11-27a: RODZINSKI / REEDER ROUNDUP! Mussorgsky | Tchaikovsky | Sibelius | Richard Strauss | Shostakovich AND MORE...

The main post for 11-27 will follow, but first here are a bunch of transfers of Columbia 78s featuring the work of Artur Rodziński (d. Nov. 27, 1958), all made by the trusty F. Reeder over at the Internet Archive. A few of these I believe we've seen already, but at least a couple dozen we haven't, and I found it too difficult to choose from them... so I'll leave that up to you!

Rodziński is most famous for his legendary decade with the Cleveland Orchestra, from 1933 to 1943. Much of the credit usually given to the tyrannical George Szell for transforming that orchestra into the world-class organization it is today should really be reserved for Rodziński; for without the prior groundwork he laid the Clevelanders would not have been up to Szell's exacting demands. Rodziński also had four great seasons in New York with the Philharmonic, and as guest conductor for Toscanini's NBC Symphony, which Rodziński had helped to organize in 1936–37.

Rodziński's later years, first in New York, and then in an abortive stint at the Chicago Symphony in 1947–48, were characterized by a lot of personal wrangling with orchestra management. His reputation as a conductor was such that his resignation from the New York Philharmonic was actually a cover story for Time magazine in February 1947:

After Chicago, Rodziński had no further long-term positions in his career; he did do quite a bit of freelance work, especially in the opera pit, both in the United States and in Europe. And it's perhaps because of this somewhat sour end to his professional life that he isn't remembered as well as some of his contemporaries, even though he was certainly at least their equal as a musician.

He was tall; he used a big baton; he preferred brisk tempi; he was renowned wherever he mounted the podium for his muscular yet refined interpretations. Enjoy these recordings by this too-little-lauded master of the orchestra!

11-02b: Mahler 6 "Tragic" Mitropoulos 1959 - Decapitated : Winds of Creation 2000 - Mississippi John Hurt 1928 - Berlioz Romeo & Juiliette | Debussy La Mer | Strauss Dance of 7 Veils / Mitropolous

1960 – Dimitri Mitropoulos (Greek conductor and composer)
1962 – Felice Lattuada (Italian composer)
1966 – Mississippi John Hurt (American blues singer & guitarist)
1968 – Ernst Hess (Swiss composer)
1991 – Fran Stevens (American singer & actress)
1994 – Pete Pitterson (Jamaican-born British jazz trumpeter)
1996 – Eva Cassidy (American roots-music singer & pianist)
2007 – Vitek Kiełtyka (Polish death metal drummer, Decapitated)
2011 – Sickan Carlsson (Swedish actress & singer)

No, cause of death does not generally figure into our lists around here. Vitek Kiełtyka was killed in a car accident, but he was not decapitated. That was the name of the band he drummed for. When Decapitated recorded their first album, Vitek was just 15 years old.

Somebody once said that Beethoven's symphonies are all different from each other, while Mahler's symphonies are different from all others. Well, what a crock of crap. It makes it sound like all Mahler's symphonies are similar to each other, as compared to Beethoven's symphonies. That's an evaluation that might fit a symphonist like Bruckner, but not Mahler. Mahler's symphonies are in some ways radically different from one another. It's hard to imagine, for instance, that two symphonies more different from one another than his 3rd and 4th could come from the pen of the same composer.

And so, Mahlerstodfest 1911–2011 continues. We've heard all now but symphonies nos. 7, 9, and today's offering, 6. So, what makes the 6th so special, as compared, say, to the 5th and the 7th? Well, the comparison is quite apposite, in fact. Mahler's 5th and 7th are both progressive, rhapsodic, "modernistic" works, and both are in five movements. Both begin and end in keys that are relatively remote from one another, given what one expects from a symphony. And both represent the transition from darkness to light whose symphonic expression was first and most famously manifest in Beethoven's 5th Symphony. And in fact they're in some ways the two Mahler symphonies that are most similar to one another.

The 6th is not like those at all. It seems, viewed from a distance, like a "normal," "conventional" symphony. It both begins and ends in the same key, A minor. It's in the traditional four movements. Only, the movements are massive. And they're played by a massive orchestra, the largest Mahler was ever to use for one of his purely instrumental symphonies. There are about 20 each of woodwind and brass instruments (as compared to only 14 of each for the 5th), and a very large percussion section that includes an infamous large non-metallic hammer which strikes two or three blows (depending on the conductor's preference - Mitropoulos does three, and makes the third the loudest) during the finale. The exact implement used for this is not specified by Mahler, and is generally improvised for any given performance; however, something like this is what one often finds:

What is Mahler's 6th symphony "about," then? Well, from its subtitle, "Tragic," we know from the outset that this symphony is going to be a huge downer. And it is! Quite devastatingly so! It's the apotheosis of tragedy itself - a grandiose orchestral catharsis that leaves one drained and pale, 80 minutes later, from a roller-coaster ride of emotions that culminate in the merciless, inexorable destiny of a final and irreversible defeat. Enjoy!

(Oh, and don't miss out on Mississippi John - the sweetest damned country-folk blues you ever did hear!)

10-27a: Ginette Neveu : Debussy, Ravel, Richard Strauss, Chausson, Suk et al 1938-1948 - Johann Gottlieb Graun Concertos / Haselböck 2005

1771 – Johann Gottlieb Graun (German composer & violinist)
1781 – Herman-François Delange (Belgian violinist & composer)
1796 – Anton Stamitz [Antonín Stamic] (German-Czech composer & violinist, brother of Carl [Karel])
1822 – Christian Frederich Gottlieb Schwencke (German composer, pianist, organist, music editor & church musician)
1833 – Ferdinand Fränzl (German violinist, composer, conductor & opera director)
1848 – Alexander Egorovich Varlamov [Александр Егорович Варламов] (Russian composer)
1864 – Andreas Randel (Swedish composer & violinist)
1925 – Wilhelm Gericke (Austrian conductor & composer, active in Vienna & Boston, Mass.)
1933 – Julius Klengel (German cellist & composer)
1940 – Fini Valdemar Henriques (Danish composer & violinist)
1943 – Béla Reinitz (Hungarian composer & music critic)
1949 – Ginette Neveu (French violinist)
1949 – Jean-Paul Neveu (French pianist)

Well, it looks like it's Le Jour du Violon here at Yestermonth. I can't recall having seen so many prominent fiddlers on the list (this is only half of it, of course - yes, it's another two-fer today), and there's a cellist to boot. And so that violinist we think of the most on October 27th–28th is in very good company, if that expression can be used for something as heartbreaking as the loss of a great and promising young artist.

Ginette Neveu might well be remembered as one of the supreme players of the violin in the past century, had her life not been cut so cruelly short, at the age of 30, when her plane went down in the Azores in 1949, as she embarked on a tour of the Americas. And as if that were not terrible enough, the tragedy went double for the Neveu family, since Ginette's accompanist Jean-Paul, who was also her brother, was on board the aircraft as well.

And perhaps we can find some symbolic significance in the location of the air disaster, in that very part of the ocean where the legendary continent of Atlantis has traditionally been said to have lain (if one takes Plato's account of it literally). For with the stuff of legends, we naturally touch on questions of what was, and what might have been, and what still could be today, had so-and-so occurred or not occurred. A little food for thought, especially for any of you Americans out there who didn't get quite enough to eat during yesterday's Thanksgiving pig-out feast...

STOKOWSKI SPECIAL !! | 36 tracks, 222 minutes! | Acoustic, Electric & Stereo recordings 1917-1975



"Leo-pold !!"

 I'm really only posting this because I'm hoping it will keep me from running out of label space for the next post! But I hope you enjoy this sampler of the remarkable and sometimes controversial but never boring and very creative Leopold Stokowski. It is the work of... many hands, shall we say? It's going up now...! In it, you'll hear him conducting:

The Philadelphia Symphony Orchestra
The Philadelphia Orchestra
The RCA Victor Symphony Orchestra
The Hollywood Bowl* Symphony Orchestra
The NBC Symphony Orchestra
The New Philharmonia Orchestra
The Symphony of the Air
and The All-American Symphony Orchestra

* the venue in which he's depicted above, in Warner Bros.' Long-Haired Hare (1948):

playing works by... those among The Dead and Dying... including Emmanuel Chabrier (who is also on the list with Leopold), and

~~~~~~~  ROMÂN  ~~~~~~~

compozitor George Enescu! And others I still didn't have room for in just this post's labels... such as Felix Mendelssohn Bartholdy, and Camille Saint-Saëns, and Alexander Glazunov, and Antonín Dvořák, and and Mikhail Mikhailovich Ippolitov-Ivanov.  Crap, that last guy's practically your whole label limit right there.