Tuesday, September 20, 2022

Mahler: Symphony No. 9 - Bruno Walter Conducts the Columbia Symphony Orchestra

 



This is my post from this week's Tuesday Blog.
On our podcasting channel, we’ve been featuring past (and new) shares of Gustav Mahler’s symphonies. Today’s Vinyl’s Revenge shares a re-issue of Mahler’s Ninth symphony, featuring Bruno Walter and the “Columbia Symphony Orchestra”.

First, let’s establish the orchestra. According to data I gathered, this performance was recorded 26th Jan. 1961 at the American Legion Hall in Hollywood. Thus, this is a California-based incarnation of the Columbia Symphony – probably using the same musicians Stravinsky would use locally for his legendary 80th birthday recordings for the same record label. I’d expect many were members of the Los Angeles Philharmonic and local movie studio contract musicians.

As we know from music history, Mahler’s Ninth is his last “complete” symphony (that is, with full orchestration) and was never performed in Mahler’s lifetime; Walter, Mahler’s longtime assistant and colleague to whom the work is dedicated, conducted its first performance on 26 June 1912, at the Vienna Festival.

Although the symphony follows the usual four-movement form, it is unusual in that the first and last are slow rather than fast. As is often the case with Mahler, one of the middle movements is a ländler. Though the work is often described as being in the key of D major, the tonal scheme of the symphony as a whole is progressive; while the opening movement is in D major, the finale is in D-flat major. As is the case with his latter symphonies, the work not only requires a large orchestra (including clarinets in A, B-Flat and E-Flat, two harps, and a large array of percussion instruments), it lasts well over an hour.

Walter’s discography features at least two recordings of the Ninth – a 1938 concert performance with the Vienna Philharmonic and this 1962 studio recording. There may well be other live recorded performances along the way too.

As a reviewer says, Mahler’s ninth is a bit like Hamlet - there is vast room for varying interpretations Bruno Walter's stereo recording is indispensable for a clear view of the non-neurotic approach to the work.

The recording has been released numerous times – the one in my own collection is part of the Odyssey “budget priced” re-issue series – and more recently on Sony's complete Walter edition. This is a superlative release that belongs in the collection of any and all Mahler enthusiasts; the sound of the original was astonishing in its day, and still is.

Happy listening!


Gustav MAHLER (1860-1911)

Symphony no. 9 in D Major (1908- 09)

Columbia Symphony Orchestra

Bruno Walter, conducting

Recorded 26th Jan. 1961; American Legion Hall, Hollywood, California

Odyssey – Y2 30308

Format: 2 x Vinyl, LP, Album, Reissue, Stereo (1971)

Discogs - https://www.discogs.com/release/3399002-Mahler-Columbia-Symphony-Orchestra-Bruno-Walter-Symphony-No-9



 



Friday, September 16, 2022

Mahler: Symphony no. 5

No. 395 of the ongoing ITYWLTMT series of audio montages is this week's Friday Blog and Podcast. It can be found in our archives at https://archive.org/details/pcast395



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In this second of a two-part set of montages featuring Hermann Scherchen conducting German repertoire, and in our continuing look at the symphonies 0of Gustav Mahler, today’s Blog and Podcast montage features Scherchen’s 1952 Westminster recording of Mahler’s Fifth symphony.

A survey of discogs suggests Scherchen recorded almost all the Mahler symphonies (in studio and as live recorded performances) – surprisingly, he did not record the Fourth, though he did record two song cycles (kindertottenlieder and Songs of the Wayfarer).

Here’s a portion of a Grammophone review of today’s featured recording:

We are often assured that great conductors of an earlier generation interpreted Mahler without the ‘lurid excesses’ of a Leonard Bernstein‚ always assuming they played him at all. But there is a starker‚ more disturbing quality in Scherchen’s conducting which has made his Mahler recordings much­prized collectors items. Having devoted his career to the promotion of contemporary music‚ Scherchen left relatively few studio recordings‚ but his scholarly reputation and restrained‚ objective conducting style are belied by the white­hot communicative power (and‚ it has to be said‚ the frequent technical lapses) of these pioneering mono LPs.

First the good news: this is […] a complete performance‚ and in many respects a very compelling one Now for the bad news: time and time again the intensity and drive of Scherchen’s conception is scuppered by the inability of his players to keep up.

The review goes on with many examples of the orchestra (which I always thought was an alias for members of the Vienna Philharmonic…) falling short of the conductor’s envisioned performance; yet the reviewer agrees with me with this sentence near the end: “Nevertheless‚ Scherchen and his Viennese forces offer us a piece of history that belongs in any serious Mahler collection.”

For more insiht on the work, I’d point you to a 2018 Tuesday Blog featuring Mahler’s Fifth.

I think you will love this music too!


Monday, September 12, 2022

A LA CARTE #19 - Beethoven: The Seven Sonatas for Cello & Piano, Vol. 1

 



We are repurposing the music from a Once Upon the Internet post of November 18, 2014 as a new montage in our ongoing A la Carte series on For Your Listening Pleasure. Mobile followers can listen to the montage on our Pod-O-Matic Channel, and desktop users can simply use the embedded player found on this page.

The following notes are an update. 

As we repurpose some tracks from this 2014 Once Upon the Internet share, I have planned two A La Carte playlists that will revisit the two Beethoven cello sonatas performed by Mr. Markevitch with pianist Daniel Spiegelberg.

In 1991, the pair recorded the complete Beethoven cello sonatas for the Swiss label Gallo. These were released under two separate CDs, thus volumes 1 and 2. This week’s share is Volume 1 consisting of three sonatas – numbers 3 and 4 and the op. 64 (which is an arrangement of his trio for vioin, viola and cello, op. 3)


Ludwig van BEETHOVEN (1770-1827)

Sonata for cello and piano No. 3 in A major, Op. 69 [NEW]

Sonata for cello and piano in G Major, op. 64 (after Trio, Op. 3) [OUTI-xx]

Sonata for cello and piano No. 4 in C major, Op. 102, No. 1 [NEW]

DImitry Markevitch, cello

Daniel Spiegelberg, piano

GALLO CD-672

YouTube https://youtube.com/playlist?list=OLAK5uy_lBuyJynp05jLPMrbIIvscR3Ehba3JoeCg

Internet Archivehttps://archive.org/details/alc-19




Tuesday, September 6, 2022

Vivaldi - Camerata Romana, Eugen Duvier – L'estro Armonico

 



This is my post from this week's Tuesday Blog.

For our first Tuesday Blog after our Summer break, I have prepared a Cover2Cover post of Vivaldi’s complete L’estro armónico.

L'estro armonico (The Harmonic Inspiration) is a set of 12 concertos for stringed instruments first published in Amsterdam in 1711. L'estro armonico was his first collection of Vivaldi  concertos appearing in print.

Each concerto was printed in eight parts: four violins, two violas, cello and continuo. The continuo part was printed as a figured bass for violone and harpsichord. The concertos belong to the concerto a 7 format, that is: for each concerto there are seven independent parts.

In each consecutive group of three concertos, the first is a concerto for four violins, the second for two violins, and the third a solo violin concerto. The cello gets solistic passages in several of the concertos for four and two violins, so that a few of the concertos conform to the traditional Roman concerto grosso format where a concertino of two violins and cello plays in contrast to a string orchestra.

The performances are from the early days of digital recording, when the Point Classics label issued a good number of decent performances at budget price – more on that and conductor Alfred Schotz in a montage in October.

The recordings have been oft reissued, either as two separate CDs or as a 2 CD set. The senond CD (concerti 8-12) adds a concerto from La Stravaganza (op. 4, no. 2) as filler.

Happy Listening!

Antonio VIVALDI (1678-1741)

L'estro armonico, 12 concertos for 1-4 solo instruments, strings and continuo, Op. 3 (1711)

(DISK 1)

No.1 in D for 4 Violins and Cello (in 1st movement only), RV549

No.2 in G- for 2 Violins and Cello, RV578

No.3 in G for Violin, RV310

No.4 in E- for 4 Violins, RV550

No.5 in A, Double Violin Concerto, RV519

No.6 in A- for Violin, RV356

No.7 in F for 4 Violins and Cello, RV567

 

Classical Gallery – CLG 7108

Discogs - https://www.discogs.com/release/18646786-Camerata-Romana-Eugen-Duvier-Antonio-Vivaldi-LEstro-Armonico-Op3-Nos-1-7

YouTube - https://youtube.com/playlist?list=OLAK5uy_nnvJN5KUYtqRKnnRyX0xwSR8NTXCVT4CI


(DISK 2)

No.8 in A-, Double Concerto, RV522,

No.9 in D for Violin, RV230

No.10 in B- for 4 Violins and Cello, RV580

No.11 in D- for 2 Violins and Cello, RV565

No.12 in E for Violin Concerto, RV265

 

BONUS - "La Stravaganza" ( Op. 4 No. 2 )  Concerto in E-Flat RV 279

 

Classical Gallery – CLG 7109

Discogs - https://www.discogs.com/release/14942358-Camerata-Romana-Eugen-Duvier-Antonio-Vivaldi-LEstro-Armonico-Op3-Nos-8-12-Violin-Concertos-Op42-

YouTube - https://youtube.com/playlist?list=OLAK5uy_kVNkzK_g39b8hdhVr0N73VbFQO3kdeDzw

Camarata Romana

Eugen Driver, conducting

Internet Archive - https://archive.org/details/01-c-2-c-44a-vivaldi-concertos-op.


Friday, September 2, 2022

Herrmann Scherchen (1891-1966)

No.394 of the ongoing ITYWLTMT series of audio montages is this week's Friday Blog and Podcast. It can be found in our archives at https://archive.org/details/pcast394



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This week’s montage is the first of a pair that feature conductor Hermann Scherchen, who made several interesting recordings for the Westminster label in the late 1950’s and early 1960’s. His recorded repertoire was extremely wide, ranging from Vivaldi to Reinhold Glière.

Originally a violist, Scherchen played among the violas of the Bluthner Orchestra of Berlin while still in his teens. He conducted in Riga from 1914 to 1916 and in Königsberg from 1928 to 1933, after which he left Germany in protest of the new Nazi regime and worked in Switzerland.

Scherchen played a leading role in shaping the musical life of Winterthur (n the canton of Zürich) for many years, with numerous premiere performances, the emphasis being placed on contemporary music. From 1922 to 1950, he was the principal conductor of the city orchestra of Winterthur (today known as Orchester Musikkollegium Winterthur).

Making his debut with Arnold Schoenberg's Pierrot Lunaire, he was a champion of 20th-century composers such as Richard Strauss, Anton Webern, Alban Berg and Edgard Varèse, and actively promoted the work of younger contemporary composers including Iannis Xenakis, Luigi Nono and Leon Schidlowsky.

Scherchen recorded an unusually wide range of repertoire, from the baroque to the contemporary. His Mahler recordings, made before Mahler became a part of the standard repertoire, were especially influential; so too were his recordings of Bach and Handel, which helped pave the way for the period-performance practice movement. Included as well were significant recordings of music by Haydn, Beethoven, Berlioz, Tchaikovsky, Glière, Bartók, Schoenberg and many others.

We featured many of his Westminster recordings of the Haydn London symphonies as part of Once Upon the Internet and more recently in a few A la Carte podcasts. I programmed his recording of the symphony no. 102 here today.

He is probably best known for his orchestral arrangement (and recording) of Bach's The Art of Fugue, however, the main work today is another set of keyboard variations, his Musical Offering.

All of the ditties that constitute this opus are based on a single musical theme given to Bach by Frederick the Great (King Frederick II of Prussia), to whom they are dedicated. They were published in September 1747. The Ricercar a 6, a six-voice fugue which is regarded as the high point of the entire work, is also occasionally called the Prussian Fugue, a name used by Bach himself.

The "Ricercar a 6" has been arranged on its own on a number of occasions, the most prominent arranger being Anton Webern, who in 1935 made a version for small orchestra, noted for its Klangfarbenmelodie style (i.e. melody lines are passed on from one instrument to another after every few notes, every note receiving the "tone color" of the instrument it is played on).

According to Discogs, Schechen made two recordings of this work, both based on an arrangement for small orchestra in 1937 by Swiss composer Roger Vuataz – one for Westminster from 1951 and this one (which I uploaded from LiberMusica) from 1949 featuring the first chairs of the Berlin RSO.

I think you will love this music too.

Thursday, September 1, 2022

All Good Things…

At this time, I usually issue a quarterly programming update and teaer for the remainder of the year, but this one will be a little different.

After much thinking over the summer months, and considering the load this activity has taken, I have decided that my 400th montage will be my last one, and that we will be putting an end to our regular activities at year end. Not an easy decision for me…

When we began this a little over 10 years ago, classical music accessibility landscape was under immense transformation – terrestrial radio services have been transformed by the advent of podcasting and streaming services, and access to classical music “on demand” is more accessible and prevalent. The need for my modest contribution has passed, I think.

When I looked forward to retirement, I thought I would have more time to dedicate to this activity but as it turns out, I feel I’m busier now than when I was working full time! Maybe it’s a temporary thing (with selling the house and moving into a new one being a chief preoccupation over the last few months) but I feel behind the eight ball all the time, and unable to get ahead of things like I used to.

I haven’t quite decided if this is going to be a long pause, s full stop, or something in between – I have a few months to figure that out. More to follow then in December…

September-December Programming

As I ave done since June, we will have regular (rather than daily) podcasts, following grand arcs:

For September, we will be revisiting the Mahler symphonies (with one montage and one Vinyl’s Revenge feeding the arc);

For October, we will be revisiting the Mozart Piano Concertos (with one Cover2Cover and one montage feeding that arc);

November is open right now, likely used to bring back some “In Memoriam” material (including one mintage dedicated to Jean Martinon whose death anniversary was overlooked last year)

Forr December, back to Tchaikovsky with a special crossover Cover2Cover post that will be our 400th montage).

We have still several weeks of Lundi avec Ludwig, and our Opera Alphabet with two planned “new” large works for the letters U and X.

Happy listening!