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. 

Emerson, Lake & Palmer — Brain Salad Surgery

★★★

   The legendary supergroup of progressive rock, Emerson, Lake and Palmer was formed in 1970 by pianist and organist Keith Emerson who was known before as a member of progressive band The Nice, Greg Lake, singer and bassist of King Crimson and Carl Palmer, drummer of Atomic Rooster. Trio achieved instant success, in Isle of Wight Festival in August and with their debut album Emerson, Lake & Palmer released in November 1970. Next four albums established their position as legendary band of progressive rock: Tarkus and Pictures at an Exhibition in 1971, Trilogy in 1972 and Brain Salad Surgery in 1973. Especially Brain Salad Surgery was a kind of recapitulation of first chapter in the history of the band. Next albums were released after three and half year period – 2LP Works Volume 1 and Works Volume 2 did not occurred to be the next success and bright ELP fame became fading. 

   Characteristic decision is lack of title composition Brain Salad Surgery, which was recorded but not included into the program. It was published with two other songs recorded in 1973 on Works Volume 2, and as other songs of 1977 gone generally unnoticed. Program opens with Jerusalem song. It is modified version of popular hymn written by Hubert Parry (1848-1918) to William Blake’s poem And Did Those Feet in Ancient Time. Using this anthem as an opening of modern, progressive album was clear and strong statement. The idea of England as Jerusalem build among dark Satanic Mills is strong vision that makes Parry’s song most popular patriotic song and unofficial national anthem. In version modified by Emerson, Lake and Palmer, this song was published as a single to express band’s open affection to England but BBC banned this version. In fact BBC leading personalities John Peel was against ELP from the very beginning, after Isle of Wight performance he said this was “waste of talent and electricity”. Musicians were disappointed with the decision which was probably result of massive use of Moog Apollo, the first-ever polyphonic synthesizer and electronic sound effects.

Emerson, Lake & Palmer • Brain Salad Surgery (1973)

   After this hymnal, sublime entrance, Toccata by Alberto Ginastera, arranged by Keith Emerson shows opposite face of the band, virtuoso, creative and competitive. Its intensive motoric rhythm with irregular accents, already known from Tarkus and Pictures at an Exhibition, was the hallmark of trio music. Here Keith Emerson shows his huge potential as virtuoso of electronic keyboard. Typical element in Emerson, Lake & Palmer albums was the opposition of ballades. Such position in program of Brain Salad Surgery takes Greg Lake’s lyric song Still...You Turn Me On with nice contrasting electronic inserts. This composition in pure style of progrock is overcome with Benny the Bouncer sounding like a glam rock parody with a saloon style piano. But in 1973, in context of the whole genre this was just one more view into the futuristic sound possibilities and progressive arrangements promising new level of musical creativity. This context was reinforced by the album artwork created by H. R. Giger.
   The program is closed by Karn Evil 9, almost half hour long, extended work of three polystylistic impressions and longest studio composition of the band.  It is placed on big part of first side and whole second side. First impression is divided on two sides of vinyl record. Starting with blues phrase, it shortly takes position of hard rock expression with changes of tempo, meter and syncopations. Every previous album of ELP gave new evidence every musician of the trio was musical erudite. Keith Emerson was the leader on this field. Here band is balancing all the styles used by progressive rock bands, even jazz. In climax of Emerson’s piano improvisation one can hear St. Thomas theme by Sonny Rollins played with clearly jazzy feeling. Words were written by Greg Lake with support of Peter Sinfield, poet known for his contribution in In the Court of the Crimson King and member of King Crimson band. Electronically processed Keith Emerson’s voice was used in the end of third Impression. In effect of ambitious idea and consequent work, Karn Evil 9 was not only massive, but spread to cover widely developed progressive rock.

Herbert von Karajan — Ludwig van Beethoven — Symphonies 1st & 2nd — 1963

★★★★★

   The full cycle of Ludwig van Beethoven’s nine symphonies is one of highest achievements in the history of music, especially in orchestral music and in symphonic form. Considering the role of these symphonies play in the history of music, it’s needless to say, this is mandatory set of works in artistic development of every orchestra. The same applies to conductor. Performances of Beethoven’s symphonies usually reveal what the real possibilities of an orchestra and conductor are. Whatever we can say about different esthetic attitudes, perfect symphonic form, augmented with rich musical semantics and emotional content, these works always disclose real quality of musical art. Unprofessional orchestra can successfully play Symphony No. 1, maybe even Symphony No. 2, but there is no amateur band which is able to play the whole cycle. In opposite to this, best orchestras have no problem with performing symphonies, they are able to embody any particular vision of Beethoven’s music.
   Berliner Philharmoniker took position in the forefront of best symphony orchestras in the world. The band is sometimes called Berlin Philharmonic Orchestra (BPO), but its original German name is brand perfectly known for any educated person in the world. One of qualities of their sound is its flexibility and instant reaction for conductor’s gesture. This orchestra is perfect instrument and can change the way it sounds for any need. No wonder it embodies interpretative elements on every level of performing skills and always sounds as a continuation of conductor’s idea. This quality makes Berliner Philharmoniker just a perfect band performing and recording Ludwig van Beethoven’s music.

Herbert von Karajan — Beethoven — Symphonies 1st & 2nd (1963)

   The 1963 edition of Deutsche Grammophone Gesellschaft was the first time Herbert von Karajan recorded complete set of Beethoven’s symphonies with Berliner Philharmoniker. For many reasons this performance is the best one. For 55 years old Karajan this was critical point of his career. He already achieved all conductor can, he was recognized as great artist, he had recorded whole basic symphonic repertoire, he was working successfully with almost every significant orchestra in the world. For some reasons he was willing to be the best one, while he was still one of best only. Recording in 1963, 1977 and 1984 next sets of Beethoven’s symphonies he was aiming to reach the position of absolute leader of symphonic music. And the fact is no other part of musical tradition can equal the cycle of Beethoven’s nine symphonies.
   All four Karajan’s visions of Beethoven’s cycle were complementary, every symphony took its place in the sequence set as it was marking episodes in output of revolutionary composer. And Karajan was always tending to show this quality as a feature. In 1963 edition symphonies are rendered with separate plans using the possibilities of recording technique. Selective sound of every group makes whole orchestra sound in multidimensional sound space. And oppositions of orchestral sections are clear and energetic. Especially for the first two of symphonies this rendition is original, probably most unusual of Karajan’s interpretations. First two symphonies he shows in more sustained interpretations then these compositions are usually shown. Every element is consequently planned and executed. This way early Beethoven’s symphonies sound even more dramatic and emotional. These renditions reveal new possibilities of interpreting Beethoven’s works. Five stars for the record.

Herbert von Karajan — Ludwig van Beethoven — Symphonies 1st & 2nd — 1977

★★★★★

   Symphonic works by Ludwig van Beethoven were the major position in Karajan’s repertoire. Beethoven’s style was always a perfect choice to show Maestro’s abilities to connect deeply emotional, dramatic matters with formal discipline. After success achieved with completes of symphonies recorded with Philharmonia Orchestra in 1950’s and with Berliner Philharmoniker in early 1960’s Karajan was perceived as a perfect performer of music by Beethoven. Recording his third complete of nine symphonies decade later, Karajan was way ahead in his career than any time before. He was famous as one of most charismatic conductors in the history of music, the orchestra in its best shape was working in the newly built house, performing and recording in new concert hall with outstanding acoustics. This moment was conceptualized as triple pentagon emblem symbolizing the unity: space-music-man in West Berlin Philharmonic.
   In second half of 1970’s Deutsche Grammophone released new complete of recordings of Beethoven’s nine symphonies conducted by Herbert von Karajan. Covers of new edition were series of photographic variations on numbers of included symphonies. Almost in parallel to this series, the same label had republished earlier complete with color cover photos of Karajan in various positions. This can be seen as an act of bravery considering artistic quality of first edition, but in fact there was no undue risk. As it was easy to predict, in second DGG edition Herbert von Karajan once again demonstrated his ability to create powerful constructions of symphonic works, reaching the heights of emotional and intellectual sophistication.

Karajan — Beethoven — Symphonies 1st & 2nd (1977)

   Comparing to strong, in some parts even rough performance of earlier decade, these renditions of first two symphonies have gentler and a bit subtler sound. Tempos in all movements are fast and jokes are easy to understand, what makes this vision less complicated than performances of 1963 album. For the same reasons 1977 rendition can be considered as well as more classical. This unity of formal context and well established ideas reveal entire work as emotional narration which is still classical, but already struggling with some new points. Minuet in Symphony C-Major Op. 21 sounds with demonic fatality and still is light merging sincerity with joker’s determination and cheerfulness. Dramatic effect in the beginning of Finale occurs to be next joke, and even more joyous pageant for the light-hearted closing of this early symphony being in a fast first step to break the classical style. 

   And the next Beethoven’s step toward the new century music was his second Symphony D-Major Op. 36. This time Beethoven makes his first change in formal construction of classical symphony — the third movement is signed as Scherzo, although it has more minuet features than Minuet in 1st Symphony. While Minuet in Symphony C-Major is in fact a scherzo, here we have opposite idea: considering rhythmic and melodic characteristics third part of 2nd Symphony is as much minuet as Minuet in 1st Symphony was a scherzo. It looks like Beethoven is hesitating between keeping old formal rules and expressing his individual experiences and feelings. Finale is just eruption of joy, closing this dramatic work with pleasant feelings. Just like it was expression of the seventies’ zeitgeist – dramatic but still full of hope.

Herbert von Karajan — Ludwig van Beethoven — Symphonies 1st & 2nd — 1984

★★★★★

   Herbert von Karajan recorded Beethoven’s symphonies many times. Among dozens of studio and live recordings of performances with various orchestras, most important part of Karajan’s discography were cycles of nine symphonies he recorded first with Philharmonia Orchestra and three complete sets he recorded with Berliner Philharmoniker. First cycle has been published in 1955 by Columbia. Next three cycles were recorded for Deutsche Grammophone Gesellschaft — first in early 1960’s, second in late 1970’s and third in 1980’s. And these editions may be the most capacious vision of symphonic experience for those decades. Every rendition has its own qualities and fanatic proponents, wherein majority choices are generally earlier Karajan interpretations. In fact the volume of later editions was smaller, so the circulation of last performance was not as significant as it was before. Nonetheless this edition is extremely interesting one. It can be considered even as an artistic testament of the great conductor.
   The natural solution in Karajan’s DGG editions is setting first two of Beethoven’s symphonies on one LP. In 1970 these symphonies were reissued in changed configuration, but the main idea of keeping original order was retained in all editions. In fact the first two are among shortest of Beethoven’s symphonies and both are connected by style and orchestral demands. Strings, double winds, two trumpets and two horns plus timpani mark this instrumentation in classical mainstream. Although many stylistic elements show that music of first two Beethoven’s symphonies is clearly classical, most interesting qualities are elements differentiating young composer’s work from the conventional classical style. 

Karajan — Beethoven — 1st & 2nd Symphonies (1984)

   The First Symphony, composed in late 18th century and premiered in 1801 is rather a rebellious commentary than one more classical construction. Starting with harmonic passage introducing the key as a kind of musical joke, composer developing his construction always with a grain of salt, and in third movement Minuet everything become clear. It can be only a comic effect to imagine this very fast Allegro molto e vivace dance with minuet steps and figures. Keeping the name Minuet, Beethoven wrote his first scherzo in 1st Symphony. And since this movement is based entirely on harmonic scheme taken from opening Allegro con brio, there’s no doubt this is a caricature of these shaping principles. Here young Beethoven shows qualifications and sense of humor being manifestation of his independence.
   In Karajan’s 1984 recording Beethoven’s first two symphonies had been rendered in slightly slower tempos to enhance the articulation and sound perspective. The sound is unbelievably precise and thus the musical space is wide and clear, Beethoven’s music tissue in this recording looks like it was shown in aerial view. This occurred to be a great idea. Showing multitude of nuances, focusing his attention on various possible readings, Karajan gives listener a chance to find some new perspective and an unknown comprehension in decoding Beethoven’s music. After powerful Allegro con brio in 2nd Symphony, second movement  Larghetto spreads between mysticism and determination. Orchestra sounds clear and warm, sound space is as wide as it is possible. This deeply inspired performance opens whole series of Karajan’s 1984 recordings of Beethoven’s complete symphonies. Each record of this complete is worth highest rating, so this time there’s no need to count the stars.

Genesis — Selling England by the Pound

★★★★★

   Sometimes poets and artists can predict the future. And in general visions they can do it with higher accuracy than any division of political or social analytics. The power of artistic exploration and its universal perspective lasts in some aspects of such prophecy remaining relevant even many years later. Competent songs readers and listeners can interpret these visions in any historic situation creating a chance for impact on real history. Even if most of predictions were just exaggerated critiques of actual trends. Although such idea of half-abstractive criticism can be easily found in progressive rock lyrics, most of songs are more poetic and contemplative visions of human relations in this world. This attitude is quite understandable considering rebellious roots of rock music. From its very beginning ambitious part of popular music was part of public scrutiny and this means it had to express criticism and objection against establishment and any form of official politics. This can be applied for the whole genre of progressive rock and especially for early creative activities of Genesis band.
   In early seventies, after Trespass in 1970, Nursery Crime in 1971 and Foxtrot in 1972 classical progressive rock band Genesis was on steady raising trend. The lineup of the band was stable since Nursery Crime sessions, public perception of recordings and concerts was well and reviews of their productions were enough enthusiastic to plan ambitious projects without any hesitation. But 1973 occurred to be the turning point for general conditions of rock and popular music market. Especially progressive rock was the scene of deep change. More and more small labels we concentrated in record companies being enough powerful to run their own politics. In the pursuit of profit they pressed for more popular and attractive forms of musical entertainment. The same 1973 listeners were already weary of long and complicated compositions of post psychedelic music, they were demanding melody based and not too long songs with understandable lyrics. This moment was good for progressive rock bands promoting the idea of concept albums including songs that were enough attractive to be played by the radio.

Genesis — Selling England by the Pound (1973)

   For Genesis nothing has changed. The band played smaller song-like pieces from the very beginning. When other bands were looking for their way out of style based on long suites and improvised psychedelic forms, for Genesis it was the time for continuations and recapitulations. They were in good positions as artists fulfilling their creative ambitions, as well as best selling stars with lots of freedom. Even if they felt this state is temporary only. In August 1973 they recorded album Selling England by the Pound – next set of extended songs merging social, economic, cultural and political criticism on loosing English culture values for domination of American popular culture. It was combining poetic lyrics and syncretic musical style connecting rock with some fusion extensions, folk and traditional music. In 1973 five musicians of Genesis were enough trusted to play songs dealing with major civilization issues and cultural changes. The title of the album, Selling England by the Pound, was a reference to Labor Party slogan.
   Probably these sound structures and relations between instruments are the most interesting element of 1973 Genesis style. It was far from typical rock elaborations of these times. Music for Selling England by the Pound was written together by all members of the band: Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett and Mike Rutherford. Arrangements of instruments and creative use of their possibilities made Genesis’ music rich and musical narration colorful with lots of progressive style elements like changes of time signatures, various tempo and harmonic sequences. The use of every instrument is more variable and functional than in texture representative for classical rock. It’s like in symphonic orchestra where various instrument parts are united in one structure. One of most interesting example for such approach was nine and half minute long Firth of Forth composition. This symphonic factor is widely presented on Selling England by the Pound album determining Genesis was one of foremost bands in symphonic rock subgenre which is now considered synonymous with progressive rock or art rock.

Captain Beefheart and his Magic Band • Trout Mask Replica

★★★★★

   As Frank Zappa mentioned in his Real Book, under the ground of California rock scene in sixties, there was many independent musicians driven by ideas of progress and creative spirit. About many of them nobody remembers, but those who were putting their creative contribution in next decades, are now recognized as classics of California scene. Musicians and sound technicians led experiments with new sound and formal elements, trying to invent new possibilities of expression. One of most famous was Don Van Vliet known as Captain Beefheart who was combining raw blues vocal techniques with blues and rock, to create his unique vision of music. It wasn’t rock, although in 1980’s some authors were trying to place Captain Beefheart’s music in proto punk context. It wasn’t even blues, even if he made some efforts to make us think so. This music was his own mixture of avant-garde, blues, modern jazz and rock with citations from popular culture and artistic music, so probably progressive rock is most appropriate category.
   The problem with categorization of Captain Beefheart music is its changeability. He was using some different idioms giving some chances for various interpretations. Most complex and artisticly independent is Captain Beefheart’s third  album. In August 1968 and March 1969 Captain Beefheart recorded material for double LP album produced by his friend Frank Zappa. Released June 16, 1969 album Trout Mask Replica is absolutely the one of crowning moments in history of both progressive rock and experimental music. Whole musical material was created and rehearsed in one year period. Album has benn produced by Frank Zappa and published under Straight Records label being companion to Bizarre Records, the pair of companies for publishing more mainstream or more experimental musical projects. In fact Trout Mask Replica, although published by Straight Records, remains most unusual and un-straight album in both collections.

Captain Beefheart and his Magic Band — Trout Mask Replica (1969)

   The raw sound of and complex rhythmic patterns are most characteristic elements spanning to whole material of this album. Although in 1969, during recording Trout Mask Replica album raw sound was Captain Beefheart’s hallmark, this was first time when production was precisely connected with musical contents. In some parts minimalistic effects and atonality, in others folk blues and free jazz ideas interlock in multidimensional fabric. The precision of this band was legendary in next decades until digital recording technologies made possible similar effects. Most of these elements and ideas in 1969 were not new, but its combination was definitely fresh and for many listeners just shocking. This was time of dividing rock music into more popular, commercial popular music and progressive trends with plenty of formal ideas. As Frank Zappa proposed Captain Beefheart possibility of recording album with complete artistic freedom, this album become perfect example of expanding frontiers of rock and blues-rock genre.
   As a project of Captain Beefheart this was most ambitious and consequent undertaking. The line-up of The Magic Band was refreshed, all musicians’ names were replaced with nicknames. Drummer John French was called Drumbo, guitarist Jeff Cotton was covered under pseudonym Antennae Jimmy Semens, guitarist Bill Harkleroad was noted as Zoot Horn Rollo, playing bass guitar Mark Boston was under name Rockette Morton, and cousin of the leader, bass clarinetist Victor Hayden was The Mascara Snake. This unconventional way of presenting the band was consequence of earlier trend which result was nickname Captain Beefheart Don Van Vliet owed to Frank Zappa. Many uncredited musicians were taken from Zappa’s band Mothers of Invention, bass guitarist Roy Estrada, pianist Don Preston, saxophonists Ian Underwood and Bunk Gardner, trumpet player Buzz Gardner. Zappa himself is heard as speaking voice of engineer, but he was uncredited as engineer neither. Five stars with no redundant comments.