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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Sir Adrian Boult conducts music of Vaughan Williams

Here's the Vanguard release of the Nixa-Westminster lp (c.1952)  from the picture above. Sir Adrian Boult conducts the "Philharmonic Promenade Orchestra" in music of Vaughan Williams. Featured pieces are A Norfolk Rhapsody, Fantasia on a Theme of Thomas Tallis, the Greensleeves Fantasia and Gordon Jacob's orchestral arrangement of an English Folk Song Suite for Band.

Boult recorded these pieces many times, as you well know. In my opinion, these might be the best of em all, well played, enthusiasm unbridled, and interpretation beyond reproach. When you listen to Boult, you are left wondering why this music has not traveled better, outside of the UK, US and the former dominions of the UK, Vaughan Williams is a rare commodity.

I especially enjoy Jacob's arrangement of Folk Song Suite. I've played this piece many times in concert band and have not found a totally convincing orchestral performance of this masterpiece, until now. The closest satisfying rendition was by Morton Gould and this is taking into account Boult's later LSO version, which is for me, disappointing. Vaughan Williams intended this piece for the sonority of a band and getting an orchestra to adapt to that style and sound is a huge challenge. I think Boult achieves this here, for the most part.

Boult was always a keen advocate of the music of Ralph Vaughan Williams and probably no one made as many convincing recordings of this great composer's music. This is one of the best of them.

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Hunter Johnson - Letter to the World & Vaughan Williams - Flos Campi

An interesting disc that I happened to save from the trash. Concert Hall 1151 featuring music of Vaughan Williams and Hunter Johnson. Longtime Director of Choruses at Cornell University, Robert Hull, leads the "Concert Hall Society" Chamber Orchestra, the a Capella Chorus of Cornell, and distinguished violist Francis Tursi in Flos Campi and Letter to the World.

North Carolina born Hunter Johnson is a composer new to me. A quick scan of his biography shows that his career was centered around the university where he served as a professor in composition. Interestingly, he was the first ever composer named as composer laureate of his home state. Though a composition teacher, Johnson does not appear to have been especially prolific and most of his works were for smaller ensembles. However, "Letter to the World" is for full orchestra and it was a commissioned ballet for the illustrious Martha Graham and company. The ballet itself was designed to reflect upon the life and works of Emily Dickinson. The music is accessible and closely resembles the language of Piston and Sowerby. An interesting listen but do not expect an "Appalachian Spring" type score.

The Vaughan Williams is, of course, a known entity by all. The performance here is solid with exceptional contributions by violist Tursi and the wordless a capella chorus from Cornell. The presumably New York pickup orchestra plays sensitively and Hull provides good leadership, among stiff, mainly British, competition. I love Vaughan Williams' music and any new recording peaks my interest as this one did.

Admittedly, this is an odd program, a coupling of two disparate pieces. Yet, it is a pleasant reminder of a nearly forgotten composer, the high quality of musicianship at our colleges and universities and, that vibrant musical scene of New York City. Enjoy the mono FLACs.

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Mitch Miller on the oboe - works of Vaughan Williams and de Falla

Last week, Buster at the Big Ten Inch posted a lovely lp featuring the oboe talents of Mitch Miller in works of Mozart, J C Bach and J S Bach. Most people know Mitch as "sing along with Mitch" however ,they are unaware of his talents as a classical oboist and musical impresario. His importance in the musical environment of our country cannot be understated.

Inspired by Buster, I dug out two of those leathery green Mercury albums featuring Mitch on the oboe, but the vinyl contents were in a sorry shape. I was hoping that Buster had these items but alas, it wasn't to be. So, in earnest, I took them out and retrieved what I could for mine, and I hope,your listening pleasure. This amounted to two of four sides.

Mitch is featured as soloist in the Vaughan Williams oboe concerto and the Pavana and Gigue of Luis Milan, the latter a 16th century composer. He is ably backed by the Saidenberg Little Symphony. As a supporting artist, Mitch plays in de Falla's harpsichord concerto with the esteemed Ralph Kirkpatrick as the soloist. The first two works were recorded in 1947 and the de Falla, I'd say c. 1950.

No doubt, Mitch Miller was a self assured artist on the oboe. His technical command of the instrument is beyond reproach and his ideas on phrasing are sound and musical. A true musician Mitch Miller and an American icon at that!

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