Beethoven's Pastorale Symphony with Karel Sejna

Here is the most rustic sounding Pastorale that I have ever heard. This original early 50's record features the glorious Central European sounds of the Czech Philharmonic (in its postwar magnificence) under its longtime principal or resident conductor Karel Sejna.

Karel Sejna is a name that is all but unknown in the United States and vaguely remembered in Western Europe duein part from tours during the 1950's. He is one of those musicians that devoted his art and life to his land of birth and fortunately, a recorded legacy preserves a highly individual and gifted talent. No doubt that Sejna understood the sounds and temperament of his Czech colleagues, able to coax out of them timbres and phrasing that add a delightful freshness to old warhorses. Case in point is his terrific Mahler 4th available on the European Archive and this Beethoven Pastorale.

Notwithstanding some technical issues with the recording and pressing (the opening note in movement 1 is clipped, something that the Gramophone  reviewer in 1960 complained about), Sejna treats us to an intimate, village setting for his Pastorale which combines lyricism with a raw and rustic peasant quality. This approach is so refreshing because countless recordings add a sheen and gloss over the "little people" aspects of this groundbreaking (I think so) music. The Pastorale is a celebration of the country, the hardworking people of the land and the imperfections and mysteries of life. Sejna gets it down to the "T." His Mahler 4th has a very similiar approach and it is a marvelous achievement.

Enjoy a Pastorale whose likes is probably not to be heard again.

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Reiner and Ormandy in Tunes from the Homeland

 


The spirit of Hungary from the Keystone State! Here are two fine Columbia issues from the late 40's featuring Hungarians Ferenc Reiner and Jeno Blau. We of course know them as Fritz Reiner and Eugene Ormandy.

The Reiner disc is another document from his Pittsburgh years. I love these recordings from Pittsburgh because they capture Reiner in manner which is almost the polar opposite of what we came to expect from Chicago. In the Windy City, Reiner was known as a severe, humorless perfectionist who drove his orchestra hard and without remorse. Pittsburgh recordings tend to be more flexible and relaxed, sounding at times spontaneous and inspired by the minute.

The selection of Hungarian Dances by Brahms are tossed off winningly and quite naturally. I swear that Reiner has tweaked Brahms' orchestrations ever so slightly though the liner notes say nothing on the subject. As for the Stauss waltzes, another example of Reiner's treatment of these gems as more then mere entertainment and fluff. Reiner really was one of the finest conductors of this genre; interestingly, another perfectionist, Carlos Kleiber, is supreme here as well. Great, idiomatic, interpretations here despite the oddly very dated and stuffy sound.

The Ormandy disc fares much better with sound probably because the Philadelphia Orchestra was the Cadillac in the Columbia garage. Ormandy is well within his element with the two Liszt Hungarian Rhapsodies and the Philadelphians play these with all the expected virtuosity of a very great orchestra. I never take these Liszt pieces for granted because poor conducting sabotages the hell out of them while great conducting rivets the listener to his or her seat. Ormandy's traversal is close to great and there is sparkle and wit here. The best Hungarian Rhapsodies, for my money, are Scherchen's mono set from London. It's absolutely terrific - Scherchen at his most inspired finest! The Ormandy record is paired, rather strangely I think, with Grieg's Peer Gynt Suite. This is vintage Ormandy fare and he played Grieg as well, or better then, his contemporaries.

A nice full program here with two fine conductors recorded in their prime with two terrific, but very different orchestras.

SORRY - MEDIAFIRE REMOVED THE LINK

A Josef Lhevinne recital

Above is the Camden release cover to my Victrola reissue. This is a recital by the great Russian-American pianist, Josef Lhevinne. These recordings date between 1928 and 1935 and capture the pianist during his final decade on God's Green Earth.

Josef Lhevinne was a genius. Regarded as maybe the greatest technical player of his day, he is above known for his devotion to teaching  at his beloved Juilliard where he, and his equally talented wife Rosina, built the greatest program for aspiring pianists during the 20th century. To his students and contemporaries he represented the pinnacle of taste, craftsmanship, and technical proficiency.

The performances on this record of Chopin, Schumann, Debussy and Johann Strauss are beautifully rendered  with the highest level of musical excellence. Lhevinne has not only the highest regard for the written note but his presentation is set forth with respect, humility and responsibility. You can hear this being conveyed through his ten fingers onto the eighty eight keys. This is a must hear experience. I especially want to call attention to the Debussy which pairs Josef and Rosina in the real definition of marital bliss!

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Scherchen conducts overtures by Weber and French opera composers

From a three lp mono reissue by Westminster, we have a whole bunch of overtures conducted by Hermann Scherchen with the Paris National Opera Orchestra. There are five overtures by Carl Maria von Weber as well as overtures by French opera composers Adam, Auber, Boeldieu, Lalo and Thomas. I have not transferred all 3 lps but only recordings from Paris, which fills nicely fills a cd.

As with all Scherchen issues, there is plenty of excitement and often scrappy playing. Scherchen certainly has the measure of the music and his imprint is firmly on these gems. They are all a delight from start to finish. As always, I am left thinking what results Scherchen would have gotten with a truly first rate orchestra at his disposal.

I believe all of these recordings date from the late 50's and were originally released in both stereo and monaural.

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The Beggar's Opera as realized by Max Goberman

A little change of pace for me since I've not offered any opera or much in the way of extended vocal works. Here is a unique recording conducted by Max Goberman: a setting of John Gay's "The Beggar's Opera as orchestrated and realized by Maestro Goberman. This set dates from 1962 and here in the monaural edition, we are offered one of the last records cut by Goberman prior to his early death at age 50.

For those that do not know the Beggar's Opera, it is a parody and pastiche created by lyricist John Gay and set to popular tunes of the day, many by then renowned Italian opera composer George Frederick Handel. Italian opera was widely popular in England during the first three decades of the 18th century and composers like Handel made gobs and gobs of money writing in a genre that few, if any, Englishmen could understand. Gay sought to satirize this craze with a bawdy parody which incorporated the simple English language of the people along with the air of the English "aristocratic" voice. The result of his efforts was a revolution in tastes as Italian opera collapsed and composer's, like Handel, would have to recreate themselves. In Handel's case, his genius conjured up an entirely new art form,  the English biblical oratorio. Ironically, true opera in English would be slow to germinate, reaching its full flower two centuries after The Beggar's Opera with Britten's string of masterpieces.

For collector's, the name of Max Goberman needs no introduction. At the time of his death, he was in the middle of several pathbreaking series of  the complete recorded  orchestral works of Vivaldi and Haydn. Goberman combined scholarship with solid podium skills and he left us with a recorded legacy which at its best forces us to hear works with a "new" ear. This I think is the mark of a great musician. The Beggar's Opera presented here was the germination of years of research and Goberman adapted it for the modern audiences on Broadway since the theatre is where he began his career. Goberman's adaptation updates the language so American audiences can better understand the dialogue - 18th century English was a far different dialect and much is incomprehensible to the modern ear. Goberman's reorchestration is tasteful, minimal and quite atune to what we would call HIP.

I have included the cast information though admittedly, none of the singer's within the set ring a bell with me. The orchestra is unnamed and its too bad since they acquit themselves marvellously. This set was a co-production between Everest and the Library for Recorded Masterpieces.

Enjoy something out of the ordinary!

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Antal Dorati conducts his arrangements of Johann Strauss, Richard Strauss and Jacques Offenbach

In over 35 years of listening to the classics, I can honestly say that one of the greatest influences on me has been Antal Dorati, in particular early Dorati from the mid 40's through late 50's. What strikes me most about early Dorati is the excitement, the sense of occasion that he brought to, and inspired, in his performances from Dallas and Minneapolis.

The three performances here feature three orchestras tackling works arranged by Dorati and recorded during the late 1940's by RCA Victor:

• The ballet "Graduation Ball" based on music of Johann Strauss the Younger performed by the Dallas Sympony Orchestra
• The suite from the ballet "Helen of Troy" by Offenbach performed by the Minneapolis Symphony Orchestra
• The suite from "Der Rosenkavalier" of Richard Strauss performed by the Robin Hood Dell Orchestra (pseudonym for the Philadelphia Orchestra which was under contract to Columbia)

In all of the works, Dorati elicits sharp playing and sensitive phrasing from the musicians. In addition, Dorati keeps the pulse steady and accurate and this is no easy feat as these suites are scenes that require flawless transitions in order to move along convincingly, rather in a transparent way I would say. It is so easy for suites like these to become fragments strewn together but Dorati does not let that happen. I think one reason why these arrangements are all but forgotten is that few conductors could pull this off as convincingly as Dorati. These are great examples of the art and talent of Antal Dorati: composer, conductor, leader.

These records were in so-so shape. Overall, the transfers came out better than I had imagined however, there are a couple of spots where added noise removal would jeopardize overall sound. I don't think this will prove too much of a problem as the historical reason for listening to these recordings outweigh any technical limitations.

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The Trio di Bolzano in Ravel and Shostakovich

From 1964, here is the monaural Westminster edition of the Trio di Bolzano performing Ravel's Piano Trio in a and Shostakovich's Piano Trio in e, Op. 67. The members of the trio are Gianino Capri, violin; Sante Amadori, cello; and Nunzie Montanan, piano.

Admittedly, I know next to nothing about this fine trio from the city of Bolzano, which is located a short distance from the Austrian border. A little digression, if you will permit me: some years ago, the Oktoberfest band that I play in did a gig for a  group of North Italian background that was celebrating an Oktoberfest type celebration here in Massachusetts. Most of these folks of Italian lineage had roots in and around Bolzano and the group had come from throughout the United States to celebrate their gathering. Strikingly, their costume and decoration for this event was right out of Munich! It was more Germanic then Italian even though the names were Italianate. It was a trip for me to say the least.  Enough of that.

These are two of the best trios written during the 20th century. Ravel's trio is a masterpiece of phrasing and nuance and this composer's understanding of the particular qualities/timbres of instruments is unimpeachable. Shostakovich is always a special case since what is on the surface is not always the inner meaning of the piece. Messages and meanings are buried within the lines and musicians with a strong roadmap of this composer are needed to bring forth a most persuasive performance of the work. One must remember that this trio was written shortly after the very public Symphony No 8 and like all of Shostakovich's chamber music, his true feelings about events and people are depicted here, and written "between the lines." Gilels - Rostropovich and Kogan capture this music definitively for the simple reason that they "knew" what Shostakovich was talking about.  Trio di Bolzano are quite credible, putting forth a striking recording, but my opinion remains that the Soviet musicians contemporary with the great composer are ultimately the way to go if you want to get inside of this complicated music.

I know that the Trio di Bolzano released a number of recordings on Vox during the 1950's and I am on the lookout for them. The ensemble is all but forgotten and it's really too bad since these three musicians possessed consumate technique and musicianship. They instinctively respond to each other and this is characteristic of great small ensemble playing.

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First Chair! Philadelphia principals get a chance to shine.

Some folks on google groups classical recordings were looking for this record and, well I happened to have it. This, I believe, is the first of the "first chair" albums issued in Philadelphia and the success of it would yield additional Philly installments, as well as versions featuring other orchestras in the United States.

No doubt that Eugene Ormandy had, in 1952, fantastic principal players. Some like William Kinkaid on flute, had been around for decades and had not dropped a beat. Ormandy was a shrewd man and recognized that highlighting his orchestral leaders in an album such as this would be good for the orchestra, the players, sales and Eugene Ormandy. Thus we have this fine sampler featuring works of the baroque up through the modern day, deftly handled by those fabulous Philadelphians.

Sound is pretty good here though there are a couple clicks due to a less than pristine lp. This is a great chance to hear some of the best orchestral players of the day, up close and under spotlight.

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Willem van Otterloo conducts Franck's Psyche

I'd say this is pretty unusual fare here. Though the record is not in the best of shape, the music is so rarely heard, or recorded, that I felt it would be a good transfer and service to the community. Here then is Willem van Otterloo and the Hague PO (Residentie Orchestra) and Netherlands Chamber Choir in Cesar Franck's complete symphonic poem, Psyche.

I think it is a pity that Franck gets short changed in regards to what we listen to of his output. Everyone knows the Symphony in d but who has heard this equally fine piece, or for that matter the marvelously serene, yet admittedly flawed, oratorio Les Beatitudes? Not many. The fine conductor Willem van Otterloo not only demonstrates a great sympathy for Psyche but makes a strong case for this, at times Brucknerian sounding, symphonic poem. After listening, I wondered what Otterloo would sound like in Bruckner. There is a recording that he made in Vienna of the seventh and I wish that I had it! Without a doubt, Otterloo has command of "line" and I'm sure his Bruckner would be fascinating.

Willem van Otterloo was an important conductor in the Netherlands during his lifetime. His principal activity was captured at The Hague however there were occasional trips to Amsterdam, Berlin and Vienna. His last years were centered  in Australia, strangely enough. Otterloo did have the misfortune of being in the shadow of Mengelberg and van Beinum  and strangely enough he was bypassed by the Concertgebouw when Beinum died and Jochum and Haitink pretty much took over artistic responsibilities. I'll bet this was a blow to Otterloo possibly influencing his decision to go down under after a career that was so focused in his homeland. Nevertheless, Otterloo carved out a decent discography and was especially valued as a concerto partner by many of the leading soloists of the day. He was, to all accounts, a sane, collegial and hardworking musician who treated others with the appropriate respect and professionalism.

There is an honesty and professionalism that combine with great musicianship which make this recording of Psyche so persuasive and special. I cannot think of a better introduction to Otterloo's art then this rare performance of a shamefully neglected work. I would too, encourage listeners to have a go at Otterloo's fine take on the Symphony in d with his beloved Hague orchestra available here.

I am not sure of the exact date of this mono record, perhaps between 1955 and 58.

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Erich Leinsdorf and the Rochester Philharmonic in Beethoven

One of my first transfers, redone and offered again..however for the first time on this blog.

I find Leinsdorf a frustrating conductor. His greatest, and best opportunity, for immortality was during his tenure with the Boston Symphony however, that time was marked with frequent discord with players, administration and in the end, the public. I do suppose that following a conductor like Munch, who was positively electric did not help matters either. To properly assess his promise, I think one needs to look back to his early career at the MET, in Cleveland and then Rochester, to get a really great picture of what potential he had but somehow lost, maybe frittered away, during his later years in Boston and as a roaming guest conductor for hire.

If you have not had a chance to hear his Cleveland recordings, do so. The Internet Archive offers up 7 wonderful documents of his brief, but somewhat unhappy, Cleveland tenure - the Dvorak 6th is terrific and the Schumann Spring is sparkling. It is a shame that Szell undermined Leinsdorf's talents, which of course led to the latter's not having his contract renewed. There was great promise in Cleveland since it was a super orchestra, honed to excellence by the great orchestral builder Artur Rodzinski. I chuckle when I think of Szell's wild claim that "he" made Cleveland. When I think of a conductor "making" an ensemble, I inevitably think of the wonderful Maurice Abravanel and his miracle in Utah. Szell too a very good orchestra and honed it to perfection.

Leinsdorf retreated to Rochester NY as a successor to Iturbi. Even though Leinsdorf disliked Rochester as a community, the orchestra was good and a number of convincing recordings came from this partnership. All were released on CBS' budget Entre and Harmony labels. I think this Eroica is the best of the lot. Though lean in texture, it is honestly delivered and well played by the Rochester band. Though Leinsdorf would re-record the Eroica in Boston, this earlier edition has an energy and enthusiam that the  later account fails to deliver on. Boston, one of the top seven in the orchestral world, is just too much on autopilot for Leinsdorf.

I believe this record was from 1952. Correct me please if I'm mistaken!

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Music by the Sons of Bach

Some wonderful weekend listening. Music by the four musical sons of JS Bach, beautifully rendered by Gunter Kehr and his Mainz Chamber Orchestra.

Talented boys these Bachs were and there is much to enjoy from the quirky rhythms of CPE to the classical excellence of the "London" Bach, JC. I especially enjoy the one Op 18 symphony here of JC - a real shame that Kehr did not record the complete set of them since his involvement and shaping of the work is beyond reproach. It's that fine an effort!

It's always great to have a go at JCF Bach too, the "Buckeburg" Bach. Some years ago, I had a Nonesuch two LP set of his music, marvelously realized by Helmut Muller Bruhl and his Cologne Chamber Orchestra. Too bad I don't have it to transfer. JCF was a talented musician and hardly inferior to his three better known brothers.

This record dates from the early 60's and my copy is monaural. Enjoy the Sons of Bach.

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Karl Haas dishes up music of Boccherini and the Haydn Brothers

Last year, I offered Scherchen's recording of Bach's "A Musical Offering" in the Vuataz edition. I tacked on, as a filler, the Brandenburg Concerto No 5 conducted by Karl Haas. Here's some more Karl Haas leading short works of the Haydn Brothers and Boccherini.

A lot of people confuse the conductor/musicologist Karl Haas with the longtime American radio personality Karl Haas. Both, of course were German immigrants to the UK and USA respectively, and both received similiar musical training in their native German. Importantly, both left their native Germany as a result of war and the racial policies of the Nazi regime. However, the "British" Haas, having already established himself as a conductor and musical director in Germany, chose to do the same in the UK while the "American" Haas developed his abilities in mass communications to become the most listened to, and revered, classical music radio host in the United States, for well over a quarter century.

Karl Haas the conductor upon arriving on British shores, founded his London Baroque Ensemble, an orchestra that was dedicated to presenting, reviving, and disseminating works from the 17th and 18th centuries, to the wide general public. Haas led this ensemble until shortly before his death - very much a personal creation, it dissolved after his activity with it ended. He was an innovator whose influence on a whole generation of British musicians cannot be underestimated. After all, the UK is really the epicenter of period performance as we know it today.

Haas's recording here, along with others, display a fidelity to the score and an attempt to be faithful to practices that would have been common to the time in which the music was written. We have then, music that is presented as it was written, with almost a total absence of emotion and personal indulgence. In other words, very refreshing and quite astonishing for the early 50's when the tendency was to offer this music with fuller orchestra and modifications suited for the 20th century palette.

I hope to offer more Haas in the future.I especially want to acquire the full Brandenburg set and transfer that since the 5th left me with a strong opinion of the correctness of the Haas approach.

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