecht on piano. I cannot help but wonder if the Gramophone Symphony Orchestra is indeed the Paris Conservatory, Lamoureux or Pasdeloup in recording disguise. A thought...

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The Three Elizabeths and Four Centuries Suites of Eric Coates

 

I first heard of Eric Coates on a Quintessence lp reissue conducted by Morton Gould. On this record, a very fine, toe tapping performance was given of Coates' London Every Day Suite. If you know the piece, it is a delight, positively English and totally "empire" upbeat. Depicting London on any given day, it is filled with the sounds and smells of this fascinating city. Some years later, I had the great fortune to play Coates' terrific march "The Dam Busters." This march was written to commemorate the airmen who specialized in wreaking havoc to the German's by destroying dams, bridges, dykes and other devices designed to contain mother nature and the landscape.
The lp here, released in the batch to honor the coronation of Elizabeth II, contains two wonderful suites, The Three Elizabeths and Four Centuries. The former suite features musical depictions of Elizabeth I, Elizabeth of Glamis, the Queen Mother and Elizabeth II. Beatifully written, each piece is a true musical portrait from depicting the strong but uneasiness of the first Elizabeth to the quiet, inner strength of the Queen Mother ending with the exhuberant, promise for a great future that Elizabeth II ushers in. Wonderful!

 

The Four Centuries is a suite of dances with each movement dedicated to a century from the 17th to 20th. Coates displays a sure and firm grasp of the styles and forms and the writing is simply delightful, a treat. If you are not ready to dance by the foxtrot theme of the 20th century, well...you're dead!

In Coates's music you will hear echoes of Elgar, Vaughan Williams, Grieg, Glazunov, Paul Whiteman. Hell, it's all there albeit in Eric Coates' own, quite personal style. For these performances, Coates leads the New Symphony Orchestra and I think his leadership is quite surehanded. Below, you will see that this download is available in FLAC on either MediaFire or FileServe. I'm experimenting a bit. Let me know which you think is working more optimally. Thanks!

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Michele Auclair and Gaspar Cassado on Remington

A very enjoyable Remington lp, R199 128 circa 1953, featuring the talents of violinist Michele Auclair and cellist Gaspar Cassado. As luck would have it, this Remington is a Masterseal issue on good, sturdy, surprisingly clean vinyl and not the dreadful shellac which is so difficult to transfer effectively. The program features "Fritz Kreisler" encores and cello encores arranged by Cassado.

More has been written and reviewed of Gaspar Cassado than of Michele Auclair. On evidence here, Auclair was an extremely gifted and persuasive violinist. I would urge you, the reader, to take a moment and review her remarkable biography here. Her career apparently followed a direction towards teaching and unbeknownst to me, she taught for a number of years, just 5 miles up the road, at the New England Conservatory.  Her Kreisler selections are played with authority, great technique and panache. Great stuff.

Gaspar Cassado had a more prominent career, especially preceding the Second World War. He was a student of Casals and that association opened up many doors for him as a soloist, chamber music partner and composer. After the war, he struggled somewhat with reestablishing himself and his recordings, made mainly for Vox are uneven at best. Critical acclaim alluded him as it had been so positive before hostilities in Europe broke out.  I do think his program here is well played, though far from technically perfect and, of special interest is Cassado's arrangement of the "The Blue Danube."

The complete program for this lp is as follows:

Michele Auclair - Praeludium & Allegro (Pugnani-Kreisler), Melodie (Gluck-Kreisler), Rondino On A Theme Of Beethoven (Kreisler), Songs My Mother Taught Me (Dvorak-Kreisler), Serenade Espagnola (Chaminade-Kreisler), Danse Espagnole (de Falla-Kreisler).

Gaspar Cassado - Spinning Wheel (Mendelssohn-Bartholdy), Nocturne Op. 9, No. 2 (Chopin), Gavotte, Op. 23 (Popper), Melody (Rubinstein), Valse Sentimentale (Tchaikovsky), Improvisations on "The Blue Danube" (Strauss-Cassado).

Both performers are accompanied by Otto Schulhof, a little known but excellent recital partner.

Oh, a really fine performance of the Tchaikovsky Violin Concerto featuring Michele Auclair can be found here.

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