Rhapsody! – Dorati & The Detroit Symphony

★★★★

   In the history of romantic music the rhapsody is interesting example of form based on free invention and one more connection between popular and artistic music. It was rooted mainly in virtuoso phantasia. Improvisational attitude in romantic period was common part of musical techniques. Most improvisational type of composition was phantasy and there were lots of various forms of phantasies. Probably most popular among them was rhapsody. Free flowing form of rhapsody characterizes often changing, emotionally differential character of the music. It was composed mainly as instrumental work, although the name came from ancient Greek ῥαψῳδία which means epic song. Thus stylistic and thematic base for romantic rhapsody was always a folk song. Early rhapsodies were composed mainly in phantasy style, later it was resembled more song form. As it was so much popular in romantic culture, dozens of composers have written rhapsodies. Most famous rhapsodies start from 19 Hungarian Rhapsodies by Franz Liszt, and were often mimicked by other composers.
   The cycle of Liszt’s rhapsodies, a virtuoso solo piano pieces is rarely performed as complete program for its technical difficulties. In his rhapsodies Liszt uses Hungarian folk tunes, mainly heard from Hungarian Roma bands, with elements of Roma improvisational style, characteristic rhythmic and harmonic idioms of csardas and verbunkos. Some more popular rhapsodies are played often, especially Rhapsody No. 2 for many listeners became a synonymous for rhapsody at all. Three decades later composer arranged them for orchestra. Rhapsodies were composed by Johannes Brahms (Two Rhapsodies Op. 79), Claude Debussy (Première rhapsodie for clarinet and piano and Rhapsody for alto saxophone and orchestra), Bela Bartok (Rhapsody No. 1 and Rhapsody No. 2 for violin and piano), Sergei Rachmaninoff (Rhapsody on a Theme of Paganini Op. 43), George Gershwin (Rhapsody in Blue), Ralph Vaughan Williams (Norfolk Rhapsody No. 1 for orchestra) and many others. 

Antal Dorati &The Detroit Symphony – Rhapsody! (1979)

   In April 1978 Detroit Symphony Orchestra under the baton of Antal Dorati recorded four rhapsodies of various composers. Antal Dorati was great conductor as orchestra leader, as performing and recording artist. His discography is the great collection of consecutive albums with various orchestras. In years he was working with the Detroit Symphony Orchestra, he recorded with this ensemble as well. After albums with symphonic music by Peter Tchaikovsky and Bela Bartok he recorded album Rhapsody! – a choice of four rhapsodic pieces for orchestra. Three of them were connected to Central European and one to West European folkloristic patterns, all showing how different the cultural context of rhapsody can be. The first is Romanian Rhapsody No. 1 op. 11 by George Enescu, most famous composer of Romania. Then one can find orchestral version of Hungarian Rhapsody No. 2 by Franz Liszt - almost an obvious choice. Second side program is Slavonic Rhapsody Op. 45 No. 3 by Czech composer Antonin Dvořak and Rhapsodie Espagnole by Maurice Ravel.
   The Rhapsody! album was published in 1979 under the label of London Records Inc. Recording sessions took place a year before, in April 1978 at United Artists’ Auditorium in Detroit. Designed in Spanish-Gothic style this hall for more than two thousands viewers was one of most beautiful theatres of USA. When in 1976 furniture was sold out, the main hall was used for symphonic recording sessions as its acoustics proved to be ideal. In years 1978 to 1983 Detroit Symphony Orchestra have placed all recording sessions in this place. The sound of orchestra is deep and clear, with short but steady response and rich color. Orchestral sound and rhythmic intensity gave these compositions great outfit. Especially Ravel’s Rhapsodie Espagnole founded on colorful orchestration provided for the band lots of chances to build visionary and deeply emotional performances. For Detroit Symphony Orchestra playing symphonic rhapsodies in spirited interpretations of Antal Dorati adequate appraisal is four stars.

Antal Dorati conducts Stravinsky’s Le sacre du Printemps

   Detroit Symphony Orchestra is one of most prominent orchestras in history of American music. It’s history dates back to 1887, but real achievements came with the post war prosperity with Paul Paray as musical director. Following him principal conductors – Sixten Ehrling, Aldo Ceccato, Antal Dorati and Günther Herbig – granted the orchestra its development and artistic fulfilling. In 60’s string section of the orchestra under direction of concertmaster Gordon Staples recorded many accompaniments for Motown Records popular music. Economic crisis and social changes put Detroit Symphony Orchestra in a difficult situation. In new century, despite collapse of the city finances, musicians and administration of DSO reshaped repertoire and methods of promotion working for public image in more efficient way.
   One of the best conductors in the history of the orchestra was Antal Dorati (1906-1988), born and educated in Budapest, from 1947 naturalized citizen of USA. As a composer and world famous conductor, he was widely recognized as the master of early symphonic music and modern styles. Dorati was one who early saw the possibilities inherent in the recording technology. He made over 600 recordings i.e. recordings of first complete of Joseph Haydn’s symphonies and the only complete of Haydn’s operas. His versatility was well known, but it is simple fact, his intellectual attitude gave most valuable results in classical and 20th century music. He was prized as principal conductor of philharmonic and symphonic orchestras in Dallas, Minneapolis, Stockholm, London BBC and Royal Philharmonic, Washington and last post of music director in his career in Detroit Symphony Orchestra. 

Dorati / DSO - Igor Stravinsky - Le sacre du Printemps (1982)

   The time Antal Dorati spent in Detroit was fruitful in artistic events. Between 1977 and 1981, he also made series of highly acclaimed recordings. One of albums in this series was performed in 1981 first digital recording of Igor Stravinsky’s Le sacre du Printemps (The Rite of Spring). The Decca album with this recording was awarded in Paris with highly respected Grand Prix du Disque, being notable success in career of Antal Dorati and in history of Detroit Symphony Orchestra. The orchestra played wonderfully, with great space and perfection. Saturated sound and articulation, certain, well led tempos and intensity making the complex rhythmic structures sound confidently and unconstrained. Cover features Dirk Degenhardt’s photo of Peter Breuer, one of master dancers during the last decades of the century.
   Published by Decca this rendition was one of highest priced recordings in 80’s and later became the classic one although not quite consistent with the classic interpretation of Stravinsky. Recording session took place in United Artists Theatre Building. This time the old theatre in opulent, Spanish-gothic style interior seated 2070 spectators. It has been closed in 1978 but auditorium still served for Detroit Symphony Orchestra as recording hall. This situation lasts only few years, until 1983, and when next year office building has been closed, its fate was sealed. In next decades abandoned building was vandalized, and the pictures showing the successive phases of its decay were circulated around the world. This is change concerning all who are not indifferent to the future more distant than the nearest pay day.