Heroic Beethoven from Charles Munch and Werner Janssen

In order to end the work week on a high note, here is a little Beethoven from Charles Munch and Werner Janssen. We have two "heroic" works, the  Symphony No 3, of course, and maybe the first recording of the much maligned "Wellington's Victory at the Battle of Vittoria."

As previously discussed, there is much controversy around the merits of Charles Munch's Beethoven. Some have found it without substance, others have felt it too driving and intense, yet others have thought it not thoroughly German enough! Well, what I will say is that it is in a class by itself, difficult to pigeonhole, yet merits do abound. One obvious advantage is that Munch has a glorious BSO at his disposal and they play marvelously for him. Whatever you can say about Munch, he did have this singular ability to whip up the forces into a froth of excitement with purpose. This is a vital reading and deserves a place on your shelf. Regarding the transfer, I did not have the stereo disc at my disposal, this is the "LM" mono record.

As a filler, I thought "Wellington's Victory" would be kind of cool. A lightweight work, but with its moments of fun, it does not require great concentration  and can be absorbed with little cognitive response...whew, what does that mean?! I believe the date of this recording is from the late 40's and Janssen originally set this down along with the "Jena" symphony, long attributed to Beethoven, however pretty much regarded now as being from the pen of Friedrich Witt. Sound contraints limit the full effect of the work and Janssen does not employ the various fireworks that Ormandy had at his disposal for his 70's RCA record. Still, worth a listen and a reminder of how good some of those Hollywood musicians were that comprised the Janssen Symphony of Los Angeles.

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Gershwin and Copland by the young Leonard Bernstein

No one, NO ONE, owned this repertoire like Leonard Bernstein. When it came to making a case for Copland or Gershwin, hands down Leonard Bernstein could do it better then anybody.

This Camden issue (though the picture above is from the original issue), highlights impressive accounts of An American in Paris and the Billy the Kid Suite dating from 1947 studio sessions for RCA. Because the RCA Victor orchestra is small, probably no more then 50 musicians , many details that are often buried in larger ensemble presentations, literally leap out of the score in these accounts. Bernstein's swagger, lilt, nervous energy and kinetic approach is in full display and these performances auger a bright future for the dynamic young Bernstein.

This is great music for a beautiful sunny day and, is a fitting reminder of a special, albeit highly individual, American legend.

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George Szell conducts Schumann and Beethoven from Cleveland & New York

I was most fortunate to acquire this week two extremely well preserved lps of George Szell conducting in Cleveland  (1952) and New York (1954ish I think). Here they are and, for the first time, I am trying ClickRepair in its trial edition.

Szell is rather interesting character in my book. An incredibly gifted musician (many do not realize that he was a piano prodigy and composer), he was also a difficult, rather mean spirited man, who sought only to promote his ambitions, often at the expense of weaker and sometimes less talented musicians. Given what I have read, it seems that no really liked Szell but his willful personality manipulated and cajoled those around him into doing his bidding. At its very best, the results of the Szell way was unparalleled excitement coupled with breathtaking musical virtuosity and execution.

The Schumann from Cleveland is Szell's first take on the work with this orchestra. Those that know his celebrated cycle from the late 50's, early 60's may not recognize this as being from the same conductor,or orchestra for that matter! This is highly driven performance from an orchestra that is not quite the precise ensemble it would become within the next 8 to 10 years of this recording. Without a doubt, Szell blows off whatever cobwebs his predecessors laid on the work and he presents a blazing account of a rather wonderful score. I have never heard a Schumann 2nd that moves like a great performance of a Beethoven symphony..but this one does!

Beethoven's Pastorale from New York is noticably more restrained than the Schumann but features more secure playing and a warmer touch. Like Szell's later Cleveland account, this is a good reading but the maestro's temperament is somewhat at odds with the general flavor of the score. I've always thought that a more genial Walter way or, expansive Stokowski vision, works best in this colorful music. Szell doesn't strike me as a man who had much to do with nature...could you imagine him fly fishing? Whatever the final verdict, Szell does deliver Beethoven with an overall faithful approach to the score. Surprisingly, I hear portamento from the strings and THAT was a bit of a surprise....maybe Szell was indeed relaxing a bit!?

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Music for Two Pianos performed by Ferrante & Teicher and the Casadesus Duo

Many folks know the duo of Ferrante and Teicher for their quasi lounge/elevator music type programs. In that genre, they are truly excellent and here, in a program of Brahms, Saint Saens and Schumann, they are highly persuasive and strikingly individual. I never tire of the Haydn variations and this rendition held my attention - quicker tempos and softer dynamics are the features of this well thought out performance.  An interesting take on this warhorse though, admittedly not my favorite one; I have a fondness for the Paratore brothers in this work. I do like the other major work in this program very much, Saint Saens' rarer Beethoven variations. In this work, I think Ferrante and Teicher get things just about right. It's a delightful work, not heard enough these days, I am sad to say. These performances date from a  50's Westminster recording.

I came across a Columbia 10 inch of Robert Casadesus' own Mediterannean Dances and these are simply delightful. Played alongside his partner, and wife Gaby, these colorful miniatures are wonderfully evocative of the south of France. Forgotten today is that Casadesus was a very fine composer; at some point I will post his piano and 3 piano concerto, performances featuring him, Gaby and son Jean.

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Sir Charles Mackerras passes on - a small tribute to him

The world yesterday lost one of the real gentleman giants of the podium, Sir Charles Mackerras.  A cosmopolitan, yet modest man, Mackerras achieved during his sixty year career a distinction of consistently fine musicianship and the singular dedication towards presenting a composer's intentions as best he could within the confines of the "here and now." I know of no conductor who possessed as vast a repertoire and was as singularly convincing as Sir Charles. His loss, I think, will take sometime for us to come to terms with.

Of my favorite recordings, I always come back to Sir Charles' Dvorak.  from the Hamburg 8th of the late 60's to his incredible 6th recorded in Prague about 10 years ago, he was always so convincing, so right, so FUN. If you have not heard Mackerras' Dvorak, this is a great place to start in order to assess this man's greatness as an intepreter and presenter.

My little remembrance is this Philip World Series lp of ballet suites by Rameau and Gluck. I transferred it sometime ago but was not totally pleased with the sound. However, it is what I have available at the moment and I do not believe it is available elsewhere in a cd format. Mackerras leads the mid 60's LSO in Castor and Pollux and Orfeo ed Euridice; let's not forget that Mackerras actually began his career as a "specialist" in Baroque/Early classical and Czech music. These suites are quite delightful in their own right and a nice memorial to Mackerras's inerrant good taste is a beautiful "Dance of the Blessed Spirits."

Rest in Peace Sir Charles. You did your part to bring a litle beauty, good taste, and decency to this troubled world.

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Antal Dorati's first recording of Rimsky Korsakov's Scheherazade

Here's a find from the three for a dollar box at "In Your Ear!"  This, of course, is Antal Dorati's first recording (1937) of Rimsky Korsakov's timeless masterpiece "Scheherazade." This RCA Bluebird reissue features the playing of Beecham's London Philharmonic.

A couple of things that I would like to note. First, this is the quickest performance of the work that I know of: it clocks in at about 39 minutes. Most other performances are a good 3 to 5 minutes slower, including Dorati's numerous remakes. Second, the playing of the LPO is decidedly not first rate. I was surprised at the number, and prominence, of the careless attacks and less then crisp articulations from the winds. Strangely, many of the hallmarks of preparation that Dorati performances are known for are for the most part absent here. I wonder if rehearsal time was seriously limited?

Warts aside...this is an important document from a very fine conductor who produced many excellent recordings in a long and successful career. The Scheherazade here is a young man's take on the work and what it lacks in polish, it makes up for in zeal.  I am happy to have discovered it in that box filled with three for a buck discs!

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Robert Whitney conducts music of Villa Lobos and Norman Dello Joio

I was so glad to find this, one of the Columbia recordings that the Louisville Orchestra made before the orchestra launched its own, highly acclaimed "First Edition" label. Here we have two wonderful works, Villa Lobos' "Erosion, or the Origins of the Amazon" and Norman Dello Joio's excellent symphony "The Triumph of St Joan." My transfer is from one of those infamous Columbia Special Products lps and recordings date from the early 50's.

Without question, Robert Whitney was one of the two or three best friends that a 20th century composer could possibly have. Possessing a varied repertoire, a good orchestra and and a drive to "spread the word" Whitney probably led more world premieres than any other conductor, maybe with the exceptions of Koussevitzky or Hanson, I am not sure. Hardly a flamboyant man, he was methodical, serious and totally devoted to his beloved Louisville. Listen to ths record and you will see what I mean.

I especially like the Dello Joio work. If you like the format, and idea, of Hindemith's Symphony Mathis der Maler, you will enjoy the Dello Joio. It is a wonderfully scored work and highly descriptive. For the life of me, I cannot understand why it is not more of a repertoire piece.  My only explanation is that Dello Joio's inate conservatism might have something to do with this. Anyway, if you do not know this work, I cannot think of better advocates then Whitney and Louisville.

As a filler, I have included, from a Vox lp, the fine Polish pianist Felicja Blumenthal performing Villa Lobos' excellent Bachianas Brasileiras No. 3. Blumenthal is accompanied by the Trieste Philharmonic in a mid 50's recording.

Please allow for some surface noise in this program. Thanks!

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Baroque Trumpet Festival with Gerard Schwarz and the NY Trumpet Ensemble

I just found this one during the past week and I HAD to get it up on the blog. This particular lp (I originally owned the cassette), along with The Art of the Baroque Trumpet with Edward H Tarr, were the first trumpet records that I bought from Lechmere's and Strawberries some 30 years ago. At $2.95, these Nonesuch beauties were affordable for a teenager on a tight budget. And, they were GOOD!

Everyone knows Gerard Schwarz as the longtime music director of the Seattle Symphony but few remember that he began his career as a brilliant trumpet player, first with the American SO under Stokowski and later in the NYPO.  The conducting bug bit him rather early and he was lucky to break in and learn the trade at New York City's famed "Y" concerts. From there, Schwarz certainly blossomed into one of this country's more renowned masters of the podium.

The program that I have put together showcases Schwarz as soloist and director/member of the illustrious NY Trumpet Ensemble. In short, this is great trumpet playing of enjoyable 17th through 18th century trumpet gems. Ably assisted by superb musicians such as Raymond Mase, Mark Gould, Leonard Sharrow and Albert Fuller, we've got a tour de force that I cannot imagine anyone turning their nose up at. As I've mentioned previously, I'm a semi pro trumpeter of many years and I always find time to appreciate, and hold in awe, players that make it sound soooo easy but with the best of taste. Such is what you get with Gerard Schwarz and his colleagues. The recordings here date from 1973-4.

Oh! if there are any requests for the Edward H Tarr album, let me know. Tarr was a very important scholar and researcher though by today's standards, his playing probably would be deemed unexceptional.

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Sir Adrian Boult conducts Mendelssohn's Italian and Scottish symphonies

Here's two of my very favorite works by Mendelssohn in sparkling performances under Sir Adrian Boult. These are Nixa/Westminster recordings from around the mid 50's which feature the Philharmonic Promenade Orchestra (of course, the London Philharmonic in contractual disguise).

What strikes me most regarding these performances is the briskness of tempo and the need to move the music along. These are unsentimental renderings with absolutely no sign of "heart on the sleeve." What we have here is almost businesslike, well prepared, and devoid of any "19th century" excesses. In short, as I listened, I heard a definite connection between Boult and period performance, in particular Roger Norrington's Mendelssohn recordings. The Scottish, especially, held my attention quite firmly; I'm spellbound by this performance as it would appear to be 25-30 years ahead of its time. Fascinating...really. Definitely a much different rendering of the Scottish then Maag's roughly contemporary lp with the LSO.

One last observance about Boult:  every performance of his that I encounter is so well prepared, and thought out, that though spontaneity may be lacking, craftsmanship, taste and diligence are always there. With Boult, you get your money's worth.

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