The Waltz King with Arthur Fiedler and Eugene Ormandy

A nice RCA compilation of the music of Johann Strauss the younger featuring the conducting talents of Arthur Fiedler with the Boston Pops and Eugene Ormandy with the Minneapolis Symphony. I would guess that the Ormandy recordings are from the mid 1930's and the Fiedler ones probably 10-12 years later. Interestingly, Fiedler is given top billing here over Ormandy, who by the time of this reissue was solidly in the Columbia Masterworks camp with his Philadelphia Orchestra.

Both of these conductors are naturals with Strauss since each would have played violin in salon bands during their student years and early musical careers, absorbing the style and the oeuvre. I especially want to point out the skill and care that Ormandy brings to these works: his preparation, understanding and purposefulness yields brilliant and incisive playing by the very fine Minneapolis orchestra. It is amazing what details and genius is reveled when these works are not played as an afterthought. You know, I would have loved to have heard a complete album recorded by Beecham but alas, we have none. Beecham, of course, could yield dazzling results with repertoire that others spun an "oh hum" towards. Happily, maestros Ormandy and Fiedler are anything but ordinary.

Sunday is wonderful for Strauss!

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Arthur Fiedler and the Boston Pops on Camden

Here's the contents of two very fine Camden reissues of early recordings by Arthur Fiedler and the Boston Pops. CAL-165 features the Mendelssohn Piano Concerto No 1 and Liszt's Totentanz and CAL-166 highlights extended excerpts from Glazunov's ballet Raymonda  and the bacchanale from Samson & Delilah  of Saint Saens. The pianist featured on CAL-165 is the excellent Jesus Maria Sanroma, who was the official pianist of the Boston Symphony for Koussevitzky during the 1930's and early 40's.

The Mendelssohn had been transferred previously, from the 78's, by Bryan at The Shellackophile. Bryan did a great job of retaining warmth from the original recording, something that the Camden reissue producers admittedly did not place high on their list while transferring from 78 to 33 1/3. (The Liszt on the flip side fares better.) In spite of any sonic limitations, Sanroma and Fiedler turn in a superb account of this well proportioned and inspired concerto of Mendelssohn. In  the Liszt, both experienced musicians keep the piece from turning into a gaudy display of overblown technique and banal passages.  I've got to say that Fiedler was a terrific concerto partner on evidence of this recording and others. I still wonder how he kept a straight face and musical dignity while accompanying Al Hirt in the latter's infamous account of the Haydn Trumpet Concerto!

The extended excerpts from Raymonda are simply superb. Glazunov often gets short shrift because he was so prolific and at times rather less then inspired. That is not the case with Raymonda. It is a marvelous ballet, right up there with the best of Tchaikovsky. Terrific tunes and masterful orchestration make this a delight for the ears and of course, Fiedler does not disappoint. Having the great Pops (actually the BSO minus the principals) strings caress Glazunov's skillful writing reaps great dividends in this recording. And, what an encore with a supercharged, but entirely tasteful, bacchanale from Samson and Delilah. Richard Strauss must have been taken by this for his Salome's dance bears striking characteristics of this gem of a piece.

Enjoy Fiedler at his best!

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Ormandy conducts Haydn along with a dose of Fiedler for good measure!

Though I have been somewhat ambivalent about Eugene Ormandy over the years, when I saw this lp of him conducting Haydn's Symphonies Nos. 7 and 45, I had to pick it up and offer a transfer, if anything because my fine colleague Mr. Austin would enjoy it immensely...at least I hope he does! The cover above is from the CBS Special Products issue though my copy is the ML 4673 edition. 

Eugene Ormandy did conduct relatively little Haydn perhaps being that Szell, and later Bernstein, were so darn successful with this composer and Columbia could not afford to flood the markets with too much Haydn you know. After listening to this fine issue, I feel that it is a real loss that Ormandy did not explore more of Haydn for he does have a way with these symphonies and his way is superbly supported by the wonderful Philadelphia Orchestra. Let me tell you, the proof is is in the pudding - just listen to the adagio "farewell" from Symphony 45, so beautifully shaped and played. This is probably the finest "exit" I have ever heard for this unique work. In the earlier, "Le Midi", Ormandy's interpretation affords this early symphony a greater stature and place in the canon. It just sounds not too far away from the "London" symphonies which were years in the future. I say this as a compliment to Ormandy's interpretative skill, not as a cheap shot towards Haydn as a composer. All in all, I am glad to have come across this in the dollar pile; it is worth many times that!

The filler: I've had this under 30 minute Camden reissue of Fiedler conducting the 1812 Overture and the William Tell Overture for sometime. I've been waiting to find a suitable place for it in a post and I think its a nice filler here alongside the Ormandy. Two rather contemporary recordings by two outstanding musical ensembles. Those accustomed to Fiedler's later 1812's may be in for a surprise here. This is Markevitch type conducting, no nonsense, brisk, totally unsentimental, and technically impressive on an instrumental level. Without cannons and other electronic gimmicktry, Fiedler lets the percussion cut loose for a battle royale. Very impressive job by all and I'm sure this one is up my friend Buster's alley!

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Carl Weinrich and Arthur Fiedler in Handel's Organ Concertos, Op. 4

I was lucky to run across this set yesterday, in great condition, for all of one buck! I wanted to post it for my esteemed colleague Larry at Vinyl Fatigue. Previously, Larry had offered an early Handel organ concerto recording with Biggs and Fiedler with the "real" Arthur Fiedler Sinfonietta. Here, I have transferred the complete Op. 4 but not the fugues. The Op. 4 concertos fit conveniently on one cd.

I find it interesting that Fiedler did not reconnect with Biggs for another go around in Handel. Biggs, instead, went to London and recorded all the organ concertos with Boult. Perhaps it all had to do with Fiedler being an exclusive RCA artist and Biggs a Columbia one. Whatever the reason, Fiedler does have a sensitive partner in longtime Princeton University organist Carl Weinrich, though I do think Biggs would've pulled out the stops a bit more in places.

For this 1967 recording, the orchestra used is credited as the Arthur Fiedler Sinfonietta but in fact it is no relation to the longtime ensemble that was Boston based and had fizzled out of existence some years prior to the recording. What we have here is a rather large chamber orchestra made up of New York musicians, presumably the usual cast of characters that performed as the RCA Victor Symphony, the RCA Italiana Orchestra...who know the deal. These are good players, responsive to Fiedler, but RCA should be ashamed for implying that the earlier Sinfonietta has a relationship to this one, assembled only for this recording and for one of the Mozart church sonatas.

Fiedler pined desperately to be taken serious as a conductor of "classics" and not just "pop" classical repertoire. Towards the end of his years, RCA, and later DGG, obliged him somewhat. Here we have the Handel, with the BSO he was able to realize his dream and conduct that orchestra in Dvorak's New World Symphony. Though the Pops was basically the BSO minus the prinicipals, actually conducting the "real" BSO was huge for Fiedler.

Back to Handel. Those expecting period performance will be disappointed here. Fiedler, and Weinrich were men educated in the first part of the 20th century and their understanding of Bach and Handel was grounded in 19th century traditions. Still, they are of one mind here and these works should be taken on their own terms and recognized for the excellence of the performers.

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Arthur Fiedler conducts the music of Johann Strauss "the waltz king"

A wonderful recent acquisition we have here. Music from Johann Strauss the younger's two magical operetta's Die Fledermaus and The Gypsy Baron performed by the marvelous Boston Pops under Arthur Fiedler. Released in 1960, this Dynagroove stereo lp captures the Pops-Fiedler relationship at its very height of musical prowess.

You know, many folks over the years have tried to degrade the achievements of Arthur Fiedler. Critics derided his rather unorthodox baton technique, musicians complained of his somewhat irascible manner, and the public failed to recognize his complete musical gifts, seeing him as a spinner of popular tunes in an orchestral setting. All this aside, Fiedler was a remarkably well educated and cosmopolitan man, an excellent violinist, and a man who had a knack for understanding the business side of things, in other words, he knew what would sell and increase the prestige of Boston as a world musical center. As a conductor, Fiedler's recordings and live performances were scrupulously prepared and the musical results were unfailingly excellent and enjoyable. Fiedler really, really tried hard to gain prominence as a "serious" conductor and perhaps this is why he never put out a bad product.

This collection of Strauss will put a smile on your face. The younger Johann Strauss had that rare gift, like John Philip Sousa, of continuously creating enchanting melodies that both uplifted and were memorable, no easy feat! Fiedler takes full advantage of this palette and his splendid orchestra brings style, immaculate execution and unfailing wit to every waltz, polka, galop,and march. I tell you, when this repertoire is played by a first class orchestra with a sympathetic conductor, the results are mighty impressive all around. No less a genius than Carlos Kleiber found his greatest joy when conducting the music of the "waltz king."

As a filler, I've included 6 polkas of Strauss, from an early 50's mono recording, featuring Fiedler and Pops.

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Arthur Fiedler and the Boston Pops go Hungarian and Czech

Arthur Fiedler and the Boston Pops....thirty years gone and the maestro and his orchestra are still household names! This very nice album, LM 9017, is typical Fiedler fare done with panache, good taste and with  a whiff of effervesence. The featured program has Smetana's Vltava (The Moldau), Brahms' Hungarian Dances 1 - 6 and a rarity at the time, Dvorak's Hutsitska (Hussite) Overture.

Though most people equate Fiedler with "popular" fare, he was a highly accomplished violinist with exquisite taste who longed to be taken seriously as a master of the podium. He demanded much of himself and treated all music with respect and purposefulness. The results speak for themselves: best seller after best seller and financial stability for the parent organization, the Boston Symphony Orchestra. Ultimately, Fiedler was rewarded by the BSO by being allowed to conduct and record with it, by then music director William Steinberg. The product of the collaboration was a very fine New World Symphony.

Here, Fiedler displays a real flair for the Smetana, Dvorak and Brahms pieces on this album. Whether the earthy feel of a peasant dance or the pull of Vltava's currents, everything just sounds so right, natural is the word, and the musicianship is impeccable. What a great and responsive orchestra the Pops was during the late 40's through mid 50's when these recordings were made.  I hope you enjoy!

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