![]() ![]() On Monday, Ma10:41:54 PM UTC-5, aesthete8 wrote: Of course, lots of other labels have comoe out with Stokowski CDs, notably Guild, who have just released a 'live' Philadelphia Brahms / Wagner coupling, so check them out too. Other licensed material includes his 'Phase-4-Stereo' Czech Philharmonic performance of Elgar's Enigma Variations, coupled with a wonderful LSO Brahms 1st Symphony and the aforementioned Mendelssohn 'Italian' coupled with an equally wonderful Brahms 2nd, licensed from Sony. There are two CDs of opera highlights: 'Boris Godunov' with Rossi-Lemeni, as well as 'Samson and Delilah' with Rise Stevens and Jan Peerce, both from the 1950s. They chose only his best performances, ranging from early electric 78rpm recordings, some never issued at the time, transferred by Ward Marston and Mark Obert-Thorn, with the Philadelphia Orchestra, NBC Symphony, All-American Youth, New York City Symphony and Hollywood Bowl Symphony.Īll Stokowski's New York Philharmonic recordings from 1947-49 were released on Cala, taken from the original Columbia masters, Vaughan Williams's 6th Symphony among them (its first recording). But my Stokowski collection is far from a "completist's dream", and my knowledge is exceeded by that of Stokowski enthusiast Don Tait-who has been a member of this group.Ĭlick the link below and check out the Stokowski Society's 35 releases on the Cala label. I have this first recording from 1917, and an ample smattering of Stokowski's records all the way up to his last Lp of Mendelssohn's "Italian" Symphony in 1977. Starting with the Brahms Hungarian Dance N.5 in Oct 1917, his recordings on the Victor Red Seal label extended to 1940. Naxos' sound is physically stunning and easily as good as all but the very best of the full-price alternatives.> I would only add the correction that though Stokowski began conducting the Philadelphia Orchestra in live concerts in 1912, he first conducted them in recordings in 1917. ![]() One hopes that this series continues through all the rest of Stokowski's transcriptions. The remaining works on the program, Stokowski's tender transcriptions of Tchaikovsky's "Serenade" and "Humoresque" and his own affectionate "Traditional Slavic Christmas Music" are wonderfully apt fillers played with the same degree of energy and enthusiasm. And in all of them the Bournemouth Symphony plays like the great and powerful orchestra it is, finding the balance between strength and subtlety and all-out attack. His Pictures at an Exhibition is massively monumental, his A Night on Bald Mountain is devilishly infernal, his Symphonic Synthesis of Boris Godunov is unerringly dramatic, his "Entr'acte" to Act IV of Khovanshchina is unendingly tragic. Serebrier's interpretations are not slavish copies of his master's work, but stand on their own. But a larger part of the reason is that Serebrier, while clearly a conductor in the swashbuckling Stokowski mold, is a more concentrated conductor, a more colorful conductor, and, ultimately a more charismatic conductor than Bamert in this repertoire. Part of the reason is that Serebrier was a Stokowski protégé and his performances have the intensity of the true believer. ![]() And while no one could say a word against Bamert's immensely muscular performances with the BBC Philharmonic, anyone would have to say that these performances by José Serebrier with the Bournemouth Symphony are undeniably better. ![]() But while the Stokowski true believer would not want to part with any of the Maestro's recordings, the neophyte might want to try something a little fresher. There have been other recordings of Leopold Stokowski's transcriptions of music of Mussorgsky, later recordings by Matthias Bamert, and, naturally, many recordings by Stokowski himself. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |