Ring in the New Year with Rossini!

Oh gosh, a while back I posted a transfer of Luciano Sgrizzi performing the piano pieces comprising Rossini's late opus the "Sins from My Old Age." That transfer was immensely popular and I had numerous requests for the companion lp from Nonesuch which features the choral pieces. Well, here it is! Found it last weekend at the Goodwill and it is a near mint copy. What luck!

I can understand why this record won the coveted Grand Prix du Disque in 1965. It is a beautifully recorded, superbly prepared and a highly idiomatic reading of these gems from Rossini's salon soire years. I think it's  fitting to present it now since the record opens up with a salut to the New Year!

What strikes me most about these pieces is the invention behind them. Rossini was a great experimenter and he obviously loved the interplay between melody and accompaniment. This music captures your attention and really wraps itself around you, in a loving and comforting way. Maestro Loehrer leads elegant performances and he is fortunate to have Luciano Sgrizzi on board for his dazzling pianistic virtuosity. I have listened to this collection three times straight and each time, I hear something new and positively delightful!

Happy New Year!

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Piano Music of Latin America with Charles Milgrim

Here's one I forgot about. From 1967, on Epic's "Crossroads" label, we have some "off the beaten path" piano music from a number of Latin American composers. The pianist is Charles Milgrim of whom I know nothing other than he seemed to specialize in the piano repertoire of Central and South America.

Sit back, grab a glass of wine and a good book and, have a listen. Some cute little miniatures here.

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Morton Gould conducts music of Herbert and Ketelbey

A "Symphonic Serenade" for my distinguished colleague Buster at the  Big Ten Inch Record . Buster has posted some really nice work of Morton Gould in the past so here's my chance to reciprocate. Here we have Gould leading the Rochester "Pops" in light classical fare of Victor Herbert and Albert Ketelbey.

This is a fine collection led by an extremely talented and gifted man. Morton Gould was the alter ego of Leonard Bernstein, possessing the latter's immense musical gifts as a composer, conductor, musician, and impresario albeit in a more quiet, conservative and less controversial way. In fact, Gould bore many of the attributes of what would be characteristic of the finest "kapellmeisters" of the 18th century, that is patience, flexibility, endurance and consistent craftsmanship. Please note that I do not use "kapellmeister in a negative way, but rather as a tribute to Gould as I compare him to men like Bach, Telemann and Haydn. Gould could, quite simply, do it all and he did, being highly regarded as one of the leading American musicians of the mid to latter half of the last century. Lest not forget that Gould was practically a household name too!

We don't hear a lot of Herbert and Ketelbey and it is really too bad. Their music used to play an integral role in "pops" concerts but has since been displaced by others, often inferior, and its really too bad. The music on this album is very well crafted, tuneful and highly creative. Just listen to Herbert's "Suite of Serenades" and you'll get an idea of why this composer was one of the most famous and well regarded in his day. This piece brings the world in a rather cute way to the listener's doorstep.  Morton Gould's superb musicianship and ear for detail make this lp a real treat. You can hear the Rochester orchestra enjoying themselves and, so will you!

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The Music of Artur Schnabel

Artur Schnabel was a genius. I say this because, like the controversial John Cage, Schnabel recognized that the music was in the silence between the notes. What this means is that the greatest of artists know that the pause, the space, if done "right" creates the necessary "tension" that glues the music together. Nobody did this better than Schabel and the proof is in the pudding - if he never left anything behind other than the Beethoven "32" his place as one the greatest of recorded artists would be self assured.

Yes, Schnabel was a very great performing musician but, like another superb performing musician,Wilhelm Furtwangler, he thought of himself first and foremost as a creator, a composer. Indeed, Schnabel left behind a small but impressive catalogue however neglected it is today. Perhaps this is so because as a performer, Schnabel was supreme in the early romantics but his own compositions are anything but romantic; his works are highly indebted to his friend Schoenberg and their structure is at home in the second Viennese School.

From the original album notes on ML5447 by Cesar Saerchinger

Schnabel's String Trio of 1925 (for violin, viola and cello) is the last of four chamber works written during successive summer holidays from 1921 to 1925 and may be regarded as representative of his "middle" period. He was still under forty and in the midst of a highly successful European season as Germany's top-ranking pianist when he suddenly retired from the concert platform to spend the winter alone in a remote Austrian mountain village. Here he put his creative powers to a new and severe test — to explore the resources of the "linear" contrapuntal style, free from the current traditional harmonic conventions and rhythmic patterns, but also from the newly invented devices of atonality adopted by the radical contemporaries of the day. The result was the first movement of a new string quartet, his second, which was to be completed the following summer. It was a radical break with the past and specifically his own. And it was the beginning of what we now know as Schnabel's mature style.

This new and highly individual manner of writing was to produce some of his most remarkable works, including the third and fourth quartets as well as the String Trio of 1925. This work, though shorter and more concise than its immediate predecessors, constitutes the epitome of this chamber music group, and was the last to appear for over five years. It consists of three relatively short movements. The first (Allegro energico) is forceful and expressive, clear and characteristically rich in its contrapuntal design. The second (Larghetto) opens with a virtually diatonic two-voiced theme which combines stateliness with serenity. The same theme is quoted literally in the strong third movement (Vivacissimo), but in an entirely different light.

 When first performed by the International Society for Contemporary Music in Vienna, ten years after it was written, its composer was hailed by the critics as a "creative musician of power and originality." No other works of Schnabel had been heard in Vienna where he had spent his youth and "learned his trade."

The "Duodecimet"  1950 is, as its name implies, a piece for twelve voices, or parts. According to sketchy indications in the manuscript score, and the nature of the music itself, it is meant for twelve solo instruments — strings, wind instruments and percussion. It is Schnabel's last composition, finished one year before his death, at Axenstein (Switzerland) within sight of Lake Lucerne and the mountains beyond it — a view "beautiful beyond description" in Schnabel's own words.

 These four short movements, as close to abstract music as he had ever written, seem nevertheless to reflect the beauty of the idyllic scene. In them the composer achieved what he had long striven for: the utmost freedom in melodic, rhythmic and polyphonic design and expression. The first movement is a vigorous, moderately fast Introduzione; the second, presumably slow, is followed by a Scherzo and an Epilogue (moderato).

 The whole work is characteristic of what Krenek calls "Schnabel's peculiar kaleidoscopic technique of motivic design," i.e., each movement has its characteristic melodic unit which appears again and again to form ever new combinations. While this use of a tone-group in ever-changing juxtaposition may be reminiscent of the so-called "twelve-tone" technique used by certain contemporary composers, it is important to remember that Schnabel regarded this or any prescribed method or system as incompatible with complete freedom of invention.

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Menahem Pressler plays Debussy

Here's some wonderful solo piano playing by a remarkable man, Menahem Pressler. Known primarily for his incredible 55 year tenure as the pianist of the Beaux Arts Trio, Pressler excels in the highly individual solo sound world of Claude Debussy. This MGM monaural record dates from the late 50's

When you think about it, 55 years of excellence in such an intimate ensemble as a trio is downright astonishing! Pressler was the anchor of the Beaux Arts Trio and during its run, this trio was probably the best and most consistently fine of its time. We think so highly of Pressler's work as a chamber musician that his work as a soloist is all but neglected. And its a shame because in Debussy, he is in complete sympathy with the writing and his artistry really shines out here. I would characterize Pressler's playing as clean, unfussy, honest and forthright. His tone is beautiful and fingerwork immaculate.

I will have more from Pressler in Bartok in coming weeks.

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Music of Ravel conducted by Pedro de Freitas Branco

Today, the 1954 Westminster issue of the album above and then some. Awarded a Grand Prix du Disque, this is a terrific hour spent in Ravel's sound world. The Champs Elysees Theatre Orchestra is conducted by the fine Portuguese conductor, and father of Portuguese orchestral conducting, Pedro de Freitas Branco.

This lp piqued my interest when I picked it up a couple weeks ago. I had heard of the conductor's brother Luis, the composer, but the former was a mystery to me. Catching my eye was the seal on the lp cover signifying a Grand Prix du Disque so I thought it would be a a worthwhile purchase for a couple bucks. Am I glad I bought this one!

The interpretations are highly individual and stunning. Obvious to me is the great care that Freitas Branco has given to each composition. He makes the most out of Ravel's brilliant orchestrations and brings out details that are often glossed over. The dynamic range of each piece alone is hugely impressive! In addition, the Champs Elysees orchestra, though a second tier ensemble at best, provides the conductor with highly idiomatic and focused playing. This theatre orchestra is giving it their all and they are entralled by the presence of a a very fine conductor whom they hold in high respect. Munch, Paray and Martinon of course bring a special authority to Ravel but Freitas Branco makes you sit up and take notice in these gripping readings. No wonder this lp was awarded the coveted Grand Prix du Disque!

What a pleasant discovery! I'll have more "colorful" French music shortly with Menachem Pressler in Debussy.

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Arthur Mendel leads Schutz's Weihnachts Historie

I was most fortunate to find this important REB issue of musicologist Arthur Mendel conducting Schutz's "A Christmas Story." From 1950, it is a performance which most definitely heralds the beginning of a new movement in music, that of period performance.

If you have studied music history, you most likely would have spent some time with the epic "The Bach Reader," a virtual wealth of first hand documents which, at its core, presents a faithful "biography" of sorts on J S Bach. Arthur Mendel and Hans David spent years assembling this important tome and the excellence of the scholarship has meant that it has never gone out of print, some 50+ years after the publishing of the first edition. Mendel was a great scholar of the baroque while he primarily focused on Bach, Buxtehude and of course Heinrich Schutz.

Schutz's influence on the German "Protestant" baroque was immense, probably on the level of Beethoven's ninth symphony on all symphonists that followed him. Schutz's religious music is dramatic, stark & severe, and incredibly in "tune" with the spirit of the text. Bach, Handel, Telemann and knew of Schutz well and drew inspiration from his genius.

Mendel's performance is absolutely splendid. I believe the Cantata Singers are New York based, and they deliver committed singing while the orchestra is purposeful and sensitive not to overwhelm the singers. Compared with Grishkat on his recording from roughly the same time, Mendel delivers more drama and a highly stylistic reading. Frankly, I'm amazed that the recording dates from 1950 as it was made, by the way, about a year after Mendel published his edition of this masterwork.

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Random Classics hits the magic number of 100 Followers!

Random Classics now has 100 followers! what a wonderful Christmas gift. Thank you all for visiting this site often, leaving your thoughts (of which I don't nearly respond to enough) and sharing valuable information and insights to the many readers of this blog.

I extend to every one of you the most joyous wishes of the season and I hope that 2012 brings us all peace, prosperity and magical finds in the dusty bins at used record shops!

Cheers!

Henry Krips conducts overtures by Suppe

A fellow on Symphonyshare requested this partiular album of Suppe overtures, conducted by Henry Krips, the younger brother of the fine conductor Josef Krips. This mono album dates from, I think 1956, and features the excellent Philharmonia Orchestra in its "Philharamonia Promenade Orchestra" guise.

Henry Krips is practically forgotten but it seems that he had a career that flourished in the land of "Down Under" - Australia. Based on this record, I'd say he certainly had the wherewithal to whip up a dazzling froth with these tuneful cuties. At one time, the  music of Suppe figured highly in orchestral programs, especially "pops" ones. Sadly, this composer's lot has rather faded over time. Though the music is hardly the last word in being probing or revelatory, it is nonetheless tuneful, engaging and good fun!

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The Roth Quartet performs Mozart

A fine Mercury recording from the late 40's featuring the the K 499 and K 575 quartets of Mozart performed by the "second" edition of the famed Roth Quartet.

I like the playing here very much. It combines elegance with unpretentiousness yet has a degree of earthiness to it. In other words, its not prissy, prim or too careful.

The Roth Quartet, in both "editions" was a fine ensemble and it was blessed with consistency in presentation while possessing a wide and urgent repertoire. I'm glad I found this old lp.

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Messiah from Boston

A very fine Messiah, from Boston, featuring the Handel and Society conducted by Thomas Dunn. From 1977, this record was one of a handful of excellent "local" issues recorded and released by the now defunct Sine Qua Non label.

Messiah is magnificent work, in my opinion, the greatest work in its genre. No other oratorio so captures the meaning of the text in its music as this one does. If Handel had written nothing else, Messiah would have marked him as a genius of music and words. For me, Messiah is a desert isle work; I could not live without it since it is a constant rediscovery for me everytime I listen to it.

This performance is a marvelous document of the high choral and orchestral standards that conductor/musicologist Thomas Dunn set while he directed Boston's Handel and Haydn Society, the oldest organization of its kind in America. When Dunn took over the directorship of H & H, the performing organization was a quasi professional ensemble whose programs were often inconsistent, both musically and technically, from year to year and concert to concert. During his tenure, Dunn fully "professionalized" the organization, envisioning it as a resource that could, as its core, set performance practice standards for the great choral literature. In addition, Dunn expanded the concert series to include strictly orchestral programs and settings for smaller choral pieces, usually presented in churches or smaller halls rather than the imposing Symphony Hall. Dunn's reputation and work was such that upon his retirement, the H & H hired the highest profile artistic director it ever had, to that point, in one Christopher Hogwood.

This particular Messiah incorporates period practice with the benefit of modern orchestra and mid size chorus. In short, Dunn's Messiah is sensible and moderate and listeners should find the experience to be thoroughly enjoyable. The soloists are all quite competent and well prepared but they are not an "all star" cast. I am delighted that one of my heroes, Armando Ghitalla, is the featured trumpet soloist alongside the  bass David Evitts. The word and message is the real star in this glorious work and I suppose Maestro Dunn has chosen wisely in his staffing for this record. A real pleasure.

One note: The entire contents excepting "Behold a Virgin Shall Conceive" have been transferred. Unfortunately Behold was at the begining of side 2 and was marred by a deep scratch. I could not repair the track in a way that would do justice to the text.
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Howard Hanson leads Americana for Solo Winds

A little homage today to Howard Hanson and his tireless efforts to promote, educate, and record modern American music of the midcentury. This is volume 4 of Mercury's "American Music Festival" series, MG40003, recorded in 1954 at the Eastman Theatre. Here, we have pieces written for solo winds accompanied by string orchestra.

The composers on this record are pretty much forgotten, what with the exception of Hanson and Copland. Bernard Rogers, Homer Keller, Kent Kennan, and Wayne Barlow were contemporaries of Howard Hanson and worked with him frequently at the Eastman School. All of them write in what might be called a "romantic" style which features lovely melodies and easy harmonies. It's conservative music led by a conservative composer conductor who reveled in full, rich, string passages and welcomed extended solo lines for woodwinds.  This is a lovely album and a bit of an antidote to the spiky rhythms and often disjointed melodic lines of these composers' colleagues on the other side of the spectrum.

I don't think that enough can be said for the work done by Howard Hanson and Robert Whitney to promote and argue the validity of modern American composition during their lifetimes. These recorded documents remind us of a time when offering and nurturing culture to the masses really mattered.

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Roman Totenberg performs Baroque Violin Concertos

Here's a special record by one of the greatest, and most respected, teachers and performers of the last century, Roman Totenberg. From time to time, I'm privileged to offer music by musicians who have given much to the City of Boston and Totenberg is right up there with the very best of them. On this MHS record, Totenberg performs violin concertos of Pisendal, Handel, Fasch and Heinichen. He is able supported by the Vienna Chamber Orchestra under the Bulgarian conductor Zlatko Topolski. These stereo performances were recorded around 1966 or 67.

Roman Totenberg is happily still with us as he approaches his 101st birthday! Totenberg was a student of the great pedagogue Carl Flesch and he embraced the latter's views that violinists are not merely skilled virtuosos, but creative, thinking, organic artists. Certainly, the repertoire chosen for this lp was not conceived as a virtuoso display but rather has an intelligent, educational exercise on the development of the violin as a solo instrument during the baroque period. This is not to say that Totenberg plays these rare pieces as exercises - he treats them in an intelligent, musical way by using his knowledge and skill in the position as advocate for this music. Totenberg's beautiful tone and sure phrasing make this record a sincere pleasure to listen to and he makes the best possible case for these "lost" concertos.

I'm so happy I rescued this lp from the 50 cent bin!

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