A few to tide me over....

I've had some serious "writer's block" of late which, unfortunately, has made blogging oh so difficult for me. Perhaps I've hit a wall or something, I don't know. Well, as not to deprave my patient and loyal readers, I'm going to to offer up a half dozen transfers that I've had in the can, albeit without commentary...

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Note:  The Beethoven and Bruckner are the only stereo recordings here. Enjoy!

Two Centuries of Austrian Piano Music with Joerg Demus

Here's my transfer of the monaural edition of the Music Guild lp above. An enterprising issue, I think, of music composed by great Austrian (consider that Austria was once an empire composing territories in Germany, Hungary, Bohemia etc.)  composers from Johann Friedrich Fux up through Alban Berg. All works are played marvelously by that quintessential Austrian pianist, Joerg Demus.

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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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Mozart and Telemann on American Decca

The contents of two American Decca LP's, both devoted, somewhat oddly, to the pairing of Mozart and Telemann. The Zimbler Sinfonietta is featured in the ensemble works while Harold Gomberg performs his magic in a smaller, chamber like setting.

Both lps were recorded during a time when musicians were beginning to get a better handle on a more authentic period performance style. The Telemann, for instance, with flautist James Pappoutsakis doing the honors in the Suite for Flute and Strings, has moments of stylistic grace but also has some of the lumpiness characteristic of another time and place. This is best illustrated in the opening ouverture. On the Gomberg record, there are places where the phrasing in the Telemann pieces sounds a bit bloated and overdone. However, I cannot criticize the musicians because, for the most part, they performed in a manner that was accepted, known and regarded as proper. Still, performance practices have come a long way in the last 50 years! Gomberg's tone is, rather hypnotic.

Both of these lps will fit conveniently onto one cd.

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Harl McDonald conducts Mozart's Requiem

You never know what you will find! Here on a Camden reissue (276) is composer-conductor-pianist-musical administrator Harl McDonald's Philadelphia recording of Mozart's Requiem. McDonald leads the Philadelphia Orchestra, the University of Pennsylvania Chorale and unnamed soloists in presumably the Sussmayr version albeit it may also have editing by McDonald himself.

Harl McDonald was an enormous presence in Philadelphia from the 1920's up until his death in 1955. The man pretty much did everything at the University of Pennsylvania and within the workings of the Philadelphia Orchestra, serving the latter organization as General Manager and Board member for 16 years. McDonald was also a strong ally of Eugene Ormandy and the conductor reciprocated McDonald's support  by performing scores of the composer's compositions. As a composer, McDonald was rather unexceptional and somewhat dated however, pieces like the Legend of the Arkansas Traveler are tuneful, quite pleasant on the ear and deserving of the occasional listen.

This is solid recording, maybe not first tier, but honest, direct and unfussy. It moves along well without becoming bogged down in sentimentality or romantic flourish. McDonald did premiere the work in Philadelphia during the 1938-9 concert season so I am guessing that this record was cut during that time period.

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On Boston Records - music of Mozart and Rust



Joseph de Pasquale

Mozart and Rust? I always thought Mozart's music was well oiled and lubricated like the engine in Rolls Royce. No, the Rust here is one Friedrich Wilhelm Rust who was a direct contemporary of Haydn. I had never heard of Rust and it was pleasant to make his acquaintance via this old Boston Records issue. The musicians were all distinguished members of the BSO: Richard Burgin, Joseph de Pasquale, Samuel Mayes, James Stagliano and Harvey Shapiro. I think this record dates circa 1955 and the contents specifically are Mozart's Horn Quintet K 407 and Rust's Sonata for Viola.

We all know the horn quintet and its a pleasure to hear Stagliano doing his thing. However, the fascinating piece here is the Rust composition, a sonata for viola with cello and two horns, a most unusual combination! The work itself is not earth shattering or for that matter memorable, but the sonorities with this instrumental combination are pretty nifty to listen too. And with players like these, they make a minor curiosity sound like something more than it really is.


Enjoy!

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Mozart with Harry Blech and the London Mozart Players

A little Mozart today featuring the talents of Harry Blech with the London Mozart Players. I believe this RCA Bluebird was recorded in the early 50's during the first years of the LMP. It is probably one of the first Mozart symphony records by a smaller ensemble and it is a good one. Sensible tempos, a collegial approach and an esprit de corps mark this stylish lp.

Harry Blech was a very popular and sought after musician in his day. He appeared to have been a generally well liked man, respected for his musicianship and he was sought after by many as a chamber music partner or orchestral collaborator. Such was his popularity that he brought together many of the best musicians in London to form the LMP, which was done on a shoestring and a promise. Musicians sought to work with Blech because he treated everyone as a colleague, in the best sense of the word.

I like this record because it is free from ego or willfullness. It is music presented on its own terms by collaborative musicians who collectively believe in the product and want to do their best for that reason alone. In a word, refreshing and wonderful!

Happily, the LMP is still going strong after all these years.

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Leonid Hambro plays sonatas of Mozart

Don't you just love that picture? If I were to caption it, Leonid Hambro would probably say something like "I forgot my music again" and Victor Borge would respond, "And he thought this was a paying job!" Kidding aside, from Allegro 54 is Leonid Hambro performing three piano sonatas from the K280's of Mozart.

Make no mistake, this is terrific playing both from a technical and musical standpoint. Hambro's fingerwork is crisp, polished and spot on. His phrasing is absolutely ideal and his command of Mozart is complete. Why these recordings have not been reissued, at least to my knowledge, is a great mystery. For those that might think Hambro a second tier artist, here is the proof that he was a very, very fine soloist who could carry the day without orchestra, a four hand partner, or a comic genius like Victor Borge as a sidekick!

You're going to love this Mozart recital.

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The Roth Quartet performs Mozart

A fine Mercury recording from the late 40's featuring the the K 499 and K 575 quartets of Mozart performed by the "second" edition of the famed Roth Quartet.

I like the playing here very much. It combines elegance with unpretentiousness yet has a degree of earthiness to it. In other words, its not prissy, prim or too careful.

The Roth Quartet, in both "editions" was a fine ensemble and it was blessed with consistency in presentation while possessing a wide and urgent repertoire. I'm glad I found this old lp.

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Manoug Parikian and Walter Goehr in Mozart Violin Concertos

A little Mozart for the soul. This is a beautiful partnership between two excellent musicians who both played "under the radar." Being half Armenian, I was delighted to find this lp since it features the great Armenian violinist-conductor Manoug Parikian partnered with one of the finest accompanying conductors of the last century, Walter Goehr. Your day will be all the better after listening to the concertos numbers 3 & 4!

Manoug Parikian was one of those players who played with practically everybody in his adopted country of England. Like many Armenians living in the Turkey during the first half of the 20th century, he left to seek better, more favorable opportunities elsewhere. Settling in the UK as a student, Parikian would remain there, making it his home base, first as a concertmaster of numerous orchestras, and then later as a soloist and conductor. Walter Goehr, of course, fled Germany prior to the second world war and settled in the UK as a conductor with, I think the BBC. Goehr made a ton of records, mostly with second and third rate orchestras however, he is recognized today as having the ability of coaxing terrific results from these lesser orchestras often under very tight recording and rehearsal schedules.
Parikian and Goehr make wonderful, wonderful partners. Goehr does a marvelous job of getting his recording chamber orchestra to match Parikian's sweet tone and earthy approach to these concertos. I always enjoy these recordings where it is not soloist vs orchestra and here is a fine example of how the proceedings should go, always! A fine tribute to two strong, vital musical personalities.

I'm not sure of the dates of this monaural release but probably mid 50's.

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Early Mozart Quartets with the New Music Quartet

A delightful album here. Up today is the 1977 Columbia Special Products reissue of one of the Mozart Commemorative Celebration of 1956 series that was released by CBS/Epic. This particular lp features Mozart's early quartets K.155 - 158 in performances by the shortlived New Music Quartet whose members were Broadus Earle, Matthew Raimondi, Walter Trampler and David Soyer.

I won't write much today - returned from a business trip and I'm under the weather. What I will say is that the playing here is sensitive, glowing and impeccable. This is music making where the phrases just flow out naturally and the pieces unfold without forced effort. What strikes me about these artists is that one does not dominate another, here is a true partnership where a collaborative effort yields beautiful music by the most remarkable prodigy in the history of music.

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Paul Badura-Skoda and Felix Prohaska in Mozart

A very nice record today, from 1951. Paul Badura-Skoda and Felix Prohaska come together for fine performances of Mozart's 24th and 27th piano concertos.

Couple things I'd like to mention. First, I am dazzled by the maturity and strength of these recordings from quite early in Badura Skoda's career. This man was blessed with inate good taste and a surehanded technical mastery of the keyboard.  Incredibly sensitive and collaborative musician. Second, Felix Prohaska was both an underrated conductor and  pioneer in presenting the baroque and classical period composers without varnishing their intents in romantic excess. In these performances, you hear details that are often buried beneath a keyboard's fight with a bloated orchestra of strings and winds. Not here - its all neat, clean and complimentary. In short, lovely and riveting.

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By request..James Stagliano in the Mozart Horn concertos

While it is fresh on my mind..here's James Stagliano performing the four horn concertos of Mozart with the Zimbler Sinfonietta. Not sure of the date on these stereo recordings but probably early 60's. These recordings were originally on Boston Records, I believe, and here are reissued in the Sinequan series by RCA Special Products.

What strikes me about these performances is the intimacy. The orchestra is very small, in fact maybe too small for some of the tutti passages. Stagliano's approach is, surprisingly, less virtuosic and more collegial. In other words, he's looking at this as chamber music with longtime friends and not aa a one off concert with a resident orchestra and him as a visiting artist. I like this! A great player.

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Lili Kraus and Pierre Monteux in Mozart

A French RCA release of  Lili Kraus and Pierre Monteux, from Boston, in Mozart's Piano Concertos numbers 12 and 18. Recordings were made live in 1953 from Symphony Hall.

Lili Kraus was best known as a specialist in late classical and early romantic piano music. Especially noted for her Mozart, she recorded all of the piano concertos and piano sonatas, in some cases two or three times. I have the bulk of her set of concertos recorded with Stephen Simon and though her playing is pristine, the accompaniment by Simon and a suspect pick up orchestra is utilitarian at best. That said it was most welcome that I came across this issue where Kraus receives the finest support possible from the BSO and the beloved Maitre. Monteux always had great taste and sensitivity when working with soloists and Kraus is supported in the best possible way by a great, great musician.

I do find it interesting to compare Kraus with one of my favorite pianists, Clara Haskil. The former's approach I find more straightforward, almost academic while the latter, blessed with technique second to none adds an almost spiritual aproach to her playing. This is not to say that Kraus is inferior, just different, more of an intepreter of design rather than of the composer's soul or angst I guess. Each approach is equally valid and of great historical importance, given the personal integrity of both women.

Enjoy Mozart on  a Monday.

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Mozart's Clarinet Concerto and Haydn's Symphony No 61 with Mogens Woldike

This is one beautiful lp record. Seeing the name Woldike, I grabbed it without looking closely and when I arrived home, I was stunned to find a near mint record inside the slipcase. And, one of the stranger lps that I've seen since both sides have different color labels! I have a number of these Haydn Society isues on hand but I've never seen one like this.

This record features Mogens Woldike leading the Chamber Orchestra of the Danish State Radio in Haydn's Symphony No. 61 and Mozart's Clarinet Concerto. I'll come back to the Haydn in a minute; I want to tell you all that this version of the Mozart is quite possibly the finest performance of the piece that I've ever laid my ears to...and I have heard it played by Wright, Brymer, Marcellus, Stolzman, Meyer, and Goodman. The soloist on this recording is esteemed French clarinetist Louis Cahuzac. Of Cahuzac - he was one of the great reed players of the first half of the twentieth century, in short a pathbreaker in modern orchestral clarinet performance. When he recorded this disc with Woldike, Cahuzac was over 70 years old and believe me, his technique is simply flawless. Combine that with mature insight and musical wisdom and you have a performance that balances the subtleties of the piece with the brilliance of the writing. This is a benchmark reading folks and Woldike provides the absolutely best brand of accompaniment possible.

Maestro Woldike turns in a splendid Symphony No 61. If you have heard his Haydn series from Vienna, you know what to expect here. This is insightful interpretation by a conductor who really knew how to scratch the surface and get inside these Haydn symphonies. I maintain that Haydn's Symphony No. 102 has never, and will never, get a better recorded presentation then Woldike's VSOO lp on Vanguard. Just great Haydn hereon this Haydn Society lp:  elegance where appropriate and rustic, hearty playing when required, all spendidly delivered by these fine Danish musicians.

This recording was released in 1952. You are in for a real treat here. Enjoy!

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Paul Badura-Skoda and Jorg Demus perform Mozart for two pianos

Two quite lovely lps from the early 50's that feature the piano talents of Paul Badura-Skoda and Jorg Demus in two hand/two piano music of Mozart. These exceptional records were issued when both artists were in their mid 20's; happily both are still alive and active, internationally known and respected, as they enjoy their ninth decade on God's green earth. As a note, months separate them in birth dates.

Paul Badura-Skoda probably has enjoyed the greater international solo career of the two though Demus, no less an artist, is regarded as one of the very finest solo partners of his time, whether as support to an instrumental soloist or a vocalist. Together, they strike the perfect balance and collaborate as a pair of equals, each intuitively understanding the next move of their partner. There is not one instance here of one of them trying to "out do" the other. They listen to each other and appreciate the fact that they are conduits for Mozart's genius.

What  really strikes me about these performances are the immediacy and afffection that these two, at the time very young, artists bring to the music. There is no youthful bombast or immaturity here. You know, last week I read in the Wall Street Journal an interview with Leon Fleisher in which he lamented the lack of sensitivity that many talented pianists bring to the keyboard. They have technique to burn but that sense of soul that Schnabel imparted onto Fleisher is missing from their artistry. Badura-Skoda and Demus, being contemporaries of Fleisher, understand that concept and the results of their labors are keen musicianship through effective listening. What Schnabel spoke of is presented here so engagingly and at appropriate moments, tenderly.

In the near future, I will follow this offering up with Schubert performed by these two exquisite artists.

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The Casadesus Duo performs Mozart and Schubert

Greetings from Mt Snow, Vermont! The band participated in the annual Oktoberfest and it was the usual great time, inspite of the cold wind blowing down the mountainside on Saturday. However, with ample quantities of fine, local microbrew and the elixir known as Jaegermeister, we were able to stay sufficiently warm and give the masses the show they expect....and deserve.

Here's another of those fake stereo, Columbia Special Products reissues this morning. I've dissed the fake stereo and in its mono excellence is the Casadesus Duo performing Mozart and Schubert. And, as a fill we have a little more Hambro and Zayde, from a Command Classics record, thrown in for good measure.

I really love the playing of the Casadesus couple. Both Robert and Gaby were superb solo artists and unlike some soloists who have difficulty collaborating in "committee," this husband and wife instinctively support and value each other's unique contribution. With the Casadesus, the playing is aristocratic, and when I say that I mean, beyond reproach. It is unfailingly elegant, precise, and deferential to the composer, without being slavish. I hope I'm clear here! Mozart and Schubert with delicacy, power when needed but always properly controlled and lucid. This is the real deal!

Hambro and Zayde offer another type of playing, more muscular and with a different palette of color. It is a "larger" conception, less intimate, however striking in its own right. If I was to sum it up simply, I would say that the Casadesus are best enjoyed in a salon setting while Hambro and Zayde are Concert Hall listening.

Hope you enjoy two distinctive styles of Four Hand piano music. As I have said before, I've grown to really love and appreciate this kind of collaborative art form. As a side, I picked up Brendel and Klien in Brahms' Hungarian Dances and I hope to get that up here within the near future.

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A grab bag of sorts - Mozart, Mahler, Vivaldi and Bach led by Reiner and Schneider

Reiner and Schneider..it rhymes! Busy last couple nights. Oktoberfest season is in full swing and between the beer, brats and brewhaha....the band had a great time last night (my lips are shot!), thousands at the Harpoon Brewery in Boston and oh, how I love taking those pictures with the younger crowd! Anyway...

Here are two short lps that I'm offering as a grab bag of sorts. We have Alexander Schneider leading Mozart and Vivaldi with the the Dumbarton Oaks Chamber Orchestra  and then Carol Brice singing Mahler's Wayfarer Songs with Reiner and the Pittsburgh SO and selected Bach arias with Daniel Saidenberg leading the Columbia Broadcasting Orchestra.

Though Dumbarton Oaks is outside of Washington DC, the music was recorded in 1949 in NYC if memory serves me right. This leads me wondering if Dumbarton Oaks is just a name for a NYC based pickup orchestra. Whatever the case, Schneider proves the experienced and vital leader and the Vivaldi and Mozart pieces come off marvelously. You know, my fear is that we are fast forgetting the immense contribution of Alexander Schneider to the American musical scene. Soloist, conductor, teacher, editor, impresario, the man did everything and did it so well. In my book, perhaps his single greatest achievement was to force the great Casals from retirement. No one else had the stature, or "balls" to do this and we all benefited beyond belief from Schneider's chutzpah.

I know not much of Carol Brice though her voice has at times a Ferrier quality to it. Primarily a musical theatre performer, Brice did record several times with Reiner, noting down a rather well regarded El Amor Brujo. A performer of African American background, Brice was one of those brave and focused individuals who laid the groundwork of integration and made possible the later successes of Leontyne Price, Kathleen Battle and Jessye Norman, to name a few. Her Mahler and Bach are thoughtfully performed and I especially hold her diction in regard. I do love it when I can hear the pronounciation of words! This must have been one of Reiner's first Mahler recordings and he shapes everything quite nicely. The same goes for Saidenberg and his studio orchestra - Brice performs the selected Bach arias flawlessly. Recorded dates are from the late 40's, give or take.

So, here's my "mono FLAC" grab bag for the day....Prost!

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Sondra Bianca performs Mozart

By numerous requests, I have remastered the MGM white jacket lp I have of Sondra Bianca performing Mozart's Piano Concertos Nos. 11 and 20 with Hans Jurgen Walther leading the Pro Musica Orchestra of Hamburg. The picture above shows Bianca with her back to the camera and on the podium is the VERY young wunderkind, Lorin Maazel. By the looks of it, Bianca is quite young too. Probably mid 1940's?

These are really very fine performances of Mozart by the rather elusive Bianca. Not much is written about her since she pretty much retreated from the concert hall and recording studio at a relatively early age. It seems that she turned to teaching however, I can find no reference to any students of hers. I've heard her in Mozart and Liszt and what I can say is that she had exemplary technique and a command of her repertoire. Why Ms Bianca retreated from a prestigious career is anyone's guess. But, what we have here is wonderful Mozart played with mature insight and sensitivity. I guess that about sums it up.

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By chance...I happened upon more...drumroll.. Arthur Winograd!

I was looking for something else in my cellar and, by luck, chanced upon another Arthur Winograd issue; this time, it is the maestro conducting the Mozart serenades K. 375 and K. 388 for wind ensemble. The cover above is from the Heliodor release, mine is the plain white jacket MGM record.

Outside of a small blip at the beginning of the last movement of K 375, the lp was in very good shape. I did not separate movements but each serenade is contained in its entirety within one file.

It's a shame that the wind ensemble is not named. There is some fine playing going on here and it would have been nice to know who, or where the musicians are from. That sais, I'm glad I came upon this - I had forgotten I had it. Nice to offer yet another example of Winograd's art.

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