Yehudi Menuhin Two Violin Concertos by Max Bruch

THE 100th ANNIVERSARY OF YEHUDI MENUHIN'S BIRTH
★★★★

   Although idea of string instrument with the bow was common in ancient civilizations, violin itself has relatively short history. We know violin as instrument constructed in 16th century Italy, and with slight modifications made in 18th and 19th century this form of violin lasts until today.  The violin music is one of main currents of virtuoso repertoire, and it’s needless to say violin is most common instrument in orchestras and chamber ensembles. This makes violin artistry, just as it is with great voices or piano virtuosi the theme for unending debates. It’s hard to count all great violinists of last century, but all listeners agree Yehudi Menuhin was one of very few virtuosos occupying the position of the best. He recorded more than five hundred records as violinist and conductor.
   Yehudi Menuhin, born April 22, 1916 in New York, was undeniably one of very few virtuosi dominated 20th century scenes. He was famous most of all for his virtuoso technique, deep, emotional sound and balanced interpretations. His strengths were also wide spectrum of musical knowledge and stylistic versatility. He started to learn in the age of four, as seven year old he debuted with San Francisco Symphony Orchestra. As 10 years old, January 6th, 1927 Menuhin debuted in Berlin with orchestra conducted by Bruno Walter. The same time he started recording, and in next years he was active virtuoso at most famous philharmonic halls in Europe. Turning 20, he was already world famous virtuoso. During the 2nd World War violinist give concerts in all military bases of US Army and was the first who was giving concerts in liberated European cities. In April 1945 he gave concert for surviving inmates of concentration camp in Bergen-Belsen. Two years later he was the first Jewish musician who gave concert with Berliner Philharmoniker and Wilhelm Furtwängler in an act of reconciliation. 

Yehudi Menuhin  - Max Bruch - Two Violin Concertos (1974)

   After the war Menuhin became public personality – famous musician was internationally recognized intellectualist, who entered to European culture many elements of remote civilizations, especially yoga masters and Indian classical music. He was honorary patron for international musical schools, prizes, music festivals and orchestras. As he made series of recordings with Wilhelm Furtwängler, he was famous for his peace and international cooperation advocacy. For his achievements he was made an honorary Knight Commander of the Order of the British Empire. He was also active as conductor and performer of non classical music. He was recording with Ravi Shankar, and their famous 1967 album West Meets East won the Grammy Award. Yehudi Menuhin made famous recordings with Stephane Grapelli, which was significant element in process of appreciating jazz in classical music community.
   Being at the height of his fame in 1973 Yehudi Menuhin recorded first two of three violin concertos composed by Max Bruch. It is an interesting album as the chance to hear these two concertos. The first Concerto G Minor op. 26 is famous as conservative romanticism in style of Mendelssohn’s Concerto E Minor, so it is present in world culture in dozens of great recordings. Second Bruch’s Concerto D Minor op. 44 is relatively forgotten. The EMI His Master’s Voice label album is a great possibility to compare both concertos in one competent rendition. It is also a chance to compare various moments in soloist career since Bruch’s G Minor Concerto was Menuhin’s first concert recording in 1931 conducted Sir Landon Ronald. And in later decades Menuhin played this concerto permanently. Both concertos are recorded with wide gesture of romantic emotionalism and precisely executed solo and orchestral parts. In some virtuoso fragments of 2nd Concerto Menuhin had problems with his right hand and the bow was too heavy, sometimes he has some tendency to slide in fast passages, but general effect is satisfactory. Four stars considering great performance of Concerto G Minor and competent presentation of second. 

Joseph Bologne Chevalier de Saint-Georges – Black Composer Series vol. 1

★★★✰

   Joseph Bologne, Chevalier de Saint-Georges (1739-1799) was one of first known classical composers of African origins. In earlier generation we know the other two: Brazilian composer of religious baroque music Inácio Parreiras Neves (1730-1791) and Ignatius Sancho (1729-1780), who was English composer, actor and writer. But it was Chevalier de Saint-Georges who was the first successful and recognized composer of African ancestry. He was also famous as virtuoso violinist. His composing style was compared to Wolfgang Amadeus Mozart and Joseph Haydn and for the reason of clear classical style he was called “le Mozart noir”. He was also successful fencer and boxer developing his leadership abilities and a military career during the French Revolution. He achieved the rank of colonel and became a commander of ‘La Legion De Saint-George’ which in fact was his own army forces. He was also active member of Masonic lodge and a favorite personage in social spheres of the capital of France.
   Born in Guadeloupe as a son of wealthy planter and African slave, when he was 7 year old his father took him to France for a military education. In 1766 he became gendarme du roi (officer of king’s guard) and a received the title Chevalier de Saint-Georges. Probably he studied violin since his early childhood. There are no indications for his studies in music but his achievements and performing skills prove he was learning for years. When he was 25 years old he was already recognized as violin virtuoso and Antonio Lolli (1725-1802) composed for Joseph Bologne two concertos. Two years later François Gossec (1734-1829) dedicated him Six Trios. In next few years he became sensation as an author of his own compositions. He composed at least 6 opera comiques, songs, arias, canzonettas, 14 violin concertos, 8 symphonies concertantes, 2 symphonies, third symphony has been preserved only in piano reduction, sonatas for various instruments and 18 string quartets.

Black Composer Series vol. 1 (1974)

   For many years compositions of Chevalier de Saint-Georges were neglected, even if remembered, not mentioned enough. Real interest for his works grew up in first decade of 21st century when some recordings were released and his music was played by many philharmonic orchestras. One of earliest editions was an album of profiling selection of this composer published by Columbia Masterworks. Its program comprised four pieces, Symphony No. 1 in G Major, Op. 11, No. 1, String Quartet No. 1 in C Major, Op. 1, No. 1, Symphonie Concertante in G Major for Two Violins and Orchestra, Op. 13 with soloists Miriam Fried and Jaime Laredo. Scene from Opera “Ernestine” sung by Faye Robinson closes this choice with strong dramatic impression. The String Quartet was played by The Julliard Quartet. All other selections were played by London Symphony Orchestra conducted by Paul Freeman.
   Perfect renditions show classical style of Joseph Bologne as balanced and inventive. Nice and modest style of classical forms was perfect for his scope of expression. In particular Symphonie Concertante shows original and gentle personality. More comprehensive formal approach one can find in String Quartet. This significant presentation of Chevalier de Saint-Georges’ music had been released in 1974 as the volume one of the Black Composer Series. Whole project was supported by The Afro-American Music Opportunities Association, the organization established in 1969 as an institutional assistance for creative activities of black composers and performers. The idea of collection was to publish comprehensive set of composers with African roots and their music from classicism to contemporary. This ambitious project featured also Afro-American soloists and conductors. For the first album of this great series we need to draw three and a half stars.

Gustav Mahler – Das Klagende Lied

★★★

   The early Mahler’s cantata Das Klagende Lied has been composed between 1878 and 1880 to the original text written in 1878 by composer himself, when he was only 18 years old. In this three part cantata he was following the story known as German fairy tale Das Klagende Lied (The Song of Lamentation) published by Ludwig Bechstein. Other version of this story was published as folk tale Der singende Knochen (The Singing Bones) in famous collection of brothers Jacob and Wilhelm Grimm. This early work is highly important because it is already containing some consistent characteristics of Mahler’s personal style. Its epic impetus, its spiritual and physiological dimensions are announcing the modernistic turn happening in next decades.
   The epic dimensions are the basis for Mahler's imagination and music. Since his very first compositions he was aiming to create big cyclic forms and wide narrative structures constructed in suggestive context. There is no coincidence he had started with songs and the greater part of his songs was written to his own lyrics. Even in his fully instrumental works he has always great mimetic potential, using some elements of sound painting with orchestration imitative effects and powerful extensions of audible space. These two categories – space and time – in Gustav Mahler’s music are elements occupying privileged position. And in best of his works this pair was elevated to some kind of cosmic and eternal groundwork of the world. These qualities are determining metaphysical profundity of Mahler’s work.

Gustav Mahler – Das Klagende Lied (1970)

   Such narrative vision of Mahler’s music was strongly expressed feature of performances by Pierre Boulez. Elements of this attitude are related to those presented in his legendary interpretations of Richard Wagner’s music. In Mahler’s songs and symphonic works Boulez found perfectly clear and universal language of storytelling. It is connected straight to conscious realizations of Berlioz ideas of orchestration. Two decades after Das Klagende Lied was composed, in 1899 Gustav Mahler made himself revision of this cantata. Whole first part was omitted. In 1970 Boulez recorded shorter version of Das Klagende Lied for CBS with Grace Hoffman (mezzo-soprano), Evelyn Lear (soprano), Stuart Burrows (tenor) and The London Symphony Orchestra Chorus led by Arthur Oldham and The London Symphony Orchestra.
   After release of Das Klagende Lied recording (CBS 72773), Boulez recorded first part of original composition Waldmärchen and Adagio from Symphony No. 10 (CBS 72865). Later both recordings were published on double LP edition (CBS 77233). The first LP of this final album comprised parts 1 (Waldmärchen) and 2 (which was part 1 of revised version). It was pressed and sold with cover and inlay with complete information and texts for Das Klagende Lied in 1899 revision. The catalogue number was still 72773. There was no information about Waldmärchen part, which was on 1st Side of the record. This is strange such mistake was not noticed. Maybe it was policy of the producer – listeners who bought Waldmärchen and Das Klagende Lied still had to buy double LP to complete this cantata. Strange policy of recording company but still three stars for great music and competent performance.

Stokowski conducts Handel and Bach

   During the early music period conductor was not a necessary person. Some gestures needed to start and finish together were given by the leader of the ensemble, who often was also the composer of a work and musical entrepreneur. Conductor became common person in classical music, after transition from baroque orchestra to classical symphonic orchestra. Substantial difference was not in set of instruments, but in the musical texture. Since in Mannheim school musical sentences were divided into small motifs and performed by different instruments, there was someone needed for every such moment, especially in symphonic forms. The result was the emergence of further opportunities and the development of massive symphonic sound in late romantic music. Performance of romantic music without a conductor was unthinkable, and for most symphonic music since Beethoven it would be a catastrophe. And these were circumstances of raising the role of conductors in modern concert life, up to the rank of the creator equal to composer.
   Among legendary conductors of 20th century one of most respected artists was Leopold Stokowski. He was born in 19th century, most probably in 1882, but he himself was giving different dates and places of his birth – from Cracow to Pomerania. However there are documentary evidences he was born in London. He studied in Royal College of Music since he was thirteen. After receiving Bachelor of Music degree in 1903, he immigrated to New York in 1905 and three years later he started conducting Cincinnati Symphony Orchestra. He was thirty years old when in 1912 he became director and conductor of the Philadelphia Orchestra. Four years later he led Philadelphia Orchestra and Choruses during sensational American premiere of Gustav Mahler’s Symphony of a Thousand.

Leopold Stokowski conducts Handel and Bach (1977)

   Most striking feature of the Stokowski’s craft was conducting without a baton, in the choirmaster manner. He was explaining this way he is able to shape the sound more effectively. Indeed, his interpretations were famous for superior sound quality. Starting from positions of English romanticism, he was one of the most important conductors giving baroque music its modern quality. In fact he was under the strong influence of English performing tradition. In opposite to other countries, in England baroque music was alive, and compositions of Georg Frederic Handel were constantly in school teaching and in concert repertoire. This was great basis for Stokowski’s artistic development. And recordings of Handel’s most popular compositions belong to his great achievements.
   Georg Frederic Handel’s suites were always Stokowski’s showpiece. First recordings of these works he made on shellac discs in 1934. In 1962 with RCA Victor Symphony Orchestra he recorded the two Handel’s suites and album published by RCA became one of best sellers. In 1977 RCA label published double album of two baroque giants in series titled “Meister spielen Meister”. First record is Georg Friedrich Handel’s Music For The Royal Fireworks and Water Music Suite. Perfect renditions with clearly stable strings and bright brass were exemplary orchestral performance. The same with second part of 1977 album, it was 1975 recording of Johann Sebastian Bach transcriptions: Chaconne from Partita No. 2 D Minor, Preludio from Partita No. 3 E Major, Ein feste Burg ist unser Gott, Air from Orchestral Suite No. 3 D Major, Fuge G Minor (Kleine) BWV 578, Sinfonia from Kantate Ich steh’ mit einem Fuß im Grabe BWV 156, Wachet auf, ruft uns die Stimme BWV 645, Komm sel’ge Ruh BWV 478. This time perfect sound was receoived from London Symphony Orchestra. The same 1977 was the year great conductor passed by. Transcribing baroque music for symphony orchestra was one of Stokowski’s achievements, but this demands at least new post.

Michel Legrand – Les Parapluies de Cherbourg

   He is the one of most famous French popular music composers. He became popular in first decade after war but his real position was establishing through all the years until today. He was praised at his start. In 1954 when he presented his first record I Love Paris, he was 22 years old and already active as an arranger, composer and pianist. Over a hundred albums and hundreds of public performances with different orchestras all over the world was consequence of his ability to write music in clear style, with no odd complexity or annoying easiness. His melodies are surprisingly fresh and enough simple to catch listener’s sympathy at once. His style was a mixture of clear and elegant, almost classically transparent texture and sublime harmonic modulations with some late romantic or even impressionistic ideas of orchestral colors.
   It’s interesting Legrand who was performing and recording with greatest stars of pop music and with classic opera divas, with singing actors and jazz giants, never became a star himself. Among artists he was working with were Ella Fitzgerald and Jessye Norman, Sarah Vaughan and Kiri Te Kanawa, Frank Sinatra and Ray Charles, Barbara Streisand and Lena Horne, Diana Ross and Shirley Bassey. He was prolific jazz composer, arranger and pianist working with John Coltrane, Miles Davis, Phil Woods, Art Farmer, Bill Evans and many more. He recorded also classical piano repertoire, publishing albums with music of Erik Satie, George Gershwin, Aaron Copland, John Cage and Conlon Nancarrow. But his first title to fame was always music for films.

Michel Legrand – Les Parapluies de Cherbourg Suite (1979)

   Over a hundred and fifty films with music of Michel Legrand are the most celebrated part of his achievements. Some of them are musicals with many great songs becoming hits and jazz standards. Revolutionary concept was Jacques Demy 1964 musical Les Parapluies de Cherbourg (The Umbrellas of Cherbourg) with all dialogues sung like in traditional opera. Romantic love story with Catherine Deneuve and Nino Castelnuovo was also best selling and well received movie, prized with Palme d’or in Cannes and nominated to three Academy Awards – among others for best music. This was very touchy one of most significant movies in the sixties, known also for perfectly composed, obsessive music augmenting emotional powers.
   The problem with publishing cinematic music is it’s complication for copyright issues. Movie is complexe work of art with rights of many artists and producers. For such reason publishing of soundtrack albums are limited to main company. But this can be very unjust for composer who still owns his musical ideas. It’s natural tendency to allow performances in many places and circumstances, especially when work has potential to be a big hit. This is why best composers arrange concert pieces shortening theatrical works to about half hour symphonic suites. Michel Legrand created such suite out of Les Parapluies de Cherbourg music and another concert piece Theme & Variations for Two Pianos & Orchestra. Theme was from The Go-between, a 1970 romantic drama written by Harold Pinter and directed by Joseph Losey.
   These two symphonic works has been recorded in London EMI studios (May 21-24, 1979). The London Symphony Orchestra was conducted by composer who also played piano in Theme & Variations. The second pianist was Robert Noble, musician working with LSO, recording as session man for movies. His piano and celesta can be heard on Frank Zappa’s The London Symphony Orchestra album. He was also working with John Williams (Star Wars: The Empire Strikes Back, Raiders of the Lost Ark), Charles Mackerras, John Lord and Claus Ogerman. Well written, well recorded and nicely produced, this record can be very good invitation to Michel Legrand’s music. Three and half on five stars scale.

Claudio Abbado conducts The Barber of Sevilla

   Among great Italian operas of 19th century Il barbiere di Seviglia is the one occupying a place reserved for the rarest phenomena. This is much more than the perfect stage comedy or operatic work full of beautiful arias, duets and melodies. Gioacchino Rossini made this work more than a study, maybe a kind of practical treatise on borders of opera buffa. In its original version it was opéra comique for some spoken scenes. One week after premiere became failure, what was provoked by Giovanni Paisiello’s proponents, next performance became a great success. Paisiello was Rossini’s rival and composer of prior version of opera to this Pierre Beaumarchais comedy. Master qualities of Rossini’s version is unquestionable and the way he introduces some of music played on stage as a part of narration and how he comments Beaumarchais’ text can be considered as the contribution to 19th century musical esthetics.
   This was never the simple comedy as it is attempting to be. There are many layers the text and music can be understand and decoded. This is one of very few masterpieces every new generation find in new outlook, thus The Barber of Sevilla is still active in modern discourse on gender, political, social or cultural issues. Dozens of performances in various cultural and historical staging contexts show how capacious and flexible this opera still can be. Maybe most classical production of this opera is Deutsche Grammophone 1971 recording, released one year later in video version in television staging of Jean-Pierre Ponnelle and in 1973 as one record cross section. This rendition became a master class for Rossini’s interpreters for several decades.

Gioacchino Rossini – Il barbiere di Siviglia (excerpts, 1973)

   Although the complete editions are much more valuable and appreciated, the album published by Deutsche Grammophone as Repräsentative Opern-auszüge (Representative opera excerpts) is perfect. One record is enough to present stars of this setting. Neatly set in title role Herman Prey showing full possibilities of his baritone. Great voice of Luigi Alva, probably best tenor leggiero of our time, exquisite in Mozart and Rossini’s operas, performs here with great culture of sound and elegant phrase. Alva is undeniably the star of this performance. Absolute success achieved here Teresa Berganza, perfect vocal technique and beautiful timbre gave Rosina the energy of young lady in love. With massive bass Paolo Montarsolo constructed Basilio’s La calunnia air.

   If featured parts were known in many great appearances, the role of Bartolo was often underestimated. This time with Enzo Dara’s voice and acting possibilities, with technical proficiency, Bartolo is one of main characters of the story. Only lack of space on this “representative excerpts” record can explain why Stefania Malagu singing role of Berta was not taken into account. She is present not with the air but in finale ensemble only. A separate place must be given to the London Symphony Orchestra and the Ambrosian Opera Chorus. In Italian opera dynamics and emphasis are as much matter as balance of phrase and precision articulation. And Claudio Abbado conducting these ensembles has it all. The result is one of best opera renditions, a congenial performance of masterpiece.

Boulez – Mahler – Waldmärchen

Gustav Mahler, born in 1860 was undeniably one of greatest composers in history of symphonic music. But he was also artist immersed in the historical process who concluded romanticism with great works being both recapitulation of romantic ideas and opening to forthcoming modern music. His first full range composition which he called his “first opus” was composed between 1878 and 1880 and it was cantata called Das klagende Lied (Song of Lamentation) – huge three-movement, nearly 70 minutes long romantic cantata, composed to his own lyrics. These early Mahler’s visions were close to the canonic themes in German romantic literature and visual arts. The main idea has been taken directly from fairytale Das klagende Lied by Ludwig Bechstein but the plot has been written by Mahler in his own poem.
The plot of Das klagende Lied is derived from popular in romantic culture story about the queen, who promised marriage to someone who will go to the deep forest and will find a very rare red flower. Two brothers set off in search of plant – one fair and noble, the other an unscrupulous opportunist. When honest finds the flower, the consequence is a treacherous death from the hands of dishonest and jealous brother. Following the crime he takes the brother’s prize and marries the queen. However, the wandering minstrel finds bones of the murdered brother and is making the pipe singing whole tragic story. Minstrel goes to the castle and interrupts the wedding ceremony. Scene breaks out, all quarrel and in this pandemonium the castle collapses into the ground. 

Boulez – Mahler – Waldmärchen (1970) 

The first version of Mahler's cantata was composition in three parts, but soon he began to perform it without the first and most extensive movement. First part takes 30 minutes what takes almost half of whole cantata duration. The reason was not only the scale of the first episode. Whole story was still readable when told after hideous act of fratricide, maybe even more mysterious, and this is what always has given a chance for more general associations.  Author’s decision of reduction the work to second and third movements can be understand but still Waldmärchen is great work, even as standalone piece. Comparing to the other two movements, first part shows more ease narrative style where elegiac and lyric elements interlace with dramatic and emotional episodes. 

When tenor Ernst Haefliger chants the first line of cantata text – “Es war ein stolze Königin” – it’s just like an invitation to recall mystery feelings of a child hearing a tale about proud queen and her strange request. Originl idea is to arrange vocal parts in instrumental way. Text of Mahler’s poem has been divided to small particles sung by various sets of vocal staff. Narration about queen is sung by male voices, after tenor and choir comes bass Gerd Nienstedt. Then history of finding the flower and murder is told by soprano Elisabeth Soederstroem, mezzo-soprano Grace Hoffman and choir. 

Illustrative resources are so much diverse as far from literality. In many stylistic solutions this music is close to Richard Wagner’s style. No wonder. In his student years Mahler was clearly influenced by Wagner’s ideas of music and narration. Later, when he became famous conductor, director of Viennese Hofoper and Vienna Philharmonic, Gustav Mahler remained faithful to his esthetic choices and one of best interpreters of Wagner’s works. In his mature works he became more polyphonic and spectrum of his expression was much wider but he was still close to the idea of narrative music. Wagnerian inspirations were clearly dominating over young Mahler’s style. This relationship can be observed on many levels from formation of lyrics, through characteristic references like leitmotiv technique and totality of orchestration, to the precedent idea of whole composition’s narratives reflecting in work’s structure. 

It was good idea to collate Mahler’s first and early works on opposite sides of one album. Waldmärchen from Das klagende Lied and Adagio from his final 10th Symphony are frame closing one of most original visions of romantic symphonic music and despite composers untimely death it shows how consistently he was developing his music. In Pierre Boulez interpretation both works are sparkling like a precious stones. London Symphony Orchestra and Chorus sound perfectly clear and massive. Great solo voices gave this part of cantata an additional dimension of narrative contents. It’s worth to notice this was premiere recording of Waldmärchen in the history and unlike many premiere recordings, this one is probably the best.

Karl Böhm – Tchaikovsky’s 4th Symphony F Minor op. 36

One of most versatile composers of romantic era was Pyotr Ilyich Tchaikovsky (in Russian – Пётр Ильич Чайковский) who was developing symphonic music just as surpassing Brahms’ achievements and opening perspectives for post-romantic emotionalism manifest later in symphonies composed by Dvorak, Bruckner and Mahler. It is hard to overrate his symphonies worth, even if he is well known for different forms and genres. And it is characteristic, his style is very personal in every genre and work, in symphonies or songs, compositions for piano or ballets, operas or religious music, and despite of early works his music is always touched by his own, idiomatic and almost intimate emotions. His attitude towards classical forms was very modern, free from dichotomy between nationalistic romanticism represented by group of five composers called Moguchaya kuchka (Russian – Могучая кучка) and on the other side a group cosmopolitan academic composers continuing composing in the manner of German classical school. It is interesting he remained in good relation with both sides of the stylistic conflict Mily Balakirev and Anton Rubinstein.
He perceive classical forms as an almost neutral container for emotional expression. Tchaikovsky’s six symphonies mark composer’s way to establish his own equilibrium of classical forms and individual emotions. After testing and exposing his approach in first three symphonies, in fourth he began series of great works which represent grandiose synthesis of contradicted traditions. Sublime of Russian imperial culture and ideas of Western European music braided in Tchaikovsky’s 4th, 5th, 6th and in Manfred Symphony, gave composer position of one of the greatest composers in nineteen century. His highly elevated, romantic solution became turning point in the history of Russian culture. Despite of this Tchaikovsky has been accused as too much cosmopolite by ideologists of communistic regime, who by the way were in many cases zealous followers of Russian nationalistic ideas.

Tchaikovsky’s 4th Symphony in Karl Böhm Ausgabe

Searching for solution of creative dilemmas, Pyotr Tchaikovsky created Symphony No. 4 F Minor op. 36 in four part form which setup is straightforward reference to constructions of Beethoven’s late symphonies. The narrative mode of constructing symphonic work descends from pre-romantic symphonic style of late Beethoven and Schubert, but most influential were depictive-programmatic symphonic works Liszt and Berlioz. There also some clear reflections of Russian heritage. Wide almost vocal phrase in Andantino could be seen as idiomatic for Russian style. Pizzicato ostinato in Scherzo sounds just like Russian balalaika. In final Allegro con fuoco Tchaikovsky incorporated as a refrain theme folk song In the Field Stood a Birch Tree (originally – Во поле берёза стояла). All this let him save national character of this work, achieving the highest volume of emotional amplitude.
On this equilibrium is based interesting recording of Tchaikovsky’s 4th Symphony made in 1978 by Karl Böhm with London Symphony Orchestra. Probably most disciplined orchestra in Europe with charismatically consequent and moderate, arbitrary exacting conductor made this work very classical in emotional balance and structural construction. Maybe this rendition is not as much dramatic as Gennady Rozhdestvensky’s interpretation with Ministry of Culture Symphony Orchestra, for sure it is not so much lyrical as it was Igor Markevitch’s recording with LSO. Böhm is reading Symphony F Minor somewhere between solemn pathos and virtuoso glitter. And he is deadly consequent. Narrative gesture and wide emotional span makes this vision closer to Bruckner’s academicism than any composer of Russian romanticism.

Isaac Stern – Bach Violin Concerti

   Isaac Stern is one of very few greatest violinists of XX century. He started very early as 15 years old, debuted with San Francisco Symphony Orchestra under Pierre Monteux playing Saint-Saëns’ 3rd Violin Concerto. As world known virtuoso he confess in his style he was follower of Nathan Milstein and Arthur Grumiaux to whom he owed his sublime phrase, both elegant and emotional. He is well known as performer of main works of classical and romantic repertoire, but he was also known for his visionary renditions of contemporary works by Barber, Bartók, Bernstein, Dutilleux and Stravinsky.
   He is not only virtuoso and groundbreaking interpreter of most advanced violin literature. After he made an entrance in some movie and television projects he became popular among people who did not attend to listen professional music. One of his highly recognizable showing in popular culture was recording of violin music for the movie Fiddler on the roof. In fact in this and other movies he was only dubbing actors playing the role of violinist. He show himself in 1999 movie by Wes Craven Music of the Heart where also Itzhak Perlman and Guarneri Quartet can bee seen. Naturally he was featured in numerous documentaries and concert recordings. In 1997 main hall of Carnegie Hall was named Isaac Stern Auditorium to commemorate the leading role of violinist in rescuing this institution from demolition.

Isaac Stern in Bach's Concerti

   Concerti by Johann Sebastian Bach recorded in February and June 1966 are Concerto for Violin and Strings A Minor BWV 1041, Concerto for Violin and Strings E Major BWV 1042 and Concerto for Violin, Oboe and Strings C Minor BWV 1060. The double concerto was played both by violinist Isaac Stern and oboist Harold Gomberg. The A Minor Concerto Stern played with strings of London Symphony Orchestra conducted by soloist himself. In the next two concerti soloists were accompanied by musicians of New York Philharmonic Orchestra conducted by Leonard Bernstein, who was also playing the basso continuo parts on harpsichord.
   Published by CBS, record with three Bach’s concerti shortly became the milestone in traditional way of reading the greatest works of baroque era. Rooted in romantic esthetics, widely vibrant phrases and strong dynamics made this music more intention of twentieth century vision than eighteenth century representation. The question of difference between Stern’s renditions and later models of reading baroque music is baseless. And even if one can ask how much these interpretations made possible the revolution of original instruments and new technical attitude of seventies and beyond, there are no controversy between the opposites. Decades after performances we can admit all were wrong as well as all have right for their mistakes. Creating work of art can’t be safe or easy. Especially if it looks like that.

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.