Robert Shaw conducts Stravinsky and Borodin

★★★★✰

   The very first commercial album recorded digitally in the history of phonographic industry was The Firebird by Igor Stravinsky and Overture and Polovetsian Dances from Prince Igor by Alexander Borodin recorded by The Atlanta Symphony Orchestra and Chorus conducted by Robert Shaw. Recording session took part June 19 & 20, 1978 with Soundstream Digital Recording System for the Telarc label. Those times Atlanta Symphony Orchestra was a rising star of American music, one of most interesting young orchestras recording in seventies and eighties. This was the best time in history of Atlanta Symphony Orchestra working this under direction of Robert Shaw. 
   Although officially Atlanta Symphony Orchestra was founded in 1945, for more than two decades it was not known to wide public, while consequently building its condition under direction of its founder Henry Sopkin. In 1967 for the post of music director was engaged Robert Shaw. As a choirmaster he started his career in 1941, establishing in New York City the Collegiate Chorale. He was known for his significant role as the founder and a conductor of professional Robert Shaw Chorale. As he was preparing choirs for Arturo Toscanini he became almost instantly famous as the choirmaster. Arturo Toscanini recommended him saying: “In Robert Shaw I have at last found the maestro I have been looking for”. Robert Shaw Chorale was professional ensemble. With this chorale Robert Shaw was working in New York for almost two decades (1948-1965) and made great series of recordings for RCA, receiving Grammy for Bach’s Great Mass in B Minor (1962) and for Handel’s Messiah (1966).

Robert Shaw – Stravinsky – The Firebird (1978)

   Two years after famous choir was disbanded, in 1967 Robert Shaw took up the post of music director in Atlanta. In 1968 ASO became full-time, 52-week orchestra. Two years later director Shaw founded Atlanta Symphony Orchestra Chorus. In 1975 Atlanta Symphony Orchestra and Chorus made its debut with 2LP album Christmas with Robert Shaw. Consequent work on repertoire and extensive guest performances gave artists from Atlanta prominence and quality. In late seventies well informed listeners knew this orchestra is one of the best – especially for Shaw’s recording experience. This is probably the reason Robert Shaw recorded the first digital album in the USA. 

   The sound of the orchestra is perfect. Shaw’s interpretations were generally focused more on sound than on structures. This performance of The Firebird suite in 1919 version, recorded with enhanced trebles and basses, was so much different, this recording was quite a surprise for listeners knowing sound of earlier recordings of Igor Stravinsky’s suite. The new kind of sensitivity was probably even more readable for young people and Shaw’s recordings enjoyed a good reputation. Second side comprises two fragments from Prince Igor by Alexander Borodin. The sound here is more colorful than expressive, sound space is unbelievably wide and deep. The famous choir in Polovetsian Dances shows its power in clear beautiful recording. Four stars for pure musical qualities and a half star for historic position.

Isao Tomita – Firebird

★★

   Electronic music was discovered in early postwar years and developed in some laboratories. Since these centers were operating rare and extremely expensive equipment, they were based in public institutions, mainly in university and radio experimental studios. High costs made electronic music a new frontier for avant-garde composers but it was totally out of reach for private studios. Until late sixties when appeared the revolutionary modular synthesizer controlled with the keyboard. Its creator Robert Moog created increasingly advanced versions of his synthesizer from 1964 to 1969, pending his original solutions with series of US patents. This monophonic small instrument was first electronic instrument popular in private use of musicians. One of first famous musicians was Japanese composer Isao Tomita also known just as Tomita.

   Isao Tomita was born April 22, 1932, and spend his childhood in China. In 1955 after graduating history of art in Tokyo Keio University, he began working as composer of soundtracks for television movies and shows. Although composing orchestral music, he was active mainly on the field of music and sound effects production for animated movies. He was also interested in new technologies and became one of founders of TAC Group – famous Shibuya-Tokyo studio of animation and computer graphics. In late 60’s, already recognized in Japan, composer started experimenting with electronic music. Isao Tomita purchased Moog 3 Synthesizer and build his home studio for creating his own visions of electronic renditions of classical masterpieces. This was pivotal moment for new instrument. The same time in March 1968 Wendy Carlos released in USA his first album of Bach’s music renditions on Moog Synthesizer Switched-On Bach. Published by Columbia Masterworks records by Wendy Carlos also played their role in promotion of synthesized electronic sound.

Isao Tomita – Firebird (1975)

   Tomita started publishing his electronic recordings in 1972 with Switched-On Rock (as Electric Samurai) where he played popular rock songs with electronic sounds. This was clear reference to Carlos’ album. This wasn’t his debut, earlier, in 1966 he released recording of symphonic poem Jangaru Taitei based on music to the movie Jungle Emperor. He was still in searching stage, when in 1974 he published his fourth album Snowflakes Are Dancing with impressionistic electronic versions of Claude Debussy’s compositions, and hit the jackpot. He received four nominations to Grammy Award, and started recording electronic renditions of orchestral works. Next albums recorded for RCA Red Seal became Tomita’s best  achievements. After success of Debussy’s music he specialized in late 19th and early 20th century compositions like Pictures at an Exhibition by Mussorgsky (1974), Firebird by Stravinsky (1975), The Planets by Holst (1976), Daphnis et Chloé by Ravel (1979).
   He executed The Firebird Suite and all these recordings with Moog synthesizer and multitrack studio tape recorders. Technique was much easier than in earlier studio music. He was recording whole sequences and bring them together on analog tracks, with possibility of panning them in stereo or quadraphonic space. Recording Firebird he used 5 recorders with main 16-track Ampex MM-1100 with tape speed 76 cm/s. This four-episode suite took A-side of LP. On B-side artist of artificial sound placed his renditions of Dubussy’s Prelude to the Afternoon of a Faun and Mussorgsky’s A Night on Bare Mountain.
   Today old analogue synthesizers sound closer to classical profoundity than to any kind of avant-garde or experimental music. It is consequence of massive using of synthesized sounds in various genres of popular and utility music. Although in this early era articulation was in many cases based just on envelopes and sound harmonics were rather poor, so sometimes they sound like organs expanded with new electronic voices, these recordings were sparkling with novelty. This fascinating world of unlimited sound possibilities was open for the future, which very soon have to turn back to tradition. This is the document of historic hope for unrestricted development. Two stars for vision and realization.

Bernstein in The Rite of Spring by Stravinsky

   It is really hard to say how much of his fame Igor Stravinsky owes to his ballets. His works were as much different as creative and the best part of his creativity was constant variability. He was programmatically syncretic, aiming to synthesis of all genres and ideas of artistic music. Using all kinds of formal and performing meanings, building of elements taken from diverse sources are Stravinsky’s peculiarity. This is the simple fact he was most original composer of his generation. Even though he became world famous thank to his cooperation with Sergei Diaghilev and his company Ballets Russes. First two ballets, The Firebird (1910) and Petrushka (1911) made for the company were successful and composing his third ballet Stravinsky was more experienced and radical than before. The Rite of Spring (Весна священная) was finished in 1913 and premiered in Vaslav Nijinsky’s choreographic embodiment May 29th, 1913. And the scandal becomes the real success. And the scandal in the theatre was the start to real success of music alone.
   The ballet was subtitled as Pictures of Pagan Russia in Two Parts and thank to Stravinsky’s music, Nijinsky’s choreography and Nicholas Roerich’s costumes it was virtually a manifesto of new musical, ballet and theatre esthetics. The Rite of Spring became the legend, ballet featured in the history of 20th century music as the example of new esthetics and foundation of many different “isms”. Indeed, Igor Stravinsky was polystylistic, constantly moving between different orientations since his aspiration was to make synthesis of all creative tendencies in concert, stage, religious and even popular music. Considering The Rite of Spring was turning point of the revolution in 20th century music, it serves as a chance to discover primary outcome. 

Bernstein – Stravinsky – Rites of Spring (1958)

   And there are dozens of great performances and recordings published since the beginning of long playing records era. One of early classic recordings was New York Philharmonic rendition conducted by Leonard Bernstein and published by Columbia Masterworks (MS 6010) in 1958. In cover notes for this edition Charles Burr wrote: “The Rite of Spring is still the most significant musical work of our time. Its birth pangs, which some mistook for an attempt to destroy music, are now seen to be, instead, the point of departure for a whole new way of listening to music”. These words, written almost half of the century after the work premiere, show unique position of Stravinsky’s music in shaping modern culture. Composer was not affirmative towards various interpretations. In fact he recognized as legitimate only his own performances and only conductor was his friend and co-worker Robert Craft.
   Leonard Bernstein’s rendition of The Rite of Spring is totally different from the vision known from recorded performances of Stravinsky and Craft or Igor Markevitch. Bernstein’s interpretation is extremely sound sensitive. It’s focused on orchestral colors and this solely element is responsible for formal integrity. This approach helps to understand the relationship between The Rite of Spring and the works of Rimsky-Korsakov or French impressionists. Complex structures allow the great number of possible emotional or semantic interpretations. The New York Philharmonic is perfect as usual although in some parts is trying to play this music in 19th century emotionalism. Leonard Bernstein shows its possible and fresh. Four stars even if somebody will say it is biased rating.

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.

Wodiczko Conducts Stravinsky

In 1930 Igor Stravinsky composed Symphony of Psalms. It was first in the series of his three symphonies. Decade of twentieth in Stravinsky’s work is often described as neoclassical phase of his creative development. And this was main direction in the time he intended to write symphony. He felt he was able to renew as the idea of musical construction and as medium for deep emotional and philosophical meanings. So when he received a commission for composition devoted to 50 years anniversary of Boston Symphony Orchestra he chose form of symphony. This time, after decade of experiences with neoclassical style, symphony was for Stravinky the leading idea of classical balance and intellectual plenitude. 

Trying to accomplish his idea, Stravinsky referred to the primary area of European culture, which implement the most important axiological problems. So he turned to religious tradition and used in his symphony some short fragments taken from Psalms in Latin – 38th Exaudi orationem meam, Domine, 31st Expectus expectavi Dominum, 150th Alleluia, laudate Dominum. Composed of universal religious phrases but exceeding any denotation Symphony of Psalms is unique piece of work. Stravinsky was intended to wrote for male singers but it was resulted by assumption of the work. Composing Symphony he expanded vocal group to the mixed choir with the proposition to use boys instead of female singers. Symphony of Psalms is unbelievably condensed, polyphonic work for choir and orchestra. Three movements of the symphony are linked to a form of organic unity, where polyphonic elaboration is discreet and integrated into a significant musical and verbal structure. The effect is profoundly moving, inventive and solemn.

Igor Stravinsky - Symphony of Psalms, Firebird Suite - Wodiczko (1973)

Although the Symphony of Psalms is one of the greatest works in twentieth-century music, this work has never been appreciated according to its artistic value. Otherwise than ballet music which was always Stravinsky’s specialty. Compositions for scene, connected to visual and dramatic case were more readable, thus even some difficult musical fragments were much closer to the public acceptance. His ballet music was always sounded quite well as concert pieces, even though many complicated passages and fragments were difficult to common concert audiences in first half of 20th century. Giving his first great ballet more chance for concert performances, composer set three suites in 1911, 1919 and 1945. The first great success, Firebird ballet music owes its success to the 1911 Firebird suite which was perfect orchestral music as well. This value was clearly part of composers idea fulfilling in his subsequent ballets, increasingly more compact and condensed.
These two great works, Symphony of Psalms and Firebird suite were first phonographic presentation of Igor Stravinsky’s music in Poland. Album was recorded in 1971 for main Polish label of this time Muza – Polskie Nagrania. Both performances were conducted by Bohdan Wodiczko and both were played by Polish Radio Symphony Orchestra – today Polish National Radio Symphony Orchestra in Katowice. Since 1935, when this orchestra was founded by Grzegorz Fitelberg and after war outbreak this institution was one of leading orchestras in Polish music. Recording Stravinsky’s Symphony of Psalms Wodiczko was artistic director and first conductor of the orchestra. Performing set was been augmented in Symphony of Psalms with vocal part sung by The Cracow Radio Choir (led by Adam Pałka). Album has been published two years later and in October 1973 awarded with prize of Polish musical industry „Złota Muza” 1973. This award was well deserved. The inclusion of two works of Stravinsky is as fresh as deeply thought-out and related to the essence of the great composer's music.

Stravinsky Conducts Symphony of Psalms & Symphony in C

One of most influential composers in 20th century was admittedly Igor Stravinsky, widely known for his revolutionary ballet works for Diaghilev's Ballets Russes, but for musicians known more as one of rarest visionaries of modern art and first after Johann Sebastian Bach who tried to make synthesis of music as a whole. His foundation was Russian music, Igor Stravinsky (Игорь Фёдорович Стравинский) was born in Oranienbaum in Russia in 1882. His famous ballets commissioned by Sergei Diaghilev were his first step to international recognition – The Firebird (1910), Petrushka (1911) and Le sacre du printempts (1913) – and highlights of the first, Russian phase in his stylistic experiments. The Rite of Springs became famous for riots during premiere, as the answer to explicit dance style, primitive scenario and rhythmical expression exceeding far beyond conventional ballet music. 

In twenties composer turned to historical styles and using old or unorthodox methods of composition he entered his music to the neoclassical phase. Spanning for more than 30 years, this direction in Stravinsky’s creative output was as much differentiated as fruitful. This phase in Stravinsky’s creative output was multidirectional, considering works in classical and baroque style, jazz and archaic modes of expression and works of various purposes. Center position of Stravinsky’s neoclassicism occupy traditional forms, operas, ballets, Symphonies, Cantatas and Concertos. Two symphonies of special meaning – Symphony of Psalms composed in 1930 and Symphony in C premiered in 1940 – were recorded as conducted by Igor Stravinsky and published together on opposite sides of one record. 

Stravinsky Conducts Symphony of Psalms (1964)

Stravinsky was the type of artist continuously trying to improve his compositions. He didn’t consider his works as close, so when he conducted or recorded his works he was often making some editorial changes. And he recorded almost every work he composed. Many of his compositions have two or more phonographic renditions. Between 1928 and 1967 he recorded for Columbia Records (later CBS Records) which was his main label, although in forties there were also numerous performances recorded in Los Angeles for RCA Victor. Symphony of Psalms he recorded three times, shortly after premiere in 1931 with Alexei Vlassoff Choir in Paris, 1946 with Columbia Broadcasting Symphony Orchestra & Chorus and March 30, 1963 with Festival Singers of Toronto (led by Elmer Iseler) and CBC Orchestra in Toronto. Symphony in C he recorded twice, first time with Cleveland Orchestra in 1952, and second time with CBC Orchestra, December 2-3, 1964 in Toronto.
CBS Records album features Stravinsky as composer and conductor and includes perfect renditions of latest recordings of the two previously mentioned symphonies. Igor Stravinsky was also author of back cover notes. This recordings are some kind of standard performing of Stravinsky’s music. In Symphony of Psalms he is building perfect balance between choir and orchestra. Melting together human voice, wind and brass instruments gives this music unique aura of great passion and wide opened space. And this makes Symphony of Psalms so unprecedented composition in the history of music. Symphony in C in composers rendition comes with a lots of rhythmical emphasis. Some construction ideas connected to papa Haydn school solutions are not really too much obvious. Well established tempos, precise articulation and lots of expression gives this music clear modern characteristics.