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.

Bernard Haitink conducts the Slavic highlights

One of world’s best conductors in last decades and one of most prolific recording artists is Bernard Haitink. Born in Amsterdam, he studied in Conservatorium van Amsterdam and start career as violinist in orchestra. His rapid career became in 1954 when he started studies under direction of Ferdinand Leitner. Next year he took the post of second conductor of Netherlands Radio Union Orchestra. One year later, November 7th 1956, he made his debut with Royal Concertgebouw Orchestra (Koningklijk Concertgebouworkest). Three years later, after death of Eduard van Beinum on September 1st, 1959  he took the position of first conductor then in 1961 post of principal conductor which he shared with Eugen Jochum until 1963, when he took this post exclusively. He continued working on this position until 1988. In 1999 he was appointed as honorary conductor of Concertgebouw. In years he work with his primary orchestra, he was associated with many orchestras as a guest artist or contracted principal conductor. He was working as principal conductor with London Philharmonic Orchestra, Glyndebourne Opera, Royal Opera House Covent Garden, Boston Symphony Orchestra, Staatskapelle Dresden and Chicago Symphony Orchestra.  

In many respects Bernard Haitink is the conductor of extraordinary features. Vast majority of great conductors are individualists of extremely high self-esteem and charisma. Haitink’s charisma comes from his professionalism and diligence. Also his effictiveness was phenomenal and legendary. For this reason he’s been often drawn for most challenging performances of late romantic massive works and twentieth century symphonic music. He was widely appreciated as interpreter of nineteenth century symphonies by Beethoven, Schumann, Brahms, Tchaikovsky, Mahler and operas including operas by Igor Stravinsky he performed in Glyndebourne Opera and complete Wagner’s Der Ring des Nibelungen.  

Bernard Haitink with Concertgebouw Orchestra

The works of three Slavic composers constitute the program for the very special album of Concertgebouw orchestra and Haitink repertoire milestones - Bedřich Smetana’s Symphonic Poem No. 2 "Vltava" (The Moldau) from the cycle Ma vlást (My Fatherland), Mikhail Glinka’s Ouvertüre from the opera Ruslan and Lyudmila and Antonin Dvořak’s first five pieces from first cycle of Slavic Dances op.46. It is highly interesting album highlighting music always appreciated by public and requiring full range of both orchestra and conductor’s artistic possibilities. I guess for Bernard Haitink it was not only the matter of professional proficiency. Slavic music is not really close to musical sensitivity of artists from West Europe so he was not only the one who needs to interpret the music but also conductor creating orchestra’s style and attitude. 

The situation was even more complicated. Album was not recorded as one project. Recorded with Concertgebouw Orchestra in Amsterdam and published by Philips (6566 012) somewhere around 1970, these recordings were taken at different occasions and published before – Smetana’s Vltava in 1962, Glinka’s Overture in 1969 and Dvořak’s five parts from Slavonic dances op.46 were recorded between 1959 and 1967 – No. 1 Furiant and No. 3 Polka were recorded in 1959, No. 2 Dumka and No. 4 Sousedská were performed in 1963 and No. 5 Skočná was recorded in 1967. And it is really hard to believe these pieces were recorded in span of a decade. The rich sound of the orchestra, perfect phrasing and dramatic expression demonstrate excellent understanding of conductor’s intentions and enough good taste to catch the Slavic idiom in the perspective as it was present in romantic music.