Oscar Levant in a Recital of Modern Music

Oscar Levant

The Pittsburgh-born pianist, composer, author, actor, and (in later years) professional neurotic Oscar Levant (1906-1972) probably doesn't need any introduction to my readers, but perhaps this particular album does, for with the exception of the oft-reissued Gershwin preludes, it is comparatively rare. It actually was his first, issued in mid-1942, when he was already famous for his role as a panelist on the radio quiz show "Information Please" and as the author of the best-selling "A Smattering of Ignorance", and, in some respects, the most satisfying of the dozen or so albums he would make for Columbia:

Oscar Levant in a Recital of Modern Music:

Gershwin: Three Preludes

Debussy: Les Collines d'Anacapri

Debussy: Jardins sous la pluie

Jelobinsky: Etudes, Op. 19, Nos. 1 and 2 

Shostakovich: Prelude in A Minor, Op. 34, No. 2

Shostakovich: Polka from "The Golden Age"

Ravel: Sonatine - Menuet

Levant: Sonatina - First movement (Con ritmo)

Oscar Levant, piano

Recorded December 17, 1941, and January 20, 1942

Columbia Masterworks set M-508, four 10-inch 78-rpm records

Link (FLAC files, 54.67 MB)

Link (MP3 files, 40.61 MB)

Gershwin, Debussy, Ravel and Shostakovich are of course very well-known, but Levant the composer and Valery Viktorovich Jelobinsky (1913-1946) are far less so. The latter (whose name has also been transliterated "Zhelobinsky") was quite prolific in his short career, with six symphonies, three piano concertos and four operas to his credit. Shostakovich evidently thought highly of him, but posterity seems to have completely ignored him. This is the only recording ever made of the second of these two Etudes (from a set of six, which Horowitz championed for a time); Raymond Lewenthal later included the first one on a Westminster LP.

Larry Adler - Harmonica Virtuoso

Cover design by Alex Steinweiss

Some more light listening for the summer months - a set that would have been the first exposure of many Americans to the genius of harmonica king Larry Adler (1914-2001), of whom Sting, with whom Adler collaborated towards the end of his life, said "he was one of the youngest old men I've ever met." This album, released in 1940, is a reissue of some of Adler's most successful sides for English Columbia:

Larry Adler - Harmonica Virtuoso
1. Gershwin: Rhapsody in Blue*
2. Kreisler: Caprice Viennois
3. Falla: Ritual Fire Dance
4. Ravel: Bolero
5. Porter: I've Got You Under My Skin
6. Kern: Smoke Gets In Your Eyes
7. Conrad: The Continental
*With Carroll Gibbons and the Savoy Hotel Orpheans
Recorded 1934-37
Columbia set C-18, four 10-inch 78-rpm records
Link (FLAC files, 78.03 MB)
Link (MP3 files, 45.19 MB)

Reportedly, when Gershwin first heard Adler play his "Rhapsody in Blue" he exclaimed, "it sounds as if the goddamned thing was written for you!" And Ravel, upon hearing Adler's record of his "Bolero" - but let's let Adler himself tell the story (as extracted from his entertaining memoir, "It Ain't Necessarily So", published in 1984)":

"I had a call from Jacques Lyon, who ran a record shop, the Sinfonia, on the Champs-Elysées. He said he'd had a call from Maurice Ravel who had heard that I played his Bolero and wanted to hear me. I couldn't stand before the maître playing without accompaniment so I brought my record with me. We drove to Montfort-d'Amaury, outside Paris and had a hard time finding Ravel's house - no one seemed to have heard of him. When we did find it, Ravel opened the door, took the record and before Jacques could even introduce me, put it on. Until then I'd thought it was a good record, it was a big seller and I was proud of it. Standing there while its composer listened to it I was aware of imperfections, of mistakes that I had never noticed. It sounded awful and, though it was on one side of a 78-rpm record, it seemed interminable. When it finished, Ravel spoke to Jacques.
"'The master he say, you play it very fast. Why?'
"Hell, I didn't know why. I hadn't ever known that I did play it fast. Ravel spoke again.
"'The master he says you have made cuts, you do not play the whole thing. Why?'
"I explained that, in music-hall, my act ran fifteen minutes, which was the length of Bolero. I loved the number, I meant no criticism but, to include it, I had to make cuts.
"Jacques said, 'The master he ask, do you know Arturo Toscanini?'
"Yes, I had met him.
"Jacques said, 'The master, he say that Toscanini plays the whole thing.'
"Well, he had me there. What could I say? The conversation languished. I held out the record to Ravel to sign. (I had never asked for an autograph before, have never asked for one since. It was pure embarrassment.) Ravel looked surprised.
"Jacques said: 'The master say, he thought the record was for him.' Now I was surprised. Ravel had given every sign of loathing the record and me. Then Ravel held up his hands, they were shaking. He said that he had palsy, had written nothing in the past five years. I apologized and we left. A few days later Jacques phoned me and told me to get to his record shop at once; the master was there. Ravel was bundled in a heavy coat and a scarf though it was a warm day. He said that, by sitting in a dark room and concentrating, he had been able to steady his hand, long enough to write his signature and he had brought it to me. I was touched and honoured by Ravel's gesture but felt guilty as I hadn't really wanted the autograph.
"In 1940 I was soloist with the Philadelphia Orchestra's Robin Hood Dell concerts. Saul Caston, the conductor, suggested an encore; when I chose Bolero the librarian objected. Performance fees for one performance were very high, not worth it for an encore. Elkan, Vogel, Ravel's publishers, were in Philadelphia; I went to their office and announced myself. Mr. Elkan came out and told me he knew about me. Ravel had left instructions that I was to have free rights to play the Bolero in whatever medium I pleased. That right is unique to me."

Ravel: Daphnis and Chloe (Phillippe Gaubert)

Phillippe Gaubert

This week, a fine recording by the French flutist and conductor, Phillippe Gaubert (1879-1941) - the Second Suite from Ravel's ballet "Daphnis et Chloé" - a piece which, with its beautiful flute solo in the middle section, one imagines was close to Gaubert's heart. It isn't the first recording of this music - Koussevitzky beat Gaubert to that honor by eighteen months - but it is the first made in France, and was the only competing version to Koussevitzky's throughout the 1930s:

Ravel: Daphnis et Chloé - Suite No. 2
Orchestre des Concerts Straram conducted by Phillippe Gaubert
Recorded March 24, 1930
Columbia Masterworks set MX-32, two 78-rpm records
Link (FLAC file, 43.19 MB)
Link (MP3 file, 27.85 MB)

My thanks go to Adam Schweigert for the loan of this and several other sets that I have posted here earlier this year, among them Szell's first Cleveland recording of Mozart's 39th Symphony, Stock's of Brahms' Tragic Overture; Barbirolli's of Brahms' Second; Kubelik's of excerpts from Smetana's Ma Vlást, and excerpts from the film Humoresque played by Isaac Stern.

Ravel: Sonatine (Casadesus)

The greatest interpreter of the piano music of Ravel, for my money, was Robert Casadesus. He had met the composer in 1923, after giving a performance of Ravel's Gaspard de la Nuit, and, according to his wife Gaby (also a fine musician with whom he often partnered in piano duo repertory), "had the pleasure to be congratulated by the composer for his interpretation, for his performance of Le Gibet in the slow and nostalgic manner which Ravel had intended, all the time emphasizing the harmonic relationships." It is this sensitivity to the harmonic relationships in Ravel's music that gives Casadesus' performances their unique power. Take, for instance, a work like Le Tombeau de Couperin - Ravel's tribute both to the Baroque dance suite and to fallen friends in World War I, its surface placidity concealing deep grief, which Casadesus is able to draw out fully but, paradoxically, without calling our attention to it.

Casadesus' fame as a Ravel interpreter rests on his 1951 Columbia recordings of the complete solo piano music, but his earlier recordings of the composer have not received such wide circulation.  His very first session in the USA, in 1940 (although he had been a Columbia artist for many years, all his recordings prior to this were made in France), was entirely devoted to Ravel:

Ravel: Sonatine and
Menuet from "Le Tombeau de Couperin"
Robert Casadesus, piano
Recorded February 23, 1940
Columbia Masterworks set X-179, two 10-inch 78-rpm records
Link (FLAC files, 27.94 MB)
Link (MP3 files, 19.90 MB)

Debussy and Ravel by Newell and Wummer (and others)

Laura Newell, John Wummer, Milton Katims

Two sets this week, the common denominator of both being not only French impressionism, but the same harpist and flutist.  These are Laura Newell, active in the 1940s and 1950s as a freelance harpist (she was Robert Shaw's choice for both recordings by his Robert Shaw Chorale of Britten's Ceremony of Carols), and John Wummer, principal flute of the New York Philharmonic from 1942 to 1965.  They're both joined by Milton Katims, who played second viola on a number of Budapest Quartet recordings of Mozart and Beethoven quintets, and later conducted the Seattle Symphony, for this Debussy trio:

Debussy: Sonata No. 2, for flute, viola and harp
John Wummer, Milton Katims, Laura Newell
Recorded April 24, 1945
Columbia Masterworks set MX-282, two 78-rpm records
Link (FLAC file, 49.8 MB)
Link (MP3 file, 27.1 MB)

Cover design by Alex Steinweiss
(restored by Peter Joelson)

Laura Newell was also associated with the brothers Sylvan and Alan Shulman, all three being members of the group "New Friends of Rhythm" for which Alan Shulman wrote jazz-influenced arrangements and compositions.  So it's natural that she should have recorded Ravel's Introduction and Allegro with the Shulmans' Stuyvesant String Quartet:

Ravel: Introduction and Allegro
Laura Newell, harp; John Wummer, flute; Ralph McLane, clarinet
Stuyvesant String Quartet (Shulman-Dembeck-Kievman-Shulman)
and
Debussy: The Maid with the Flaxen Hair (arr. Grandjany)
Laura Newell, harp
Recorded March 22, 1940
Columbia Masterworks set MX-167, two 78-rpm records
Link (FLAC files, 34.1 MB)
Link (MP3 files, 21.6 MB)

As I mentioned in an earlier post about the Stuyvesant Quartet, the two inner parts changed hands several times during their first few years of existence.  This appears to have been the only recording that John Dembeck, who that same year moved to Toronto and eventually became a Canadian citizen, made as their second violinist.

All my old files are now up and running; and the links from my blog have been changed to the new ones.

The Virtuoso String Quartet

The Virtuoso String Quartet (Marjorie Hayward and Edwin Virgo, violins; Raymond Jeremy, viola; Cedric Sharpe, cello) was organized by the Gramophone Company of England (HMV) in 1924, and was, apparently, the first chamber music group formed specifically for making recordings.  Their recording career was brief, however.  By the late 1920s, ensembles with international reputations, such as the Budapest Quartet, were recording for HMV, and the Virtuoso Quartet with its more localized reputation was shunted aside in favor of these.  A pity, for the Virtuoso Quartet was a fine ensemble whose performances are passionate and compelling, and whose recordings, which include four Beethoven quartets and quartets by Tchaikovsky, Franck, Debussy and Ravel, as well as numerous shorter works, have become sought after by collectors.

I have three of their Beethoven quartet recordings available, as well as a group of shorter works, headed by Ravel's Introduction and Allegro for harp, flute, clarinet and string quartet (with harpist John Cockerill, flutist Robert Murchie, and clarinetist Charles Draper) and including the first of Frank Bridge's "Three Idylls" for string quartet, composed in 1906.  (Benjamin Britten, who was Bridge's pupil, wrote variations for string orchestra on the second of these Idylls.)

Beethoven: Quartet No. 6 in B-Flat, Op. 18, No. 6 and
Schubert: Moment Musicale
Virtuoso String Quartet
Recorded from December 6, 1926, to January 31, 1927
HMV D 1206 through D 1209, four 78-rpm records
Link (FLAC files, 83.68 MB)
Link (MP3 files, 57.02 MB)

Beethoven: Quartet No. 8 in E minor, Op. 59, No. 2
Virtuoso String Quartet
Recorded May 20 and June 18, 1924
HMV D 953 through D 956, four 78-rpm records
Link (FLAC files, 94.01 MB)
Link (MP3 files, 32.44 MB)

Beethoven: Quartet No. 12 in E-Flat, Op. 127 and
Dittersdorf: Quartet No. 5 in E-Flat - Minuet
Virtuoso String Quartet
Recorded from October 26, 1925, to October 12, 1926
HMV D 1183 through D 1187, five 78-rpm records
Link (FLAC files, 107.58 MB)
Link (MP3 files, 72.12 MB)

Ravel: Introduction and Allegro
(with John Cockerill, harp; Robert Murchie, flute; Charles Draper, clarinet)
and
Bridge: Three Noveletten - No. 3 in E-Flat
Virtuoso String Quartet
Recorded February 4 and March 18, 1929
HMV C 1662 and C 1663, two 78-rpm records
Link (FLAC files, 36.10 MB)
Link (MP3 files, 25.29 MB)

Bridge: Three Idylls - No. 1 in C-Sharp Minor
Virtuoso String Quartet
Recorded June 18, 1928
HMV C 1593, one 78-rpm record
Link (FLAC file, 20.47 MB)
Link (MP3 file, 13.87 MB)

Bridge [arr.]: Londonderry Air and
Haydn: "Emperor" Quartet - Theme and Variations
Virtuoso String Quartet
Recorded July 1 and November 21, 1927
HMV C 1470, one 78-rpm record
Link (FLAC files, 22.17 MB)
Link (MP3 files, 16.52 MB)

Julius Harrison: Widdicombe Fair - Humoreske, Op. 22 and
Haydn [attrib.]: Quartet in F, Op. 3, No. 5 - Serenade
Virtuoso String Quartet
Recorded November 21, 1927, and July 8, 1928
HMV B 3137, one 10-inch 78-rpm record
Link (FLAC files, 15.74 MB)
Link (MP3 files, 11.25 MB)

Since this was originally posted, I have made available two additional transfers of VSQ recordings.  I list them below, for the convenience of having all my files of their recordings in one place:

Gossec: Tambourin (arr. Cedric Sharpe)
Grainger: Molly on the Shore
Virtuoso String Quartet
Recorded July 1, 1927
HMV B 2589, one 10-inch 78-rpm record
Link (FLAC files, 16.40 MB)
Link (MP3 files, 9.56 MB)

Franck: Quartet in D Major
Virtuoso String Quartet
Recorded January 14 to April 20, 1925
HMV D 1006 through D 1011, six 78-rpm records
Link (FLAC files, 149.02 MB)
Link (FLAC files, 74.09 MB)