The Art of Marian Filar and Frieda Valenzi

Oh what treasures you can find when you are not looking for anything in particular! Here are two remarkable piano recordings, one by the brilliant Polish-American pianist Marian Filar and the other by the Viennese born Frieda Valenzi. These records contain artistry of the highest level by two musicians that lived rich, fulfilling, 'complete' lives, well into their 90's. Marian Filar, if you are not aware, just passed away in July 2012 so this transfer is a testimony to the very 'human' life of a great man. When I say 'human' I do so with the greatest respect as this man represented the highest ideals and most noblest sentiments.

I had become acquainted with Marian Filar through his autobiography From Buchenwald to Carnegie Hall. A thoroughly engaging story, it recalls Filar's years growing up in Warsaw, imprisonment in concentration camps, artistic resurrection as a pupil of the great Walter Gieseking and consequent 'rebirth' as a proud American and living beacon for liberty. The last might seem strange to mention as it is but what struck me was Filar's passion for freedom and liberty illustrated in his trips each year to the Liberty Bell in Philadelphia on the day that the Allies declared victory in Europe. Filar would gently stroke the bell, this symbol of democracy and freedom for all.

Filar was a powerful and personal artist of enormous integrity. I'm held in awe of this modest, giving man who possessed fingers of gold and a heart filled with hope and faith in the ultimate goodness of mankind. Filar plays a brilliant program of Chopin's Sonata in b with four preludes of Szymanowski. Gieseking thought Filar and Rubinstein the two greatest living interpreters of Chopin's music.

Frieda Valenzi was remarkable not only for being a woman who was a strong advocate for 20th century music but for being, one of the first woman conducting teachers in the world, maybe she and Nadia Boulanger were 1 and 2? Her repertoire was hugely impressive and I would encourage you to have a look  here at the breathtaking variety of composers and compositions that she made her own. Valenzi is wonderfully poetic in these four Goyescas of Granados and she proves that a Viennese woman can be spectacularly convincing in this most 'Spanish' of music.

Both these records date from 1950, give or take a year. Awesome finds.

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Izler Solomon and Arthur Winograd in the music of Aaron Copland

Izler Solomon

A nice compilation of several 1950's MGM records of the music of Copland, here issued on E3367. Izler Solomon and Arthur Winograd conduct the MGM Chamber/Full Orchestra which is probably made up of New York or Los Angeles studio/freelance musicians and not the official MGM studio orchestra used for movie productions.

The program here is Copland's music drawn from compositions that he wrote for films, theatre and radio. It's all vintage, 1940's Copland - Billy the Kid and Appalachian Spring listenable with memorable tunes which at times paint clear mental scenic pictures in your head. Great stuff in my opinion though quite traditional in writing and scope.

As with many of these MGM records, the recording is very close and upfront, incredibly "studio" in its presentation. It's almost like the conductor is surrounded on all sides by the musicians, like those early recordings done into a recording horn. Still, the performances are lively and there is a lot of zip to them.

A refreshing program.


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Cherubini by the Aeolian Quartet

A pleasant acquisition for all of one dollar. Here is a nice mono Lyrichord issue featuring the Aeolian Quartet of London performing the String Quartet No 1 of Luigi Cherubini.

This composer is very hard for me to peg. Consider that he was born before Beethoven, was a mature man as Haydn entered his brilliant final phase in composition and lived up to the time of the early operas of Wagner. That's quite a span of time and musical innovation! Needless to say, I find this composer's music difficult to pigeon hole as it contains elements of Haydn, Beethoven, Weber and Mendelssohn. It's plucky and enjoyable stuff though it does not come close to the greatest works in this genre by Beethoven, Schubert, Schubert and Mendelssohn.

This "earlier" version of the Aeolian Quartet was a very fine ensemble. I would say it's a marriage of equals with full and fair participation on behalf of each member. The quartet certainly make a strong case for Cherubini and I'm sure that listeners will enjoy this rare find.


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Lionel Rogg and some Renaissance Dances

This was my introduction to "early music" some 35 years ago. And, surprisingly, this Odyssey record has stood the test of time since it is well crafted, interesting and the performances shine. Lionel Rogg on organ with the Ancient Music Ensemble of Zurich do full justice to a range of pieces that span about 300 years. Though the title says Renaissance, the record actually opens up with music from the middle ages, sounds that have a deceptively 20th century minimalist flair to them!

I have heard a number of of "introductory" recordings to a musical period in my time. I don't think that it gets much better then this one. Rogg and his partners fully deserved the Gran Prix du Disque for this inspired effort.


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Albeneri Trio play the Op 1 Trios of Beethoven

Benar Heifetz, cello

Arthur Balsam, piano

Here's a very nice stereo Music Guild release by the Albeneri Trio;  Arthur Balsam on piano, Giorgio Ciompi violin and Benar Heifetz playing the cello. Presented are two of the very lovely Op 1 trios by Beethoven. Recording date is 1962 or 3, it escapes me at the moment.

 The three musicians here were all accomplished chamber partners and that sensitivity to the idiom is quite apparent throughout. What makes collaborations like this vital and satisfying is when all parties privy listen to each other and strive to blend and compliment one another. When this occurs, instrumental tension is lessened leaving room to explore the tensions brought on by the composer's intention in writing the piece. And with that, the Albeneri comes up all spades for their music making is a glorious display of respect for one another and musical maturity, an understanding of the score and what needs to be done to effectively realize Beethoven's intentions.

Very satisfying playing here, not indulgent like the Casals/Schneider/Istomin tends towards but rather clear, true and open.

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A Whole lot of Baroque Trumpet!

I'm serving up a whole lot of baroque trumpet today. From a couple Nonesuch lp's come the first two volumes (of three) of baroque masterpieces for trumpet(s) and organ with Edward H Tarr and George Kent on their respective instruments. And, on an Ars Forma lp, legendary Pacific Northwest trumpeter Fred Sautter serves up a brilliant program centered around Telemann's "Heroic" Music for trumpet and organ. These three lp's will fill up 2 cds quite nicely with some terrific playing involving a historical anthology of sorts.

I have spoken about Edward Tarr in the past and the excellent, rather path breaking scholarly work that he performed during the 60's and 70's into performance practice of the baroque. Tarr laid the groundwork for later artists, some who pretty much perform exclusively on period or period instrument replications. Fred Sautter was the longtime principal trumpet of the Oregon Symphony and a man amazingly comfortable performing works spanning 500 years. He plays with great sensitivity and color and is careful not to let the instrument sound too bright or piecing. I do believe that he plays the Heroic Music on a C trumpet rather then a piccolo. It's nice that way.

The two Tarr records had an influence on me during my formative years, some 30 years ago. Though other players may possess more tonal and technical brilliance, Tarr' pioneering efforts are still very much appreciate today.


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DOWNLOAD FRED SAUTTER BAROQUE