Tchaikovsky: Piano Concerto No. 1 (Levant)

Cover design by Alex Steinweiss

This posting is in response to a request. I obtained this set of Oscar Levant playing "the" Tchaikovsky concerto, graced with one of Alex Steinweiss' most delightful cover designs, about five years ago from Ken Halperin of Collecting Record Covers. I duly made a transfer, then shelved it, not sure if it would be of interest to anybody. Then, two months ago, after I posted Levant's debut album, there was a request for it, and I am delighted to be able to oblige:

Tchaikovsky: Piano Concerto No. 1 in B-Flat Minor, Op. 23
Oscar Levant, piano; Philadelphia Orchestra conducted by Eugene Ormandy
Recorded December 12, 1947
and
Rachmaninoff: Prelude in G Major, Op. 32, No. 5
Oscar Levant, piano
Recorded November 19, 1947
Columbia Masterworks set MM-785, five 78-rpm records
Link (FLAC files, 86.99 MB)
Link (MP3 files, 60.07 MB)

This was Oscar Levant's first concerto recording other than of works by Gershwin, with whom he was so closely associated; on the very next day, however, he was in New York recording the Grieg concerto with Efrem Kurtz! With Ormandy, the Tchaikovsky was his second recording, after the best-selling "Rhapsody in Blue" of 1945. That, however, was not Levant's first phonographic outing with the Rhapsody; that honor belongs to a Brunswick issue of 1927, with Frank Black's Orchestra, which I recently discovered here on YouTube. Writing in his best-selling book, "A Smattering of Ignorance", Levant said of this recording that "contrary to the common impression that composers do not think highly of their own abilities as performers, Gershwin was quite firm in his preference for his own version on Victor. At this distance [twelve years] I can acknowledge that it is much superior."

Encores - The First Piano Quartet

Founded in 1941 as a radio ensemble, the First Piano Quartet, consisting of four pianists - Vladimir Padwa, Frank Mittler, Adam Garner and Edward Edson - enjoyed great popularity during its first decade or so of existence. It's easy to understand why. Their arrangements, made by the players themselves, were great fun, were usually quite brilliant and were performed with a tightness of ensemble that made the four pianos sound almost like one super-piano. The music chosen, popular classics and semi-classics, made few demands on listeners' ears; the pieces never exceeded two 78-rpm record sides in length. When the "FPQ" began recording for Victor in 1946, the company initially didn't consider them Red Seal material, putting their first three single releases and their first album (a set of Lecuona favorites) in the black-label 46-0000 "Double Feature" series. By 1948 these had all been reissued with red labels, and all their subsequent releases appeared as Red Seals, including this, their third album:

First Piano Quartet Encores:
Liszt: Liebestraum No. 3
Grieg: In the Hall of the Mountain King
Rimsky-Korsakov: Flight of the Bumblebee
Mendelssohn: Scherzo in E minor
Villa-Lobos: Polichinelle
Brahms: Lullaby
Rachmaninoff: Italian Polka
Schubert: Moment Musicale No. 3
Liadov: The Music Box
Shostakovich: Polka (from "The Golden Age")
Virgil Thomson: Ragtime Bass
Recorded Dec. 22-23, 1947
RCA Victor WMO-1263, three 45-rpm records
Link (FLAC files, 57.85 MB)
Link (MP3 files, 42.70 MB)

The group's last RCA release was 1952's "FPQ on the Air" (LM-1227/WDM-1624), by which time Padwa had been replaced with Glauco d'Attili - the first of numerous personnel changes to the ensemble. A few EP reissues followed, but their recordings had all but vanished from the Schwann catalog by 1959, though the group continued to exist until 1972.

Weingartner's Earliest Beethoven and Brahms Recordings

This is to be my last "reissue" of acoustically recorded material.  It comprises three of the earliest recordings of complete symphonies conducted by Felix Weingartner (1863-1942) - two symphonies by Beethoven and one by Brahms.  I confess that I hesitated before offering the two Beethoven recordings, since Satyr has also offered them, and, in the case of the Seventh Symphony, he had markedly superior source material, since the first record of my set is badly cracked!  So, I encourage you to get Satyr's transfers, but for those who may want to compare American pressings of these recordings against Satyr's English ones, or for those who may want the FLAC upgrades of my transfers, here they are:

Beethoven: Symphony No. 7 in A, Op. 92 and
Weingartner: The Tempest - Dance of the Sprites
London Symphony Orchestra conducted by Felix Weingartner
Recorded June 1, 1923, and November 6, 1924
Columbia Masterworks Set No. 1, five 78-rpm records
Link (FLAC files, 100.02 MB)
Link (MP3 files, 38.27 MB)

Beethoven: Symphony No. 8 in F, Op. 93
London Symphony Orchestra conducted by Felix Weingartner
Recorded November 27, 1923
and
Rachmaninoff-Wood: Prelude in C-Sharp minor
New Queen's Hall Orchestra conducted by Sir Henry J. Wood
Recorded December 4, 1922
Columbia Masterworks Set No. 2, four 78-rpm records
Link (FLAC files, 83.35 MB)
Link (MP3 files, 32.26 MB)

It will be noted that the American version of the Beethoven 8th has a very curious filler, which is different from the filler in the English version - that being another excerpt from Weingartner's "Tempest" incidental music.  Yet another reason to get Satyr's download in addition to mine.

Finally, here is the Brahms symphony:

Brahms: Symphony No. 1 in C minor, Op. 68
London Symphony Orchestra conducted by Felix Weingartner
Recorded November 28, 1923, and March 21, 1924
Columbia Masterworks Set No. 9, five 78-rpm records
Link (FLAC files, 106.16 MB)
Link (MP3 files, 44.13 MB)

There was also something a little extra with the Brahms set - the original four-page leaflet that accompanied the album.  These leaflets are considerably rarer than the records - in fact, of the five or six early US Columbia Masterworks sets that I have seen with the original albums, this is the only one I have ever seen with such a leaflet.  Particularly interesting is the back page where the first eleven Masterworks sets are outlined and described - Columbia was obviously very proud of this (then) new series!  I have included scans of this leaflet in this download.

Earlier today, I fulfilled an intention that I announced on this blog one year and twenty days ago: that of performing the solo keyboard part of Bach's Fifth Brandenburg Concerto on a modern piano.  This was with a local chamber orchestra, Da Salo Solisti, and I was quite pleased with how it went.  I understand that a video was made by one of the orchestral players, whose hobby is A/V production, and I have hopes that it might make it onto Youtube.  Stay tuned!