Old Wine in New Bottles

When Seiji Ozawa took over the Boston Symphony Orchestra in 1973, his was not a new name to Toronto concertgoers as he had been music director of the Toronto Symphony from 1965 to 1969. I warmly remember one of his very first concerts here in which he conducted the Fauré Ballade Op.19 for piano and orchestra with his wife, pianist Kyoko Edo wearing a kimono. Rather charming. In Boston, although he had studied and worked with Charles Munch, Ozawa began turning the Boston Symphony from a French orchestra under Munch and Monteux, into a heavier-sounding German orchestra. Members of the orchestra were not happy at all about this and expressed their displeasure openly. In fact, the orchestra’s internationally recognized and esteemed concertmaster/assistant conductor, Joseph Silverstein eventually resigned in protest. DG has gathered all their Ozawa recordings, mainly with the Boston Symphony, also the Berlin Philharmonic and the San Francisco Symphony. Seiji Ozawa Complete Recordings on Deutsche Grammophon (DG 4836484, 50 CDs deutschegraommophon.com) is the result.

The repertoire is varied and colourful across the orchestral spectrum from Bartók to Ambroise Thomas. Collectors may be relieved to know there are no Beethoven symphonies, no complete Brahms cycle, no Mozart nor Rachmaninoff symphonies nor a complete Tchaikovsky. I’m thinking that these are staples already in one’s collection. What is here are illuminated performances of selected concertos featuring soloists Anne-Sophie Mutter, Christoph Eschenbach, Itzhak Perlman, Krystian Zimerman, Joseph Silverstein, Rostropovich, Yundi Li and Gidon Kremer, together with first-desk soloists from the orchestra. Orchestral favorites from the repertoire that enjoy standing ovation performances include Symphonie fantastique, Brahms First and Second Symphonies, Mahler’s First Symphony, Gaité Parisienne, a dozen popular favourites by Ravel including a ravishing Daphnis et Chloé with the Tanglewood Festival Chorus, Pictures at an Exhibition and Respighi’s Roman trilogy, an opulent Scheherazade and lots of Tchaikovsky including the Fourth and Fifth Symphonies. There are also Prokofiev’s complete symphonies, his Romeo and Juliet and more. And there is one complete opera! Offenbach’s Les Contes d’Hoffmann recorded in Paris in 1986 with the Orchestre National de France. This effervescent, never-a-dull-moment, performance stars Plácido Domingo as Hoffmann; Edita Gruberova as Olympia, Antonia and Guilietta. James Morris is Miracle, Christa Ludwig is heard as the voice of Olympia.

Not every one of the 50 CDs contains a definitive performance of the work therein and some miss the mark entirely. This glowing collection happily defines the often-used term, Music for Pleasure, and as such is a great success and should keep giving joy to the listener.

I had intended only to sample the sound of a first CD release of the February 6, 1961 performance of Mozart’s Le Nozze di Figaro conducted by Carlo Maria Giulini with the Philharmonia Orchestra and Chorus recorded in performance by the BBC in London’s Royal Festival Hall (ICA CLASSICS, ICAC 5157, 2 CDs naxosdirect.com). Time passed and I had listened to every last note on the two CDs, totally immersed in the genius of Mozart … his ineffable genius. Where did it come from? The soloists in this were, as Count Almaviva, Ernest Blanc; the countess was Elisabeth Schwarzkopf and Susanna was Elisabeth Söderström. Figaro was Fernando Corena and Teresa Berganza was Cherubino.

Fascinating and informative liner notes describe the evolution of Giulini’s Figaro and an appreciation of the rest of the cast that includes Edda Vincenzi, Georgio Tadeo, Hugues Cuénod, Heather Harper and Piero Cappuccilli. This is a very special performance, a must for a Mozart lover, cleanly preserved in mono. Incidentally, there is a set of CDs from Walhall with substantially the same cast recorded live in 1971. It originated in the Royal Albert Hall. It does not display the brio of the RFH performance. Nor the fine recording.

Another new release from ICA is a 3-CD boxed set of first CD releases of some interesting works conducted in typical flamboyant style by Sir Thomas Beecham (ICA ICAC 5168, 3 CDs naxosdirect.com). Briefly, for the benefit of those readers who don’t know the name, Thomas Beecham (1879-1961) was recognized and respected worldwide as a very special conductor and a wit. He first appeared on the podium in 1905 conducting London’s Queen’s Hall Orchestra. He was knighted in 1916. He was highly esteemed for his Richard Strauss, Mozart, Sibelius and Haydn, and championed and edited Delius. All his many recordings were best sellers everywhere. His concerts often included shorter works which he called “Lollipops” and his one-liner witticisms are still quoted. Regard each of the three discs as a concert. CD1 opens with Chabrier’s Gwendoline Overture, then Franck’s Le Chasseur Maudit; Gretry’s ballet Zémíre et Azor and the G-Minor Symphony by Lalo. The second disc has only three works; Etienne-Nicolas Méhul’s Second Symphony; Saint-Saëns ballet music from Samson et Dalila including the Bacchanale and finally Delius’ North Country Sketches. CD3 has the Balakirev First Symphony and Richard Strauss’ Ballet Suite from Le Bourgeois Gentilhomme. These are all BBC recordings made between 1952 and 1959 in various venues for later use and foreign broadcasts. The two orchestras heard on these recordings are the BBC Symphony and the Royal Philharmonic, the orchestra founded in 1946 by the affluent Beecham because he could not return to the London Philharmonic where he reigned before WW2. If you don’t know some of the works in the package, this may be an ideal way to expand your musical horizons.

A few years ago, SOMM released six CDs of previously unissued recordings of Edward Elgar in astounding new restorations by Lani Spahr. Spahr was given access to Elgar’s private library of test pressings that had been sent to the composer by HMV for approval. Whether he approved them or not, they remained in Elgar’s possession and are now archived by the Elgar Society. There were two sets issued, Elgar Remastered on four discs (SOMMCD 261-4) followed by Elgar Rediscovered on two discs (SOMMCD 0167). Included was Elgar conducting his two symphonies and cello concerto, all heard, thanks to Mr. Spahr, in genuine stereo played by Beatrice Harrison with Elgar conducting. Two fascinating collections, the 2-CD set being the more desirable.

Spahr follows up with more Elgar on Elgar from America Vol.1 (SOMM ARIADNE 5005 naxosdirect.com). Arturo Toscanini is heard in a previously unreleased performance of the Enigma Variations live from an NBC Symphony concert on November 5, 1949. There are already other Toscanini Enigmas in the catalogue, from June 3, 1935 with the BBC symphony and also with the NBC. New to the catalogue is this 1949 performance and the sound is surprisingly vivid and articulate. The performance is interesting and devoid of any sentimentality in the Nimrod variations (played today to respect a death). Two valuable performances with the New York Philharmonic also occupy this disc, the Cello Concerto conducted by Sir John Barbirolli played with flair by Gregor Piatigorsky (1940) and Falstaff, a Symphonic Study in C Minor conducted by Artur Rodzinski (1943). Altogether, a satisfying release. 

Ferenc Fricsay conducts Rossini, Strauss, Kódaly, Ravel, Honegger, Zimmermann (SWR CLASSIC, 19070CD, mono naxosdirect.com). New recordings, well, unpublished ones, conducted by Ferenc Fricsay are always a source of pleasure for his admirers. Most recent is the complete evening’s concert with the Südfunk-Sinfonie-Orchester, Stuttgart, in the Villa Berg, from October 10, 1955.The audience (and now us) was treated to a program of enjoyable light classics. The evening started off with Rossini’s overture to the seldom-heard, The Journey to Reims followed by Richard Strauss’ Burleske, for piano and orchestra played by Margrit Weber. Kodály’s Dances from Galánta were followed by Bernd Alois Zimmermann’s Cabocio from his ballet suite Alagoana. Weber returned for Honegger’s Concertino for Piano and Orchestra. A high-spirited performance of Ravel’s Boléro was the rousing finale to the evening’s program. That orchestra and other radio orchestras of the day and since are brilliant ensembles, being at least the equal of the “philharmonics.” The audience in this live recording is unheard and the dynamic sound is excellent. 

Italian conductor Carlo Maria Giulini was born in 1914, attended the Accademia Nazionale di Santa Cecilia in Rome as a violinist and later studied conducting with Alfredo Casella in Siena. In 1946 he joined the Italian Radio (RIA) and in 1950 became the conductor of the orchestra of Radio Milan. He made his debut at La Scala in the 1951/52 season and became its music director from 1953-56 succeeding Victor de Sabata. He was a familiar figure in Milan in both orchestral concerts and the opera. Giulini made his American debut in 1955 as guest conductor of the Chicago Symphony Orchestra, later becoming principal guest conductor after Solti was appointed its permanent conductor. British audiences were introduced to Giulini’s artistry in 1955 when he conducted Falstaff at Glyndebourne leading to appearances at Covent Garden and the Edinburgh Festival and with London orchestras, including the London Symphony and the New Philharmonia with which he recorded Mozart’s 40th and 41st Symphonies for Decca (included in this box).

Giulini began an association with the Los Angeles Philharmonic Orchestra and served as their music director from 1978-84. There, in 1982 the LA Philharmonic mounted a fully staged production of Falstaff, marking his return to opera after a 14-year absence. That production travelled to Covent Garden and the Teatro Communale in Florence. In 1983/84 he did not renew his contract in Los Angeles citing his own failing health and that of his wife. Throughout his active career he declined to enter into longterm contracts as music director due to the ancillary duties involved. He did, however, continue to guest conduct orchestras in Europe. Any new Giulini recording was greeted with the best reviews. Upon his death in 2005, aged 91, in his New York Times obituary Anthony Tommasini wrote, in part: “Far from being an autocratic conductor or a kinetic dynamo of the podium, Mr. Giulini was a probing musician who achieved results by projecting serene authority and providing a model of selfless devotion to the score. His symphonic performances were at once magisterial and urgent, full of surprise yet utterly natural. He brought breadth and telling detail to the operas of Mozart and Verdi.”

It came as a revelation that the newly released box set Carlo Maria Giulini: complete recordings on Deutsche Grammophon (DG 4836224, 42-CDs deutschegrammophon.com) contains so many performances that are new to my ears. Packaged in the now familiar cube are stunning versions of familiar and unfamiliar works played by these orchestras: Vienna Philharmonic; Berlin Philharmonic; Chicago Symphony; Los Angeles Philharmonic; Orchestra dell’ Accademia Nazionale di Santa Cecilia; Orchestra del Teatro alla Scala; Philharmonia; New Philharmonia; and Vienna Symphony. Soloists are pianists Berman, Horowitz, Michelangeli and Zimerman. Also, many, many singers as listed below.

Most impressive are all the performances and recordings made with the Los Angeles Philharmonic during his directorship there from 1978. It is acknowledged that under his baton the sound of the orchestra changed but only, says Simon Rattle, when Giulini himself stood before them. Included in this box are Beethoven’s Symphonies Three, Five and Six; Schumann’s Manfred Overture and Brahms’ First and Second Symphonies. These First and Second Symphony performances from 1981 eclipse his later versions with the Vienna Philharmonic from 1991, also included. From Los Angeles 1978/79 there are the two Chopin concertos with Zimerman. No-holds-barred performances of Debussy’s La mer and Ravel’s Mother Goose and Rapsodie espagnole also come from 1979 and Schumann’s Third comes from 1980. Finally, the last two entries from the Los Angeles Philharmonic are a complete Verdi’s Falstaff in a live performance recorded in the Los Angeles Music Centre in April 1982 and a program of opera arias. The cast for Falstaff includes Renato Bruson, Leo Nucci, Dalmacio Gonzales, Katia Ricciarelli, Barbara Hendricks, Brenda Boozer and others, plus the Los Angeles Master Chorale (Roger Wagner). On the 42nd CD Plácido Domingo joins the Roger Wagner Chorale and the orchestra in an attractive 1980 collection of the most memorable tenor arias from ten operas. The operas are L’elisir d’amore, Lucia di Lammermoor, Ernani, Il Trovatore, Aida, La Juive, L’Africaine, Les Pěcheurs de perles, Carmen and Martha.

Equally persuasive are the Chicago Symphony recordings that predate the LA performances: The Dvořák Eighth and Ninth Symphonies; Pictures at an Exhibition, the Mahler Ninth and the Schubert Fourth, Eighth and Ninth and the Prokofiev First. Benjamin Britten’s Serenade for Tenor, Horn and Strings Op.31 sung by Robert Tear is coupled with Britten’s Les Illuminations Op.18 for tenor and strings to the text by Arthur Rimbaud, sung in French by Tear with London’s Philharmonia Orchestra. A perfect mix and match as they say in the fashion trade. Also, with the Philharmonia are the Fauré Requiem with Kathleen Battle and Andreas Schmidt and Ravel’s Pavane pour une infante défunte and Rossini’s Stabat Mater with Katia Ricciarelli, Lucia Valentini-Terrani, Dalmacio Gonzales and Ruggero Raimondi.

DG had begun recording Giulini in Europe in his days with the Vienna Symphony Orchestra. In 1975 they recorded Gottfried von Einem’s cantata An die Nachgeborenen (To Posterity) Op.42 in honour of the 30th anniversary of the United Nations. The soloists are Julia Hamari and Dietrich Fischer-Dieskau plus the Vienna Choral Society. During 1979 in the Musikverein, Michelangeli and Giulini recorded, in concert, three Beethoven concertos, the First, Third and Fifth. Coupled with the Fifth is the Mozart 23rd Concerto played by Horowitz with the La Scala orchestra eight years later. There are the two Liszt concertos with Lazar Berman.

Guilini’s Vienna Philharmonic recordings are Brahms’ Four Symphonies, his Haydn Variations, the Tragic Overture and the Deutsches Requiem. Also Bruckner Symphonies Seven, Eight and Nine and a complete Rigoletto with Domingo, Cappuccilli, Cotrubas, Obraztsova and others. There is a complete 1984 Il Trovatore from Rome with Chorus and Orchestra dell’Accademia Nazionale di Santa Cecilia with Zancanaro, Plowright, Domingo and Nesterenko. With the Berlin Philharmonic there are: the Beethoven Ninth with Julia Varady, Jard van Nes, Keith Lewis and Simon Estes; César Franck’s Symphony in D Minor and Psyché. Mahler’s Das Lied von der Erde is sung by Brigitte Fassbaender and Francisco Araiza. The Verdi Requiem features Sharon Sweet, Florence Quivar, Vinson Cole and Simon Estes.

All the above add up to an expansive, beautifully performed collection of classic performances in the finest sound.

Igor Markevitch was a favourite of mine and his recordings still are. He was an eclectic and was highly esteemed by his peers. Briefly, he was born in Kiev, Ukraine in 1912. His great-grandfather was a Secretary of State under Alexander II and his father was pianist Boris Markevitch. The family moved to Paris in 1914, then to Switzerland in 1916. On the advice of Alfred Cortot, he moved to Paris where he studied at the Ecole Normale with Cortot and composition with Nadia Boulanger. He debuted as a conductor aged 18 with the Amsterdam Concertgebouw Orchestra. From 1957 to 1961 he was permanent conductor of the Orchestre Lamoureux in Paris. He appeared regularly before the world’s finest orchestras worldwide, including the USSR and the Montreal Symphony (1956-60). He died in France in 1983. 

Many of his recordings are still available on CD and DVD, mostly from Philips, DG and EMI. Some live performances are available on other labels. Doremi has released a two-CD set for collectors containing rare performances missing from the catalogue: Igor Markevitch Vol.1 (DHR-8077/8
naxosdirect.com), with Rimsky-Korsakov’s Scheherazade, Beethoven’s First Symphony, Haydn Symphonies 103 and 104, and Nielsen’s Fourth, “The Inextinguishable.” This repertoire reaffirms his interpretive genius and conducting skills. As an example, the opening pages of the first movement and elsewhere in Scheherazade with the LSO demonstrates the greater emotional impact of power rather than mere volume. There is a low-level hum throughout derived from the originals, overridden by these splendid, Illuminating performances on a wide soundstage. 

Since acquiring the unique complete Bach Edition on DG (4798000, 223discs, books) discussed in my column of February 2019, I have been somewhat preoccupied with the works for solo violin. As it happens, a recent two-CD set, Bach – 6 Sonatas and Partitas has just appeared, also on Doremi (DHR-8065/6 naxosdirect.com), with heavenly playing by Theo Olof.

Olof was born in Bonn in 1924. Aged 11, he was a soloist with the Concertgebouw Orchestra conducted by Bruno Walter. He was a prizewinner in the 1951 International Queen Elisabeth Violin Competition in Brussels and became assistant concertmaster of the Hague Philharmonic. Later, from 1974 until 1985, he was the concertmaster of the Concertgebouw Orchestra. These personal performances from c.1974 are heard in perfect, full-bodied sound. Listening to Olof’s playing you have the impression that Bach is imparting a wordless simple truth. Certainly, infinitely more here than playing the right notes in the right order. A treasure.

Wilhelm Kempff – The Complete Schubert Recordings On Deutsche Grammophon (deutschegrammophon.com, 9 CDs + 1 Blu-ray audio disc). Wilhelm Kempff was born in Jüterbog, Germany in 1895. He grew up in Potsdam where his father was the organist at the St. Nicolai Church. His grandfather was also an organist and his brother the director of church music at the University of Erlangen. Wilhelm’s first teacher was his father; then, when he was nine, he went to the Berlin Hochschule für Musik where one of his piano teachers was Karl Heinrich Barth with whom Arthur Rubinstein also studied. His teacher for composition was Robert Kahn. Kempff would write two symphonies, piano concertos, violin concertos, four operas, chamber music and choral works. In 1914 he continued his studies at the Viktoria Gymnasium in Potsdam after which he returned to Berlin to finish his training. In 1917 he won both the Mendelssohn Prizes. By 1916 he was already recognized as one of the leading pianists of his time, especially noted as a Beethoven interpreter. His first major recital was in 1917 playing predominantly major works including Beethoven’s Hammerklavier Sonata and Brahms Variations on a theme of Paganini. From 1924 to 1929 he was director of music at the Hochschule für Musik in Stuttgart. From then he devoted himself to concert appearances throughout the world. He was so well received in Japan that, it is said, they named an island for him, Kenpu-san. His first recital there was in 1936, returning frequently until 1979. Kempff made his first London appearance in 1951 and his New York debut in 1964. He gave his last public performance in Paris in 1981, retiring for health reasons (Parkinson’s disease), dying in Positano in 1991.

In 1934/1935 Kempff made his first Schubert recordings. With the exception of a 1935 recording of Liszt’s cute arrangement of Schubert’s Stänchen D889, here only on CD, his complete Schubert recordings from DG are also contained on the single Blu-Ray audio disc in immaculate sound. Included are every one of the piano sonatas plus these no lesser works: six Moments Musicaux, D780; four Impromptus D899; four Impromptus D935; “Wanderer” Fantasy in C major D760; Three Piano Pieces D946; Andante in A Major D604; Allegretto in C Minor D915; Scherzo in B-flat Major D593 No.1, and finally his last Schubert recording for DG: from August 1970, 13 Variations on a Theme in A Minor by Anselm Hüttenbrenner D576.

From the very first sonata to be heard in this welcome assembly of Kempff performances, it is clear that this pianist was a natural Schubertian who understood and projected the composer’s thoughts beyond the printed score.

A new CD from SWR Classic contains an in-concert recording of a piano recital from the 1962 Schwetzinger Festspiel with Wilhelm Kempff playing in the Schwetzingen Schloss (SWR 19412). The program consists of short pieces by Rameau, Couperin, Handel, Beethoven and Schubert’s Piano Sonata, D845. Poetic repertoire and pleasingly charming.

Bridge Records has reissued an album produced in association with the Musical Heritage Society for the Walter Fund Prize for Young Concert Artists first published in 1989 recorded at the SUNY Purchase Recital Hall. The artists involved are cellist Marcy Rosen and pianist Susan Walters playing Cello Sonatas of Richard Strauss and Edvard Grieg (Bridge CD 9512 bridgerecords.com).

Marcy Rosen has a high profile among concertgoers in the United States, Canada, England, Italy, France and The Netherlands. She was born in Phoenix, Arizona and her teachers include Marcus Adeney, Felix Galimir and Sándor Végh. She has collaborated with a who’s who of luminaries including Leon Fleisher, Richard Goode, Mitsuko Uchida, Isaac Stern, Robert Mann, Sandor Végh, Kim Kashkashian and the list goes on. She is currently Professor of Cello at the Aaron Copeland School of Music at Queens College.

Susan Walters studied piano at the Curtis Institute and the Mannes College of music. She joined the New York City Ballet as a solo pianist in 1997 and has performed many important piano solos with the company. She performs outside the ballet with renowned artists including Midori, Mendelssohn Quartet, Orpheus Chamber Ensemble and with members of the New York Philharmonic. She works regularly with Jacques d’Amboise at the National Dance Institute. Walters is on the faculty at the Mannes College of Music in NYC. She is to be heard on recordings from the major studios including Bis, DG, Sony, Philips, Koch and others.

Together these two are a superlative chamber music team. Rosen is in perfect command of her instrument. Her playing has a beautiful singing quality and Walters’ piano is sensitive to it. Together their music making flows spontaneously. With such harmonious playing our attention is on the music, not the players. Such a pleasure. Some credit must go to the engineers who perfectly balanced the two instruments.

Back in the days of 78 rpm discs the pieces that took only one or two sides were the backbone of the industry. Recordings in the classical field of an overture, a waltz, an intermezzo, etc. were all safe bets to release just about anywhere. In Europe, Electrola was the company and their recordings were issued worldwide on HMV and their affiliates. In April 1935 Electrola made their first studio recording with the Saxon State Orchestra (Staatskapelle Dresden) conducted by their recently appointed (in 1933), 38-year-old conductor, Karl Böhm. Those two recordings of ballet music from Undine and the Clog Dance from Zar und Zimmermann, in remarkably fine sound, are included in a 2CD set of recordings from 1935 and 1938-39 of Overtures and Entertaining Concert Pieces (Profil PH18035 naxosdirect.com) all recorded in the Semperoper in Dresden. There are 24 tracks including overtures to Die Fledermaus; The Marriage of Figaro; The Abduction from the Seraglio; Leonore 3; Egmont; Der Freischütz; Aida (prelude); Oberon; Donna Diana and The Bartered Bride. Other pieces include the Interlude Music from A Thousand and One Nights; Eine Kleine Nachtmusik; two Hungarian Dances by Brahms; the Rákóczy March; the Emperor Waltz and other lollipops including a truncated version of Capriccio Italien. Dazzling would be the right word to rate the sound on these transfers. Not one quibble about the performances. 

Universal Music, owner of DG, Decca, Phillips and others has been reissuing existing sets and creating new ones for re-release together with everything on an included single Blu-ray disc. Early releases included the complete Solti Ring Cycle, soon followed by the complete Karajan Ring from Berlin. Then the Complete Beethoven Symphonies under Karajan from 1962. Just to hand are The Complete Symphonies of Anton Bruckner played by the Royal Concertgebouw Orchestra (Decca 4834660, 10 CDs plus one Blu-ray disc).

These are the versions plus the Te Deum in distinguished performances with Bernard Haitink conducting issued by Phillips, recorded between 1963 and 1972. The Te Deum dates from September 1966 with soprano Elly Ameling, contralto Anna Reynolds, tenor Horst Hoffmann, bass Guus Hoekman and The Netherlands Radio Choir. Bruckner collectors like to know what performing version is employed, so for them, No.1 uses the Linz 1866; No.2 the Haas 1938; No.3 the second version 1877; No.4 the 1878 with the 1880 finale; No.6 original 1881 version; No.8 the Haas 1939 and No.9 the original 1894 edition. At the time of these recordings Philips’ producer Jaap van Ginneken did not care to employ the then-latest noise reduction circuits. Instead, if I recall correctly, he increased the level of high frequencies’ overall volume where the hiss lay, taking it back down on replay. That he was correct is amply demonstrated by these discs that display natural dynamics, a wide frequency response and are free of any sonic manipulations. As usual, Haitink is predictably professional and without editorializing allows the music to speak for itself.

We always have the greatest expectations of any new film from biographer Bruno Monsaingeon. His 2017 biography of Mstislav Rostropovich, The Indomitable Bow, has just been released by Naxos on both DVD and Blu-ray video (Naxos 2.110583 DVD). Rostropovich is visited over the span of his life, first as a baby in his father’s cello case. His adult years include playing with Prokofiev and Shostakovich and standing by them when they were totally banned. Prokofiev introduces him to Sviatoslav Richter with whom he developed a long association. Conductor Gennady Rozhdestvensky tells of Rostropovich’s first visit to Prague where he played the Dvořák concerto conducted by Václav Talich, “That was the great breakthrough which launched him onto the international scene. He became famous worldwide.” As Rostropovich states, “In that system going abroad was like a breath of fresh air, a great privilege. I was the third musician, after Gilels and Oistrakh, to go to America. It was amazing! From that point on, I was a ‘somebody.’” There were later political dictates from Moscow that stood in his path and also blocked soprano Galina Vishneskaya, his wife. His Russian citizenship was revoked but later reinstated through the intercession of his friend Yehudi Menuhin.

There is so much more here to learn and enjoy. Rich with interviews and great music, this is video is not to be missed. There are bonus in-concert tracks: The Rococo Variations, variation VII through the end (Paris, Ozawa, 1986), Beethoven’s Archduke Trio with Wilhelm Kempff and Yehudi Menuhin (Paris,1974) and the Sarabande from the Bach Cello Suite No.2 (1969). Also, there are 40 minutes of unique conversations with Olga Rostropovich, Elena Rostropovich, Natalia and Ignat Solzhenitsyn elaborating on the extraordinary, poignant friendship and bond between Rostropovich and Aleksandr Solzhenitsyn. 

In this 150th anniversary year of the death of Hector Berlioz (1803-1869) the flood of new issues and even more re-issues is about to flow. One such is a live performance from 1953, the 150th anniversary of Berlioz’ birth, of The Damnation of Faust conducted by Sir Malcolm Sargent (Cameo Classics, CC9108, 2CDs). Intriguing, as two names rarely mentioned in the same sentence are Berlioz and Sargent. This is an English-language performance using a singing translation by Paul England. Berlioz composed this Dramatic Legend as he called it, for three soloists, Faust, Marguerite and Mephistopheles, to be performed in a concert setting. Faust is sung by the ubiquitous tenor of the day, Richard Lewis; Marguerite is Australian mezzo-soprano Joan Hammond; and Mephistopheles is the great Polish bass Marian Nowakowski. The three fit their roles convincingly. A fourth character, a student named Brander, sung by bass-baritone Hervey Alan seems to have nothing to do with the plot.

I was most interested in hearing Joan Hammond as I was quite a fan and had not heard her for years. She was still in fine voice here, aged 41, but ten years later an operation affected her hearing and she retired to Australia. In addition to the Berlioz there is a live performance of Dvořák’s Te Deum from 1954 (the 50th anniversary of the composer’s death) also recorded in Royal Festival Hall. The soloists are Elizabeth Schwarzkopf and baritone Bruce Boyce. In this performance Sargent conducts the BBC Symphony and Choral Society. Ah, Schwarzkopf. 

One of the most deserving artists resurrected from the archives that I had not heard in a long time is the late Greek pianist Vasso Devetzi. Born in 1927 in Thessalonica, her outstanding talents were recognized at a young age, giving her first recital aged seven. Her international career began in Paris playing the Schumann Piano Concerto under Albert Wolff. In the Soviet Union where she remained for several years in the 1960s and 70s she was associated with classical music superstars David Oistrakh, Rostropovich and Rudolf Barshai with whom she performed and recorded extensively in a repertoire including Haydn, Mozart, Shostakovich, Beethoven, Bach, Fauré and others. Back in France she was a close friend of fellow Greeks Maria Callas and Mikis Theodorakis. Devetzi died in 1987.

Devetzi’s keyboard artistry is a harmonious combination of style, control, transparency and touch. To elaborate somewhat, she demonstrates a most sympathetic affinity with the unique style of the each composer. Her control is manifested by a magic blend of energy and purity. Her level of performance transparency and clarity is reminiscent of Glenn Gould (without mannerism or arrogance) and Dinu Lipatti. She is providing us with a personal measure of humour and communication. Her touch has a rare versatility, the ability to transform her instrument into an organ, a harp, a clavichord or a mandolin. In addition, with captivating lightness she can almost make the piano a non-percussive instrument. In summary, a delightful treat for the listener.

Volume 1 of the Doremi projected Vasso Devetzi / Rudolf Barshai collection (DHR-8063/4 naxosdirect.com) presents the six solo keyboard concertos, BWV1052 to BWV 1058 with the Moscow Chamber Orchestra. In addition there are works for solo keyboard: Partita No.1 in B flat Major BWV825; Chromatic Fantasy and Fugue BWV903; French Suite No.6 in E major BWV817 and the Prelude and Fugue No.5 BWV850 from The Well-Tempered Clavier.

Volume 2 (DHR-8069) is all Haydn, with the same cast playing the Concerto in D Major Op.21, (Hob. XIII:11) in addition to four solo piano sonatas: C Major, Hob.XVI:35; F Major Hob.XVI:23: D Major, Hob.XVI:51 and A-flat Major, Hob.XVI:46.

The series is off to an exuberant start with the remarkable synergy between all concerned. There is lots of Mozart promised for the coming months. 

The Christa Ludwig Edition (deutschegrammophon.com), is a 12-CD portrait of her artistry heard through a cross section of recordings spanning repertoire from oratorio, lieder, opera, symphony and Broadway; from Bach to Bernstein. Only one of the composers could contribute an opinion. On March 2, 1990 Leonard Bernstein wrote this in praise of the mezzo soprano: “I always thought Christa Ludwig the greatest Brahms singer among her peers, but that was only until I heard her sing Strauss. Then she was the greatest Marschallin until I heard her do Mahler. Again I had to reassign her to another throne. But then I heard her sing Wagner and the same thing happened, and then recently I heard her incredible interpretation of the Old Lady in my operetta Candide. Then I had to give up. She is simply the best, and the best of all possible human beings.”

The first CD contains 15 arias from Bach’s Christmas Oratorio, St. Matthew Passion and Mass in B Minor and the final CD features Schumann’s, Liederkreis Op.39, and Hugo Wolf’s Mignon-Lieder and Italienisches Liederbuch, accompanied by Erik Werba and Daniel Barenboim. In between, there is a treasure trove of outstanding performances reflecting her reliability to be present in the role.

A CD of Ludwig and Karl Böhm has arias from Nozze di Figaro and Cosi fan tutte that are so exquisite that I gave them an immediate encore. On the same disc are two arias from Tristan und Isolde and four from Rosenkavalier. Rounding out this program there are about 15 minutes of three interviews in German. There’s a very fine Alto Rhapsody with Böhm and the VPO and then her collaborations with Karajan including Abscheulicher from Fidelio and much Wagner with excerpts from The Ring. Karajan continues with works by Mahler, the three songs for soprano from Das Lied von der Erde, Kindertotenlieder and five Rückert Lieder. There is the Lux aeterna from the Verdi Requiem and an aria from Madama Butterfly, Reverenza! from Verdi’s Falstaff and two arias from Strauss’ Die Frau ohne Schatten. The selections with Bernstein begin with the final 15 minutes of Mahler’s Second Symphony from Urlicht and O glaube with Barbara Hendricks, the Westminster Choir and the New York Philharmonic. From Mahler’s Third Symphony she sings O Mensch! Gib Acht! From Bernstein’s First there is the Lamentation followed by the Love Theme from his music for the soundtrack of On the Waterfront. There are three songs from Candide including I Am Easily Assimilated (The Old Lady’s Tango) of which Bernstein wrote in his above quoted appreciation.

CD8 is titled “Great Songs and Arias with Various Conductors.” Those conductors are Lorin Maazel, Ferdinand Leitner, Daniel Barenboim, Claudio Abbado, Georg Solti, Ricardo Chailly, Richard Bonynge, Colin Davis, Seiji Ozawa, István Kertész and Karajan. Composers range from Pergolesi to Orff in 19 great songs and arias. The last four discs are devoted to Schubert lieder. Winterreise D911 accompanied by James Levine was recorded in Vienna in 1986, and 29 assorted lieder accompanied by Irwin Gage were recorded in Vienna in 1973 and 74.

In sum, the above entries and more should prove to be a gift to Ludwig’s admirers and others to whom the repertoire might appeal. Her mezzo voice illuminates the words, serious to the whimsical. Charming where called for. 

Eight years ago Doremi issued Volume One of Tatiana Nikolayeva that includes Shostakovich’s 24 Preludes and Fugues, Op.87. Her version was the composer’s very favourite… He had written them for her.

Nikolayeva was an incredible musician and among her most admired specialties were her performances of Bach. She excelled in all classical styles, but for her Bach she is considered “a priestess,” similar to Rosalyn Tureck, with the exception that Tureck was devoted to Bach exclusively. Nikolayeva’s repertoire included all his compositions for the keyboard and many other Bach works which she transcribed for the piano. Volume 2 (DHR-8056-8, 3CDs naxosdirect.com) includes all 12 concertos, BWV1052 though BWV1065, for one, two, three and four keyboards heard in live concerts from December 11,13 and 14, 1975. She is accompanied by the Lithuanian Chamber Orchestra conducted by Saulius Sondeckis, an elite group with whom she often performed. These concertos were written for harpsichord, however the piano maintains the spirit and style admirably as is also clearly demonstrated by such authorities as Rosalyn Tureck and Glenn Gould. No doubt Bach himself, given the opportunity, would have embraced the use of piano, for as we know Bach transcribed many of his works for diverse instruments. Most of these piano concertos existed before as concertos for violin and were transcribed by Bach himself. Furthermore, Bach’s concerto for four keyboards is actually his transcription of a four-violin concerto by Vivaldi.

Bach is played throughout with profound authority and hearing these treasured performances from long ago is such a pleasure. The crisp and faultless sound comes from Melodiya originals, not air-checks. There is a significant bonus. From the recital in Tokyo on April 22, 1988 are the Toccata and Fugue in D Minor, BWV565; the Partita No.2, BWV826; the Ricercar from The Musical Offering, BWV1079 and the Contrapunctus 1 and 9 from The Art of The Fugue, BWV1080. Different repertoire, same empathy.