A Stunning Firebird led by Eugen Szenkar with the RIAS Orchestra

Every so often, one record just absolutely blows me away based on a combination of factors: musicianship, interpretative insight, suitable sound quality and a sense of occasion. I hardly thought that THE record would come on a Remington reissue (Masterseal) featuring a relatively obscure Hungarian conductor leading the RIAS Orchestra in of all things, Stravinsky's Firebird Suite. Surprises, surprises!

The conductor, Eugen Szenkar, is a name totally unknown to me. At first, I thought this was a pseudonym, but no, Szenkar is the real deal. As a conductor, he had a thriving career in prewar Germany but the Nazis put an end to that since Szenkar was a Jew. Like many other scores of displaced musicians, Szenkar had the most difficult time sustaining momentum and jump starting his career after hostilities ended. He landed lesser assignments in Germany and Central Europe along with guest conducting stints, mainly in Israel. That 10-12 years in "limbo" saw others surpass Szenkar while he, himself, could not get back on "fast track" to bigger and better opportunities.

Szenkar's Firebird with Fricsay's RIAS orchestra is absolutely magnificent from start to finish. Everything is perfect:  tempos, transitions between sections, articulations and dynamics, excellence of solo passages. Make no mistake that in 1952-3, when this record was cut, the RIAS orchestra was the creme of Berlin orchestras. Fricsay might have been the greatest orchestral builder at that time and his efforts are on full display in this brilliantly orchestrated piece of music. And the sound is incredible for the age of the record and well, for Remington in general!

The filler is Tchaikovsky's Romeo and Juliet with another orchestral builder, Kurt Woss, leading his Tonkunstler Orchestra, Vienna (Austrian Symphony). This is a credible performance but no where near the extreme excellence of the Szenkar led Firebird. The latter is in a class of its own.

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The sounds of Ketelbey from Vienna

This stereo lp of the music of Albert Ketelbey, conducted by an Italian in Vienna, well I had little hopes here. For a buck, I figured why not? It's only one greenback, right?

This is one neat 45 minutes worth of listening. The music is so enjoyably tuneful and the orchestra sounds like they are really having a grand old time. Think about it, none of these Viennese players had probably ever heard of Ketelbey and conductor Armando Aliberti was most likely given the score and said, "here's your opportunity to make a record, we need this one to go head to head with Decca!" Oh, "and get this program done this afternoon...you can have 90 minutes to rehearse this morning."  Ah Westminster!

A single dollar can buy a smile!

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Artaulfo Argenta conducts Ravel and more

Ataulfo Argenta

Record Society RS35 highlights an all Ravel program led by the great Spanish conductor, Artaulfo Argenta. Here the Maestro leads the "Cento Soli" Orchestra of Paris, the orchestra of 100 soloists.

I must say that this is Ravel played with great transparency and clarity. I would even go so far as to say that at some points, it is almost austere but that is in a good sense. Ravel was a superb orchestrator and it is a oh so welcoming to hear the details in his writing rather then being swept away with waves of tutti sound. What a wonderful document on hand here of the art of Argenta!

No doubt that had he lived a rich, full life, well into old age, he would have gone down as one of the greatest of the 20th century podium masters. Certainly, when it comes to Spanish composers or Spanish inspired music, Argenta has never been equalled. His recording of Moszkowski's with the LSO is one of the best listening experiences that one could ever have. It sparkles like a California chardonnay.

Before Argenta leapt onto the international stage, he had a thriving career in Spain conducting the Spanish opera, the zarzuela. I have included an additional download of these. The record was volume 4 in Decca's "Espana" series. Argenta leads the Madrid Chamber Orchestra in the sprightly preludes.

These two mono lps add up to about 84 minutes of music. Enjoy!

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DOWNLOAD ZARZUELA PRELUDES

More from Luboshutz and Nemenoff plus....

 

Hambro and Zayde! More music for piano four hands. Yes, you all know how much I this stuff and well, I cannot resist. Luboshutz and Nemenoff on a mono Remington and Hambro and Zayde on an Enoch Light stereo special.

What I enjoy about these two records is that the artists play with the utmost taste and discretion. Nothing is thrown off slapdash for pure effect and every piece receives the serious attention to the proper style that it justly deserves. There is a little of everything here and together, a fine 75+ minutes of satisfying music making is offered.

Details in the downloads. I think there is about 10 -12 years between both these recordings.

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Eric Heidsieck plays Mozart

Some Mozart played by an artist hereto unknown to me, Eric Heidsieck. We have the piano concertos numbers 20 and 23 accompanied by veteran conductor Andre Vandernoot leading the Paris Conservatory Orchestra. I believe these concertos were recorded around 1957-8 albeit this is a monaural issue.

Here's what I found on Heidsieck courtesy of the bach-cantatas website.

"The French pianist, Éric Heidsieck, gave his first recital at the age of 9 (1945) in Reims and his first concert with orchestra a year later. In 1954, he finished the class of Marcel Ciampi in the first place; then took his first lessons with Alfred Cortot at l'Ecole Normale de Musique de Paris. Parallel to that, he attended the courses of Wilhelm Kempff on L.v. Beethoven in Positano.

 In 1959, Éric Heidsieck obtained the Grand Prix du Disque for his recording of Concertos Nos. 21 and 24 of Mozart (EMI). The following year, he created a duet with his wife Tania, which would shine on the stages of the whole world. In 1969, he was the first French pianist of the 20th century to perform, by heart in public, the 32 Piano Sonatas of L.v. Beethoven, which he recorded for EMI between 1970 and 1974. He renewed this challenge ten years later in 1997. In 1974, he recorded the 16 Suites of Händel for Cassiopée. A few years later, he obtained his second Grand Prix du Disque for the 13 Barcaroles of Fauré (Cassiopée). In 1981, he performed the integral 10 Sonatas for piano and violin of L.v. Beethoven with Annie Jordy, professor at Schola Cantorum. He has played on the most important world stages, and recorded a hundred discs. Since the beginning of his career, he has given gave more than 2,000 concerts all over the world.

  Éric Heidsieck is also a composer. Since 1980 he has composed several cycles of mélodies for voice and piano (Amare Doloris Amor, Maurice Courant, 1996 and Destins, Hervé Roy 1996, Les Quatre Eléments, Maurice Courant, 2001), as well as a paraphrase on the theme of the Marseillaise entitled “Hommage à Rouget des Lisle” and introduced in the form of 23 variations. At the manner of…. The 5th Concerto of Beethoven (The Emperor) appeared at Integral Production in September 2004 with the Leon-Barzin Orchestra, under the direction of Jean-Jacques Werner, professor at Schola Cantorum

 From 1980 to 1998, Éric Heidsieck was a professor at the Conservatoire National Supérieur de Musique (CNSM) of Lyon. During this period he wrote an essay on the differentiation of the musical signs in the romantic music which will clarify one day new the concept of interpretation. Since 2004, he teaches at Schola Cantorum. He has taken part in the jury of the most prestigious piano competitions, and has given master-classes specifically on L.v. Beethoven in four continents of the world."

Interesting. As for the concertos, Heidsieck plays his own cadenzas but takes no liberties with the notes as Mozart wrote them. I think he is true to the spirit of the music, has a fine sense of line, and lets the music speak for itself. Rather refreshing performances in their way though Heidsieck does not speak in an interpretative voice like contemporaries Barenboim or a little later Perahia. Still, this is clean music making and having an experienced pro like Vandernoot at the helm assures a steady collaboration.

Interesting discovery.

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Riegger, Hovhaness and Cowell with Howard Hanson and the Eastman Rochester Orchestra

Another wonderful recording, Mercury MG 40005, generously loaned to me by Ray in Montana. This record had appeared on another blog and Ray felt the transfer did not do the music justice. He sent along his copy of the lp to me and asked that I have a go at it. More then happy to oblige since this is a terrific program from start to finish. Maestro Hanson put together a concert for this record, from a zippy opening piece to a concertante culminating in a sadly neglected symphony of stature.

The Riegger pieces, New Dance, is a gem of a gem. This is an awesome piece to open up any concert program. It's extremely accessible, driving yet not overtly forceful or in your face. This is probably one of Riegger's more "mainstream" works since he experimented with rhythm and harmonies on much of his music and it can make for rather dense listening.

The Hovhaness work is from early in that composer's creative life. It's tuneful, ingenious and not minimalist like much of this composer's later works. Delightful contrasts are heard between the movements which keep the listener fully engaged.

The Cowell Symphony No 4 is in the same tradition as the best of Copland, Harris and Schuman's symphonic works. I think this symphony can stand confidently alongside the best of the mid 20th century symphonies, surely a work that could be included on the short list for the "great American symphony." This work is chock full of great ideas that are skillfully developed and marvelously orchestrated.

Howard Hanson and his band of students, professors and professionals give each work its full due. Clearly, Hanson loved this music and was able to convey his feelings to the orchestra, receiving musical results that are an A+. Great record and thank you Ray!


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Milhaud conducts Milhaud

I've had a fascination for the music of Darius Milhaud for many years. For me, his music sparkles with wit and is unpretentious. There is an almost naive quality to many of his pieces that sort of wraps itself around me and reminds me of simpler times when the biggest decision I had to make was which color crayon to use when coloring a steam locomotive.

A Varese Sarabande reissue of two suites that are for the most part, unfortunately, forgotten. The Joys of Life and Globetrotter Suite are conducted by Milhaud leading the pickup Los Angeles Chamber Ensemble. The movements of each encapsulate sharp ideas in a very condensed space, typical of this composer's writing. Totally accessible, this is happy, even festive music, not totally memorable but not overstaying its welcome either. Possibly, the reason for its disappearance is that the music is more entertaining than intellectual and I suppose that has been a reason why Milhaud fares less and less well as the years pass. He churned a lot of music, some pieces brilliant, others workmanlike, much of it solid, entertaining yet hardly provocative. Needless to say, Milhaud is a great antidote to one's ills and stresses because it is fresh and well, alive!

This reissue here dates from 1978 but the original MGM was late 50's.

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More from Morton Gould, composer and conductor

Gosh! My posting of Ives' conducted by Morton Gould yielded gazillion comments. Thank you all for your warm thanks. This post has to be one of my most popular and that's terrific. Morton Gould was a national treasure and sadly, as the years have past, memories of his immense talents have begun to fade.

Here's more Gould, composer and conductor. One of my readers, Anthony, asked for Gould's record of Vaughan Williams and Coates and, here it is! Years ago, I had in my possession the Quintessence reissue and that record got lost somewhere along the way. Lucky me to find a clean copy of the original 1964 release on RCA.

Morton Gould is a very nice alternative to Boult. Whereas the latter maintains a tighter grip on the structure of the score, Gould allows his excellent studio band (probably made up of numerous former members of the NBC SO) to "run with the ball." The Tallis Fantasia is so elastic in this presentation but it works well because the musicians are top notch and they understand Gould's very flexible approach. Folk Song Suite in the Gordon Jacob orchestration (authorized by VW) is an amazing piece, cramming so many ideas into a concentrated package. It works so beautifully however the band version has that extra "bite" that VW had in mind when he wrote the piece for the bandsmen at Kneller Hall.

I will tell you that the absolute real winner here is the Coates' London Suite. This fantastic piece has so much color and the tunes are immediately hummable - a shame that it never appears on American concert programs! Gould has the full measure of the music, perhaps he finds that connection with Coates? Eric Coates' career path was very similar to Gould and their styles are really not too far apart. I would love to have heard what Gould would have done with "The Dam Busters," Coates fantastic march, one of the very best written anywhere during the last century.

Howard Mitchell conducts the National Symphony of Washington in Gould's 'Declaration' Suite and 'Jekyll and Hyde' Variations. My copy if the RCA Gold Seal release of the cover pictured above. Strangely, in 1958 this record was issued only in monaural sound though the Gold Seal billed itself as "first stereo release." It's true stereo too. Declaration is based on episodes in American history, like the Midnight Ride of Paul Revere. Gould wrote often and consistently on American themes, obviously there was a deep well of inspiration for him. This is a nice suite, I especially like the Midnight ride scherzo as it sounds like a horse galloping! Jekyll and Hyde is more adventurous in harmonics and melodic material. This piece moves beyond the more popular aspects of Gould's concert style and is quite serious in scope. Gould's sure hand with the orchestra and masterful orchestrations are clearly evident.

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Independence Day and Charles Ives

Independence Day in the States! No, not the American Revolution for it was nothing of the sort. Why do they still insist on calling it a revolution? There was no period of thermidor or terror. Laymen, and historians alike can be so inept! Geez!

Ok, enough of that. What's more American then Charles Ives? Hotdogs at a baseball game? Moonshine drunk out of a Ball jar? The bikini? If anyone can be called an American original, it was Charles Ives and his music always has that brashness and freshness that characterizes the best of our homegrown composers.

Here are two lps from 1965 and 67, if I have my dates correct. Morton Gould conducts the Chicago Symphony in works ranging from Ives' student years up to the time where he was really pushing the envelope on what would be acceptable to listeners and the concert experience. This is a good cross section.

Now, there's a reason why Stravinsky referred to the Chicago Symphony as the most flexible orchestra in the world. Under Gould's inspired, electric direction, this magnificent orchestra tears into these pieces and  plays them for all they are worth. Ormandy's record of the Symphony No 1 has been much admired, and it is good, but this performance sets a much higher bar. It is brilliantly played and so exciting - who would think this was a graduation piece, it comes off sounding like the masterpiece which it isn't. It is a very fine symphony nonetheless and it is a testament to Gould's gifted podium skills. Likewise, the Robert Browning Overture blows away the other performance I know, that of Harold Farberman, a recognized expert in Ives' music.

My only complaint is that on LSC 2959, there was some very sloppy editing and engineering. The Orchestral Set has each piece ending abruptly, much like those Allegro Elite editions of the 1950's had a tendency to do. I faded each track out as not to sound too abrupt.

These two records should be in every collection since they represent the highest levels of orchestral playing and podium leadership.

DOWNLOAD LSC 2893 PART 1

DOWNLOAD LSC 2893 PART 2

DOWNLOAD LSC 2959 PART 1

HERE'S PART 2 OF LSC 2959!

Fredell Lack plays Tartini and Corelli

This record was a super find. On the long lamented, some would say demented, Allegro label, Oklahoma born Fredell Lack plays sonatas of Tartini and Corelli where she is well accompanied by noted harpsichordist/baroque specialist Fernando Valenti.

When this record was cut in the early 50's, not much of either composer existed on record or was heard in the concert hall. Musicians had few, if any models, and most had to rely on written recollections, traditions handed down and their own inate good taste. Ms Lack had a whole big bag of the latter and her playing is winningly sweet, secure and immaculately tasteful. This is an excellent recital and I wonder what kind of career this violinist would have had if she had not directed her efforts towards pedagogy and the necessities of the family homelife.

Allowances for sound, one of the best solo programs I can recall in quite a while.

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