Happy Birthday, Antonín Dvořák!

Tuesday marks the 174th anniversary of the birth of Antonín Dvořák (1841-1904). I guess that means I'm a year ahead of celebrating a nice round number (175th), but so what? - any excuse to listen to Dvořák's music seems a good one to me. And so here is his Cello Concerto, one of the works composed in America, and suffused with nostalgia and homesickness. Of course, almost every cellist of note has recorded it, and most of these recordings that I've heard fall short of the ideal interpretation. It requires a performance of total emotional commitment, while at the same time avoiding sentimentality, and that's a fine line indeed! I think this version by Piatigorsky, himself a lifelong exile, comes as close as any I've heard (naturally, it doesn't hurt to have the support of Ormandy and his great orchestra):

Dvořák: Cello Concerto in B Minor, Op. 104
Gregor Piatigorsky, cello
Philadelphia Orchestra conducted by Eugene Ormandy
Recorded January 17, 1946
Columbia Masterworks set MM-658, five 78-rpm records
Link (FLAC files, 88.01 MB)
Link (MP3 files, 64.36 MB)

This cover design of this set affords another excuse to add to my ongoing Alex Steinweiss gallery:

Happy Birthday, Gregor Piatigorsky!

Unsigned cover design for Columbia MX-258

This Friday, April 17, marks the 112th anniversary of the birth of one of the greatest cellists of the 20th century, Gregor Piatigorsky (1903-1976). For a musician of his stature, he left far too few solo recordings - a handful for German Odeon in the late 1920s, all of short pieces, and a somewhat more substantial batch for HMV in the 30s (including a Beethoven sonata with Schnabel, and a Brahms with Rubinstein). But it wasn't until the 40s, when he came to America, and signed on with Columbia, that more of an effort was made to commit his repertoire to disc. These two sonata recordings are among the fruits of that association:

Beethoven: Sonata No. 5 in D Major, Op. 102, No. 2
Gregor Piatigorsky, cello; Ralph Berkowitz, piano
Recorded June 6, 1945
Columbia Masterworks MX-258, two 78-rpm records
Link (FLAC files, 39.14 MB)
Link (MP3 files, 30.53 MB)

Brahms: Sonata No. 2 in F Major, Op. 99
Gregor Piatigorsky, cello; Ralph Berkowitz, piano
Recorded May 28, 1947
Columbia Masterworks ML-2096, one 10-inch LP record
Link (FLAC files, 66.00 MB)
Link (MP3 files, 44.94 MB)

Almost twice as much music was recorded by Piatigorsky for Columbia as was actually released. There were unissued versions of the Grieg, Debussy and Barber sonatas - this last-named, Columbia actually went so far as to assign a set number for (MM-737), and both Piatigorsky and Barber were eager to have it released. My guess is that a suitable filler side could not be agreed upon. These sonata recordings finally saw the light of day in 2010, with the issue of a six-CD set by West Hill Radio Archives, a set that is indispensable for lovers of Piatigorsky's art, and which, when last I checked, was being sold at Berkshire Record Outlet at a reduced price.

Tchaikovsky: Rococo Variations (Tortelier)

Paul Tortelier

Today I present an early recording by the great French cellist, Paul Tortelier (1914-1990), famous for his interpretation of Strauss' Don Quixote, which he played under the composer's direction, and which he recorded with Sir Thomas Beecham in 1947.  (Beecham said to him, "my boy, you will succeed in England because you have temperament.")  The next year, he made this recording of Tchaikovsky's delightful Rococo Variations (it seems to me that some of Tchaikovsky's happiest music was in the variation form - think of the Orchestral Suite No. 3, or the great Piano Trio):

Tchaikovsky: Variations on a Rococo Theme, Op. 33
Paul Tortelier, cello, with orchestra conducted by Norman Del Mar
Recorded March 23, 1948
HMV C 3776 and C 3777, two 78-rpm records
Link (FLAC file, 40.49 MB)
Link (MP3 file, 18.88 MB)

This must have been the first recording made by Norman Del Mar (1919-1994) as a conductor, though he had appeared on records as early as 1944, playing second horn to Dennis Brain in a Decca recording of Brahms' Op. 17 part songs for women's choir, horns and harp, with the Nottingham Oriana Choir and harpist Gwendolyn Mason.  This recording can be heard at the CHARM website.

Lalo: Cello Concerto (Maréchal)

Edouard Lalo

Like so many other composers, it has been the fate of Edouard Lalo (1823-1892) to be remembered for one work above all others, in his case the Symphonie Espagnole for violin and orchestra, written for Pablo de Sarasate.  Perhaps his best-known work after that is this Cello Concerto of 1876, which also boasts a connection with the great Spanish violinist.  If one of the themes of the last movement sounds oddly familiar (the one first heard in the slow introduction), it's because Sarasate borrowed it for his Habañera, Op. 21, No. 2, published a few years after this concerto was written.  Here is the Lalo concerto's first recording, made by the eminent French cellist, Maurice Maréchal (1892-1964):

Lalo: Concerto in D minor, for cello and orchestra
Maurice Maréchal, with orchestra conducted by Philippe Gaubert
Recorded June 5 and 6, 1932
Columbia Masterworks set MM-185, three 78-rpm records
Link (FLAC files, 71.32 MB)
Link (MP3 files, 35.17 MB)

Maurice Maréchal

It's worth mentioning which other cello concertos were available on records at the time this Lalo concerto recording was released.  W. H. Squire had recorded the Saint-Saëns A minor and Elgar concertos for Columbia; Beatrice Harrison another version of the Elgar concerto with the composer conducting, for HMV; Feuermann had recorded the Dvořák concerto for Parlophone; and Guilhermina Suggia the Haydn D major for HMV, a recording I have posted here.  Incredibly, neither the Schumann nor the Boccherini-Grützmacher B-Flat were yet available on records.

The Incomparable Emanuel Feuermann: Postscript

Emanuel Feuermann with daughter Monica, 1942

In the comments section of my last post about Emanuel Feuermann, somebody put in a request for his impassioned, magisterial performance of Ernest Bloch's "Schelomo."  Well, I'm happy to report that the records I have of this (the only other Feuermann 78s I have besides those in the last post) are in fine shape, so, here is my transfer:

Bloch: Schelomo - Hebrew Rhapsody for Cello and Orchestra (1916)
Emanuel Feuermann with the Philadelphia Orchestra
conducted by Leopold Stokowski
Recorded March 27, 1940
Victor Musical Masterpiece Set M-698, three 78-rpm records
Link (FLAC file, 42.18 MB)
Link (MP3 file, 21.5 MB)

March 27, 1940, was a busy day for Stokowski's Philadelphians, for it began with a recording of Glière's "Ilya Murometz" Symphony (No. 3) on eleven sides, then continued with Debussy's "Afternoon of a Faun," Harl McDonald's "Legend of the Arkansas Traveler" and the Prelude to Act III of Wagner's "Lohengrin" before Feuermann joined them for this "Schelomo" recording.  Whew!

Speaking of Victor sets, a correspondent recently shared with me a list of Victor Musical Masterpiece sets that Steven Smolian prepared in 1964 for the American Record Guide, which filled in many gaps that I had in my own listing posted on this blog last year.  (Mr. Smolian, incidentally, supplied me with a number of the rare chamber music sets that I have transferred here.)  I have therefore updated my own Victor list, and have also updated my previous post linking to it, but for those who don't want to take the trouble to look that up, here's the new link:

Link (PDF file, 624.25 KB)

The Incomparable Emanuel Feuermann

Emanuel Feuermann

Today I present three recordings featuring the man whom many, myself included, consider the greatest cellist of all time, the tragically short-lived Emanuel Feuermann (1902-1942).  He really should have lived into the era of stereo recording, but he died at age 39 of complications from an operation for hemorrhoids; Toscanini, who was one of the pallbearers at his funeral, is said to have wept during the procession, saying, "this is murder!"  At the time of his death, Feuermann was planning to take up the viola da gamba, so that he could present Bach's three sonatas for that instrument as authentically as possible.

Despite the short time available to him, he left a precious recorded legacy.  But, alas, no unaccompanied Bach suites - I suppose these works were perceived at the time as belonging to Casals, so Feuermann never got to record one - so the closest we can get to what that may have sounded like is via his 1938 set of a Reger suite, and this unaccompanied sonata by his friend, Paul Hindemith:

Hindemith: Sonata for unaccompanied cello, Op. 25, No. 3
Emanuel Feuermann, cello
Recorded January 27, 1934
Japanese Columbia S-1032, one 78-rpm record
Link (FLAC file, 22.17 MB)
Link (MP3 file, 9.3 MB)

Feuermann left us several concerto recordings, including a wonderful Brahms Double with Heifetz, and this one of the Haydn D major:

Haydn: Cello Concerto in D major, Op. 101
Emanuel Feuermann with orchestra conducted by Dr. Malcolm Sargent
Recorded November 25, 1935
Columbia Masterworks set MM-262, four 78-rpm records
Link (FLAC files, 76.38 MB)
Link (MP3 files, 37.26)

On a personal note: this is the third copy of MM-262 that I have owned; the first one I had as a boy of ten, inherited from the discarded 78 library of Emory University, where my mother was teaching music at the time.  It was my introduction to Feuermann's art, and to this day the Haydn D major is my favorite of all cello concertos, largely on the strength of this recording.

Finally, for fans of Eugene Ormandy, another of his early Victor recordings, featuring Feuermann - the first of four recordings Ormandy was to make of Strauss' "Don Quixote," but the only one with a cellist other than first-desk Philadelphia players:

Richard Strauss: Don Quixote, Op. 35
Philadelphia Orchestra conducted by Eugene Ormandy
Emanuel Feuermann, cello
Samuel Lifschey, viola
Alexander Hilsberg, violin
Recorded February 24, 1940
Victor Musical Masterpiece set DM-720, five 78-rpm records
Link (FLAC file, 87.25)
Link (MP3 file, 45.26)

Walton: First Symphony

Sir Hamilton Harty

Today I offer the first recording of William Walton's First Symphony, by the man who commissioned it, Sir Hamilton Harty (1879-1941).  The ink was barely dry on the score when the recording was made - or at least, barely dry on the finale, for Walton had completed the first three movements, and Harty had conducted them, in December 1934, before the finale was finished!  Then, in November, 1935, the completed work was finally played by the BBC Symphony under Harty, and a mere month later, this recording was made, with the London Symphony.  It was a rare honor for a British symphony to be recorded soon after its première; even Vaughan Williams' Fourth Symphony, completed the same year, had to wait two years for its first recording:

Walton: Symphony No. 1 in B-Flat minor (1935)
London Symphony Orchestra, conducted by Sir Hamilton Harty
Recorded December 9 and 10, 1935
English Decca X 108 through 113, six 78-rpm records
Link (FLAC files, 98.94 MB)
Link (MP3 files, 43.88 MB)

The Walton Symphony is a new transfer.  Back in 2008 I offered these two acoustically recorded sets featuring the not-yet-knighted Hamilton Harty, one as conductor and one as pianist:

Bach: Suite No. 2 in B minor, BWV 1067, for flute and strings
Robert Murchie, flute, with orchestra conducted by Hamilton Harty
Recorded January 20, 1924
English Columbia L 1557 and 1558, two 78-rpm records
Link (FLAC file, 45.79 MB)
Link (MP3 file, 17.31 MB)

Brahms: Clarinet Trio in A minor, Op. 114
H. P. Draper, clarinet; W. H. Squire, cello; Hamilton Harty, piano
Recorded October 21, 1924
English Columbia L 1609 through 1611, three 78-rpm records
Link (FLAC files, 74.98 MB)
Link (MP3 files, 30.35 MB)

Both are first recordings of these works; the Bach Suite is slightly abridged (64 bars cut from the fast section of the Ouverture, and the return of the slow section omitted altogether).

The Composer as Accompanist

John Ireland

Back in 2008 I offered two different recordings featuring composers as piano accompanists in their chamber works.  One of these was John Ireland (1879-1962), who made at least two such recordings of which I am aware.  One was of his First Violin Sonata, with Frederick Grinke, for Decca in 1945.  This has turned up on a Dutton CD, but I am unaware of any subsequent release of the other recording, that of the Cello Sonata with Antoni Sala, with, as a filler, a solo piano piece by Ireland, which I present here:

Ireland: Cello Sonata in G minor (1923)
Antoni Sala, cello; John Ireland, piano
Recorded October 25, 1928
and
Ireland: April (1925)
John Ireland, piano
Recorded February 18, 1929
English Columbia L 2314 through L 2317, four 78-rpm records
Link (FLAC files, 59.62 MB)
Link (MP3 files, 26.73 MB)

I know very little about Antoni Sala, other than that he was Spanish and was the cellist on a fine Parlophone recording of the Arensky Piano Trio, Op. 35, with Eileen Joyce and Henri Temianka, which turned up some years ago on a Biddulph double CD set devoted to Temianka.

Walter Piston

There could hardly be imagined a more different musical idiom than that of the other composer-pianist whom I present here, Walter Piston (1894-1976), in one of his very rare appearances on records as a performer.  Here he accompanies Louis Krasner in his Violin Sonata, a recording which appeared only a month before Krasner's famous recording of the Berg Violin Concerto, which Krasner commissioned:

Piston: Sonata for Violin and Piano (1939)
Louis Krasner, violin; Walter Piston, piano
Recorded November 24, 1939
Columbia Masterworks set MX-199, two 78-rpm records
Link (FLAC files, 39.01 MB)
Link (MP3 files, 21.22 MB)

This recording was reviewed in the TIME magazine issue of August, 1941, where Piston is described as an "atonalist."  He was hardly that!  Wonder if the review had him mixed up with Berg?

Columbia had two sets of music by Piston on its catalogue during the 78-rpm era; here's the other one:

Piston: String Quartet No. 1 (1933) and
Cowell: Movement for String Quartet (Quartet No. 2, 1934)
Dorian String Quartet
Recorded September 27, 1939
Columbia Masterworks Set M-388, three 78-rpm records
Link (FLAC files, 55.52 MB)
Link (MP3 files, 27.23 MB)

The cellist in the Dorian String Quartet was the 23-year-old Bernard Greenhouse; the other members were Alexander Cores and Harry Friedman, violins, and David Mankovitz, viola.

The First Mrs. Casals?

The Portugese cellist Guilhermina Augusta Xavier de Medim Suggia Carteano Mena (1885-1950), or, to give the name by which she is generally remembered, Guilhermina Suggia, was generally believed to be the first wife of Pablo Casals, although there is no evidence that they were actually married.  Certainly she was his student and, from 1906 to 1912, his lover, and she even billed herself as "Mme. P. Casals-Suggia" for a time.  After they separated, Suggia retained her admiration for Casals.  In 1927, she married Jose Mena, an X-ray specialist.  Upon her death, her Stradivarius cello was bequeathed to the Royal Academy of Music in Britain, to be sold to fund a scholarship for young cellists.

Suggia made a handful of recordings, including two concertos that Casals never recorded - the Lalo D minor, and this one of the Haydn D major (which, incidentally, was one of John Barbirolli's first conducting assignments for HMV):

Haydn: Concerto in D, for cello and orchestra
Guilhermina Suggia, with orchestra conducted by John Barbirolli
Recorded July 12-13, 1928
HMV D 1518 through 1520, three 78-rpm records
Link (FLAC files, 65.57 MB)
Link (MP3 files, 25.92 MB)

Bach by Bartlett, Robertson and Barbirolli

This time I present a fairly rare recording of a Bach concerto by the British husband-and-wife piano duo team of Ethel Bartlett (1896-1978) and Rae Robertson (1893-1956), pictured above with tenor Peter Pears on the left.  (The picture was taken by Benjamin Britten - who wrote three works for the Robertsons - while he and Pears were staying at the couple's California home during the summer of 1941.  It was while staying here that Britten ran across a magazine article about George Crabbe, that ultimately led to the creation of his most famous opera, "Peter Grimes.")  The Robertsons were of diminutive stature - notice how Pears is standing on a lower stair in the picture - but there was nothing diminutive about their piano-playing.

This recording of Bach's Concerto in C, BWV 1061, was made in London in 1933 with a pickup orchestra conducted by John Barbiroll (who in previous years had given cello recitals with Bartlett as his accompanist).  It seems to have been the first recording of the work, although a much more famous one was made only three years later, also by HMV, featuring pianist Artur Schnabel and his son Karl Ulrich Schnabel, with Adrian Boult conducting the strings of the London Symphony.  The Bartlett-Robertson version, however, must have still had some customers, as it was much cheaper - only 8 shillings for two Plum Label records, versus 18 shillings for three Red Label records in the Schnabels' version!  In any case, the Bartlett-Robertson records remained available until 1943.

Bach: Concerto in C for two claviers and strings, BWV 1061
Ethel Bartlett and Rae Robertson, pianos
Orchestra conducted by John Barbirolli
Recorded December 20, 1933
HMV C 2648 and C 2649, two 78-rpm records
Link (FLAC file, 43.19 MB)
Link (MP3 file, 18.1 MB)

Over three years ago I posted to RMCR two other Bach recordings by Ethel Bartlett, one with her husband, one with Barbirolli in one of his rare cello recordings.  These are still available for download; the details:

Bach: Organ Sonata No. 1 in E-Flat, BWV 525, arranged for two pianos
Ethel Bartlett and Rae Robertson, pianists
Recorded July 20, 1933
HMV C 2614, one 78-rpm record
Link (FLAC file, 21.26 MB)
Link (MP3 file, 7.94 MB)

Bach: Sonata in G, BWV 1027, for viola da gamba and harpsichord
John Barbirolli, cello, and Ethel Bartlett, piano
Recorded July 1, 1929, by Columbia
National Gramophonic Society 133-134, 2 78-rpm records
Link (FLAC file, 35.67 MB)
Link (MP3 file, 16.13 MB)