Brahms: Symphony No. 1 (Rodzinski)

Cover design by Alex Steinweiss

For four years, Artur Rodzinski was the music director of the New York Philharmonic (1943-47), but his recording career with that august organization occupied only two of them - eighteen sessions from December, 1944, to October, 1946. The first of these produced recordings of Tchaikovsky's "Pathétique" Symphony and of Gershwin's "An American in Paris" that were quickly released. The second session, four weeks later, produced this Brahms symphony which, for reasons unknown, had to wait over a year and a half for its issue:

Brahms: Symphony No. 1 in C Minor, Op. 68
Philharmonic-Symphony Orchestra of New York conducted by Artur Rodzinski
Recorded January 8, 1945
Columbia Masterworks set MM-621, five 78-rpm records
Link (FLAC files, 108.62 MB)
Link (MP3 files, 72.20 MB)

This was only the second recording of a Brahms symphony made by the Philharmonic; it was preceded by Barbirolli's 1940 version of the Second. (A complete cycle did follow in the early 1950s, conducted by Bruno Walter.)

Mozart: Symphony No. 39 (Szell)

Cover design by Alex Steinweiss
(restored by Peter Joelson)

Growing up in the 70s, I would hear the term "Big Five" bandied about as it applied to American orchestras - those of New York, Philadelphia, Boston, Chicago and Cleveland.  Thirty years prior, the number was the "Big Three" - neither the Chicago nor the Cleveland orchestras reached that exalted status until Fritz Reiner took over the one, and George Szell (1897-1970) the other.  Szell assumed the directorship in Cleveland in 1946, and held the post until his death, transforming the orchestra in the process.  Among the first of their many recordings is the following:

Mozart: Symphony No. 39 in E Flat Major, K. 543
Cleveland Orchestra conducted by George Szell
Recorded April 22, 1947
Columbia Masterworks set MM-801, three 78-rpm records
Link (FLAC files, 66.44 MB)
Link (MP3 files, 43.76 MB)

This wasn't Szell's first recording of the Mozart E Flat Symphony.  One of his earliest recordings featured it, an acoustical version for German Odeon with the orchestra of the Berlin Staatsoper in 1924.  Of great rarity, I should imagine - I've never encountered it.

The Cleveland Orchestra was already a fine one when Szell took it over, as many recordings with it by Nikolai Sokoloff, Artur Rodzinski and Erich Leinsdorf prove.  One of the first I ever owned is this one by Rodzinski of an old warhorse:

Tchaikovsky: Marche Slave, Op. 31
Cleveland Orchestra conducted by Artur Rodzinski
Recorded December 14, 1940
Columbia 11567-D, one 78-rpm record
Link (FLAC file, 22.00 MB)
Link (MP3 file, 13.59 MB)

This is one of the reclaimed records that I talk about in this post; I bought it new from Clark Music in Decatur, Ga., in 1974, when I was 11, and I have been, so far, the only owner of this copy.

Shostakovich: Symphony No. 5 (Rodzinski)

Cover design by Alex Steinweiss

It's been quite a while since I have offered anything by Shostakovich.  Well, here is his most famous work, conducted by the man who gave it its American première (with the NBC Symphony in April, 1938) - Artur Rodzinski.  By the time this recording - the work's third, following ones by Mravinsky and Stokowski - was made, the United States had entered the Second World War as an ally of the Soviet Union, which perhaps explains the militant-looking cover art depicted above!  Moreover, between the time of the recording (in February, 1942) and its release (around October the same year), Shostakovich had appeared on the cover of TIME Magazine in his fireman's helmet in connection with the American première of his Seventh Symphony conducted by Toscanini, so he was very much the "man of the hour" among musicians in the public mind.  So Columbia must have figured they had a sure winner in this recording, and indeed it appears to have sold quite well for a contemporary symphony.  It usually turns up in terrible pressings made during the war from recycled shellac, but I was fortunate enough to find a copy made in the immediate postwar period:

Shostakovich: Symphony No. 5 in D minor, Op. 47
Cleveland Orchestra conducted by Artur Rodzinski
Recorded February 22, 1942
Columbia Masterworks set MM-520, five 78-rpm records
Link (FLAC files, 96.98 MB)
Link (MP3 files, 69.31 MB)

Strauss: Till Eulenspiegel (Rodzinski)

I must confess that the choice of "Till Eulenspiegel" for my latest post was inspired by being inundated with emails about "Black Friday" sales.  I get so sick of these, that it puts me into an Eulenspiegel-like attitude, specifically the wish to go upsetting marketplace goods and wares as he does in Richard Strauss' tone poem!  (When did the day after Thanksgiving get the name "Black Friday" anyhow?  It seems to me a recent phenomenon.  In the past the references were always to "after-Thanksgiving Day sales" in the papers.)  So what better time to enjoy this impudent masterpiece than now, and in as brilliant and high-spirited a performance as you are likely to hear anywhere:

Strauss: Till Eulenspiegel's Merry Pranks, Op. 28
Cleveland Orchestra conducted by Artur Rodzinski
Recorded December 14, 1940
Columbia Masterworks set MX-210, two 78-rpm records
Link (FLAC file, 35.43 MB)
Link (MP3 file, 24.27 MB)

It's worth noting that though the piece had been recorded at least a dozen times previously (including a couple by the composer himself), Rodzinski's appears to have been the first to be issued as part of an album set series.  Sets comprising only two records had been marketed for only five years, and then only in the USA.

Tchaikovsky: Fifth Symphony (Rodzinski)

In 1939, Columbia Records, under the new ownership of CBS, began a serious push to compete with RCA Victor in the field of orchestral recording.  At this time Victor had the Philadelphia Orchestra, the Boston Symphony, and  its own NBC Symphony under Toscanini.  Columbia, which hitherto had been content to import orchestral recordings from Europe (particularly Beecham's and Weingartner's), saw this source of supply threatened by the onset of war, and began signing up orchestras all over America.  In short order they  acquired the Chicago Symphony, the Cleveland Orchestra, the Minneapolis Symphony, the New York Philharmonic, and the Pittsburgh Symphony for the Masterworks line.  Except for the Pittsburgh, none of these orchestras were new to records, but the contracts they had with other companies (chiefly Victor) had been allowed to lapse.  Several of the conductors involved, however, were new to records, among them Minneapolis' Mitropoulos, Pittsburgh's Reiner, and Cleveland's Polish-born firebrand Artur Rodzinski (1892-1958), whose recording career began in December 1939 with several major works - Strauss' "Ein Heldenleben", Rimsky-Korsakov's "Scheherazade" and this exciting reading of Tchaikovsky's Fifth Symphony:

Tchaikovsky: Symphony No. 5 in E minor, Op. 64
Cleveland Orchestra conducted by Artur Rodzinski
Recorded December 13, 1939, and January 8, 1940
Columbia Masterworks set MM-406, five 78-rpm records
Link (FLAC files, 103.87 MB)
Link (MP3 files, 55.42 MB)

Anyone interested in Columbia's classical 78 sets owes it to themselves to check out Sam Hopper's online Columbia Masterworks 78rpm Album Discography, which I have just stumbled across.  This is a first-rate piece of research, some four years in the making, and I cannot recommend it too highly.

Beethoven: First Symphony (Rodzinski)

Artur Rodzinski

Happy Beethoven's birthday, everyone! To celebrate, here is the first of the "immortal nine" (to use Edwin Evans' phrase), in a taut, vigorous reading by the Polish-born conductor Artur Rodzinski (1892-1958).  From 1933 to 1943 he was the music director of the Cleveland Orchestra, which he built up into the world-class ensemble that it remains today.  During the 1940s, he enjoyed a fruitful collaboration with Columbia Records, first in Cleveland and then in New York, making recordings not only of standard repertoire but of works considered very daring at the time - symphonies by Prokofiev, Shostakovich and Sibelius, and Berg's Violin Concerto with its dedicatee, Louis Krasner.  But this is the only recording of a Beethoven symphony he was to make for Columbia, who also had Bruno Walter on its books by this time:

Beethoven: Symphony No. 1 in C Major, Op. 21

Cleveland Orchestra conducted by Artur Rodzinski

Recorded December 28, 1941

Columbia Masterworks set MM-535, four 78-rpm records

Link (FLAC files, 59.35 MB)

Link (MP3 files, 49.21 MB)

Two American Pictures (Rodzinski, Reiner)

Cover design by Alex Steinweiss

Arguably, two of the most groundbreaking shows in the history of the American musical theatre are Showboat (by Jerome Kern and Oscar Hammerstein II) and Porgy and Bess (by Gershwin).  And two transplanted American conductors, Artur Rodzinski and Fritz Reiner, recognized their genius and sought to give these works greater permanence by "elevating" them to symphonic form (remember, Porgy was considered a musical rather than an opera in those days).  Rodzinski commissioned Kern to create a "scenario for orchestra" out of Showboat, and Reiner commissioned Robert Russell Bennett (since Gershwin himself was no longer alive to do it) to create a "symphonic picture" out of Porgy and Bess.  Here are the results, conducted by their instigators:

Kern: Showboat - Scenario for Orchestra
Cleveland Orchestra conducted by Artur Rodzinski
Recorded January 29, 1941
Columbia Masterworks set M-495, three 78-rpm records
Link (FLAC file, 55.09 MB)
Link (MP3 file, 30.41 MB)

Gershwin (arr. Bennett): Porgy and Bess - A Symphonic Picture
Pittsburgh Symphony Orchestra conducted by Fritz Reiner
Recorded March 27, 1945
Columbia Masterworks set MM-572, three 78-rpm records
Link (FLAC file, 58.88 MB)
Link (MP3 file, 28.76 MB)

Cover design by Alex Steinweiss

Once again I am indebted to Ken Halperin of Collecting Record Covers for sending me these sets.  The Showboat recording was apparently never reissued by Columbia on LP, and the Porgy only as a ten-incher, as part of Columbia's initial launch of LP in 1948.

Casadesus: Two Early Concerto Recordings

One of my all-time favorite pianists, the Frenchman Robert Casadesus (1899-1972) (pictured above in characteristic pose with pipe in mouth) is the subject of today's post.  Heir to a musical family - his uncles, Henri and Marius, were founding members of the Société des Instruments Anciens which pioneered in the use of historical stringed instruments - he remains unsurpassed to this day as an interpreter of the music of his friend Ravel, and I grew up on his wonderful recordings of Mozart concerti with George Szell conducting.  Here are two early concerto recordings by Robert Casadesus, the Weber work being a recorded première:

Weber: Konzertstück in F minor, Op. 79, for piano and orchestra
Robert Casadesus with orchestra conducted by Eugène Bigot
Recorded June 6, 1935
Columbia Masterworks set MX-59, two 78-rpm records
Link (FLAC file, 36.69 MB)
Link (MP3 file, 18.69 MB)

Saint-Saëns: Piano Concerto No. 4 in C minor, Op. 44
Robert Casadesus with the Philharmonic-Symphony Orchestra of New York
conducted by Artur Rodzinski
Recorded February 5, 1945
Columbia Masterworks set MM-566, three 78-rpm records
Link (FLAC files, 62.6 MB)
Link (MP3 files, 32.91 MB)

Cover by Alex Steinweiss

My thanks again to Ken Halperin of Collecting Record Covers for supplying me with the Saint-Saëns set.

For those interested in Robert Casadesus, there's a wonderful website, with a complete discography, contributed to by (among others) members of the Casadesus family.