Hermann Prey – Auf Flügeln des Gesanges

   Hermann Prey was one of greatest German singers of 20th century. His lyric baritone was perfect for performing artistic song which was main part of Prey’s rich repertoire. He was also known for his opera appearances, especially for the roles requiring acting talents and virtuoso vocal technique like the unforgettable one of Figaro in TV movie of Rossini’s Il Barbiere di Siviglia made by Jean-Pierre Ponnelle in 1972. Since he was known as gifted singer with beautiful voice, he was appearing as well in oratorio as in more popular repertoire. But he was remembered mainly for his Lider recitals. So the hallmark of his discography are perfect renditions of songs and song cycles.
   Collection of Herman Prey’s song recordings were published by Philips in early 70’s. The series Lied Edition Prey comprises 27 discs in four boxes from Minnesang to contemporary music, from Walter von Vogelweide and Oswald von Wolkenstein to songs composed by Giselher Klebe and Friedrich Gulda. In the series there were also published two albums with highlights Zum Lob des deutschen Liedes and Auf Flügeln des Gesanges with songs of German romanticism.

Hermann Prey – Auf Flügeln des Gesanges (1974)

   Under the title inspired with Heinrich Heine’s poem and Felix Mendelssohn’s song, Philips published album of romantic songs recorded by Hermann Prey for this label. Choice comprises four songs by Franz Schubert with Der Pilgrim to the poem by Friedrich von Schiller, three songs by Robert Schumann to poems by Johann Wolfgang von Goethe, Joseph von Eichendorf and Hans Christian Andersen – brave performance of Der Spielmann. Second side is opening with title song Auf Flügeln des Gesanges by Heinrich Heine and Felix Mendelssohn-Bartholdy, then come Im Rhein by Heinrich Heine and Franz Liszt, Lied des Mephistopheles from Goethe’s Faust composed by Richard Wagner, In der Ferne written by Peter Cornelius to his own words, and recital close two songs by Johannes Brahms and three songs by Hugo Wolf.
   Piano accompaniments were played by Karl Engel (Schubert), Leonard Hokanson (Schumann, Wolf) and Gerald Moore (Mendelssohn, Liszt, Wagner, Cornelius, Brahms, Wolf). Hremann Prey’s renditions are natural and unforced, subordinated to musical and artistic ideas of each song. He interprets music and words trying to catch them as the entity of the message. In fact romantic artistic song is called with German term Lied, and this is somehow honoring this phenomenon. Based on great poetry of 18th and 19th centuries and perfect music elaborations of romantic composers, these songs are complete artistic expression and in Hermann Prey interpretations they shine as jewel in the crown of romantic output. Four and half jewels in five jewel scale.

Carlo Maria Giulini & Itzhak Perlman – Brahms – Violin Concerto D Major op. 77

   Carlo Maria Giulini debuted as a conductor one month after liberation of the Rome. Hiding nine months, threatened with death by German occupants, he was studying Brahms’ Symphony No. 4. This work became culminating position in the program of his long awaited debut after liberation of Rome in 1944. His devotion to Brahms’ music has the rank of the symbolic redemption of German culture. Consecutive interpretations of composer’s work became Giulini’s specialty, and the Symphony No. 4 he conducted later up to 180 performances.
   Giulini was early recognized as opera conductor when thank to the recommendation by Arturo Toscanini, in 1953 he took the directorship of La Scala. In 1955 he made his American debut with Chicago Symphony Orchestra which became the beginning of a long term cooperation leading to the moment when in 1969 he was honored with the nomination to the post of Principal Guest Conductor. This position has been established especially for him during the time Music Director of The Chicago Symphony was nominated Sir Georg Solti. Carlo Maria Giulini as the first artist occupying post of Principal Guest Conductor remained on it from 1969 to 1972, when he came back to Europe to take the post of Chief Conductor of Vienna Symphony Orchestra (1973-1976). After his resignation the post of Principal Guest Conductor in Chicago Symphony was empty to 1982 when the title has been taken by Claudio Abbado.

Brahms – Violin Concerto – Itzhak Perlman, Carlo Maria Giulini (1977)

   Archive recordings with Chicago Symphony Giulini were made since the moment of conductor’s American debut (Rossini’s Overture “L’italienne à Alger” recorded November 9th, 1955). First commercial recording was Schumann’s Piano concerto with Arthur Rubinstein for RCA (1967). His cooperation with the orchestra was most prolific after the period of his employment, spanning the years 1975-1978. One of the best was 1977 EMI (1C 063-02 899) quadraphonic production of Johannes Brahms Concerto for Violin and Orchestra D major op. 77 with Itzhak Perlman. Recorded in Nov. 30th and Dec. 1st 1976, published in 1977 this record won Grammy Award for Best Engineered Classical Album in 1979. It is certainly one the best performances of Brahms' Concerto. Each of three parts can be seen as different in its own kind and perfect as complete piece. And all together are consisting greater artistic entirety.

Brahms' Concerto, Adagio – I. Perlman, C. M. Giulini, Chicago SO

   No doubt this is perfect performance, perhaps because it is joining three great names Carlo Maria Giulini, Itzhak Perlman and Chicago Symphony Orchestra. Itzhak Perlman is one of the best violinists born after the war – he was born August 31st, 1945 in Tel Aviv. In dozens of phonographic recordings he is clearly more melodious than any other violin virtuoso. In most difficult, spectacular pieces he uses very own style of building the structure of the composition he interprets. The most original qualities of his art are subtle, nuanced differences between every element of the phrase. Even contrasting elements are connected as parts of one work. Perlman’s possibilities are unbelievably wide, he can be smooth and expressive, mellow and dramatic, and his emotionalism is much higher than most of violin masters, but he is still intellectually advanced and technically balanced.
   The Giulini/Perlman interpretation of Brahms’ Concerto is phenomenal. First part Allegro non troppo is less dramatic and more balanced than usual performances. Joachim’s cadenza is played more as musical art piece than as virtuoso exhibition. In central movement Adagio violin and orchestra create an organic unity to build wide spread and condensed utterance. In conclusive part – Allegro giocoso, ma non troppo vivace – Poco più presto – artists decided to diminish a valiant effect for more poetic and melodious depth what gave them a chance to elicit more ambiguous, maybe even more abstractive meaning of the composition.

Herbert von Karajan – Brahms – Ein Deutsches Requiem

   Johannes Brahms was one of most prominent personalities in romantic music. His position was build on the idea of three great B’s – Bach, Beethoven and Brahms – presumption deeply correlated with nineteenth century theoretic understanding of formal values in musical construction. And Brahms was number one composer who can melt some romantic ideas with creating complex musical constructions in Beethoven’s manner. It’s not sure if he was truly satisfied composing symphonic music. Four symphonies, three concertos, two overtures even if every one is great work, is not too much considering 64 years of composers life. However the symphonic compositions was the part of his work that made his fame and creative image, and among his great works every one fully deserves for its special place.
   One that’s very special is requiem based on texts from Lutheran Bible. The full title of the work is Ein deutsches Requiem, nach Worten der heiligen Schrift op. 45 (A German Requiem, To Words of the Holy Scriptures). The text has been edited by composer and is opposed to the traditional requiem based on roman catholic mass order. Words had been taken from some fragments from Old and much more  from New Testament. Sometimes he assembled very short fragments. Ein Deutsches Requiem is focusing on those who are living in sadness and this strongly difference between this setup and traditional requiem masses. Brahms started composing this work in 1965 after death of his mother and finish the whole composition in 1868. This seven-movement work composed for soprano, baritone, mixed chorus and orchestra German Requiem with more than an hour time of duration is longest composition by Brahms.

Herbert von Karajan – Brahms – Ein Deutsches Requiem (1964)

   Herbert von Karajan recorded Brahms’ Requiem at least five times. First time he recorded in October 1947 legendary performance with soprano Elisabeth Schwarzkopf, baritone Hans Hotter, chor of Singverein Der Gesellschaft Der Musikfreunde Wien and Wiener Philharmoniker orchestra. Then in 1964 for Deutsche Grammophon with baritone Eberhard Waechter, soprano Gundula Janowitz, Wiener Singverein choir and Berliner Philharmoniker orchestra. This recording was also published in 7 LP box with complete Brahms Symphonies and Violin Concerto with Christian Ferras. Third recording has been made twelve years later, in 1976 for EMI with the same choir and orchestra and with different soloists – soprano Anna Tomowa-Sintow and baritone José van Dam. Fourth recording was digital and was recorded with the same chorus but with Wiener Philharmoniker orchestra and with soprano Barbara Hendricks and with baritone José van Dam. There was also video recording of Deutsches Requiem with Kathleen Battle and José van Dam published in 1984 by Sony.
   Herbert von Karajan belongs to the greatest conductors who needed a large-scale works, big performing sets and challenging interpretations to be fully recognized as the great masters. He was equally efficient conducting symphonies, concertos, oratorios and operas. No wonder he is remembered mainly as the conductor of huge attainments of romantic music. One of his most challenging works was Brahms’ Ein Deutsches Requiem. Maybe this is reason he recorded this work so many times. It’s interesting he always recorded with the same choir of Wiener Singverein. Brahms Requiem is work of extremely high demands on the performers and choir is privileged in various ways. And this choir sounds unbelievable firmly and rich. The 1964 DGG recording has been priced by Grand prix du disque award in Paris.
   In Karajan’s renditions Deutsches Requiem takes 65-75 minutes and perfectly matches CD capacity, but on traditional vinyl records it usually took three standard sides. Thus for Brahms’ Requiem vinyl editions publishers added extra compositions on 4th side of double LP album. On Karajan’s DGG album such bonus work was Variationen über ein Thema von Haydn op. 56a, and on EMI album newly recorded Variationen and Tragishe ouverture. Although the choice of Variations is quite good thanks to its solemn character and soothing emotional distance, I still advise not to listening this two works together. Karajan’s performance of Deutsches Requiem is so much closed, so perfectly follows the idea of the work, it should be listened standalone.

Henryk Szeryng, LSO, Pierre Monteux – Brahms – Violin Concerto in D

   Among many great artists of XX century, in the midst of remarkable violinists Henryk Szeryng is still an exception. There are very few violinists with such precious tone, noble phrase and inspired musical authenticity. And there are few concertos only, where artist have the chance to lead full time dramatic dialog with orchestra while playing such captivating phrases. That is why Johannes Brahms’ Violin Concerto D-Major is the one we know in so many interpretations – this is just the obligatory position in repertoire of every active virtuoso. So we are at a great variety of master recordings from Jasha Heifetz, David Oistrakh and Nathan Milstein to Anne-Sophie Mutter, Itzhak Perlman and Hilary Hahn. One of the best is Henryk Szeryng’s 1959 recording with London Symphony Orchestra under the baton of Pierre Monteux. This record is milestone of RCA catalogue. Published on vinyl recording was awarded Grand Prix du Disque.

Henryk Szeryng / LSO / Pierre Monteux – Brahms' Violin Concerto (1959)

   Henryk Szeryng was born 1918 in Żelazowa Wola, the birthplace of Fryderyk Chopin, He was descendant of Polish-Jewish family. His mother started teach him music when he was 5, and at age 7 he begin to play the violin. Most of his public performances and recording sessions he played on his own „Le Duc” by Guarneri del Gesù. He was also owner of the Stradivarius „King David” which he donated to the State of Israel.

   During the war, using his artistic position, Szeryng help prime minister of Polish government-in-exile to find place for settling in Mexico some 4 thousands Polish refugees. In 1946 in gesture of gratitude he became naturalized citizen of Mexico. In 1970 he was Mexico’s special advisor to UNESCO in Paris. His best recordings are the two completes of Johann Sebastian Bach’s Sonatas and Partitas for solo violin, Sonatas by Beethoven and Brahms recorded with pianist Arthur Rubinstein and three different recordings of Brahms’ Concerto in D – first two accompanied by London Symphony Orchestra with Pierre Monteaux from 1959 and with Antal Dorati from 1962 and third one from 1973 with Bernard Haitink leading Concertgebouw Orchestra.