Vaughan Williams: Symphony No. 4 (Mitropoulos)

"Hold your Hat!" - These were the words inscribed inside the album cover for the first copy I owned of Vaughan Williams conducting his Symphony in F Minor by the 78 set's original owner. An apt description of the work's anger and violence, and also of the composer's 1937 performance, which has never been equaled. The only one I've ever heard that even comes close is the one presented here. This was, I believe, the only Vaughan Williams symphony in Mitropoulos' repertoire, and he had conducted the New York Philharmonic in at least sixteen performances of it, since 1945, at the time this recording was made:

Vaughan Williams: Symphony No. 4 in F minor
New York Philharmonic conducted by Dimitri Mitropoulos
Recorded January 9, 1956
Columbia Masterworks ML-5158, one LP record
Link (FLAC files, 81.06 MB)
Link (MP3 files, 52.73 MB)

Vaughan Williams liked to say that the dissonant opening motto of the Fourth Symphony was "cribbed" from the opening of the finale of Beethoven's Ninth. If that is so, the overall form of the symphony was surely cribbed from that of Beethoven's Fifth, with its motto recurring at strategic points, the similar dimensions of its movements, and even its Scherzo being linked to its Finale by a similar crescendo.

Stokowski and Vaughan Williams

Ralph Vaughan Williams and Leopold Stokowski, 1957

Thursday will mark the 131st anniversary of the birth of Leopold Stokowski, and so I present his only commercial recording of a Vaughan Williams symphony - his Sixth - which also happens to be the only non-British première recording of a Vaughan Williams symphony.  No doubt this latter circumstance was quite by accident, for a competing version, Boult's on HMV (which can be heard at the CHARM website), was made a mere two days later!  Stokowski's version is very exciting, and may be the fastest on record of this great symphony.  (For an appreciation of Stokowski's performances of Vaughan Williams, see this article by Edward Johnson at Larry Huffman's amazing site, www.stokowski.org - from which the above picture has been borrowed.)  As a bonus, a ravishing but slightly abridged version of the Fantasia on "Greensleeves," issued only on 78 at the time, is included:

Vaughan Williams: Symphony No. 6 in E Minor and Fantasia on "Greensleeves"
New York Philharmonic conducted by Leopold Stokowski
Recorded February 21, 1949
Columbia Masterworks set MM-838, four 78-rpm records
Link (FLAC files, 82.47 MB)
Link (MP3 files, 43.08 MB)

Another important conductor anniversary on the horizon is that of Albert Coates, who was born five days after Stokowski.  In 2009 I first offered his recording of a Bach organ toccata, orchestrated by Heinrich Esser.  A few weeks ago I decided to use a different stylus to make a new transfer, the original one being afflicted by a swish towards the end.  I think this one sounds a little better:

Bach: Toccata in F, BWV 540 (orch. Esser)
London Symphony Orchestra conducted by Albert Coates
Recorded February 18, 1932
Victor 11468, one 78-rpm record
Link (FLAC file, 24.70 MB)
Link (MP3 file, 9.35 MB)

The links at the original post have also been updated.

"Glorious John"

Sir John Barbirolli and Ralph Vaughan Williams on the occasion of the première of the latter's Sinfonia Antartica, 1953

"Glorious John" - that was Ralph Vaughan Williams' nickname, and subsequently everybody else's, for Sir John Barbirolli (1899-1970), and it comes from the inscription on the score of Vaughan Williams' Eighth Symphony - "for glorious John, with love and admiration from Ralph."  Barbirolli also received the dedication of Vaughan Williams' previous symphony, the Sinfonia Antartica.  Well, here's the first recording by "Glorious John" of a Vaughan Williams symphony, made a decade before these dedications, exactly sixty-eight years ago today (I didn't plan it that way, either!):

Vaughan Williams: Symphony No. 5 in D Major
Hallé Orchestra conducted by John Barbirolli
Recorded February 17, 1944
HMV C 7599 through C 7603, five 78-rpm records
Link (FLAC files, 96.06 MB)
Link (MP3 files, 41.13 MB)

This was Barbirolli's second-ever recording with the Hallé Orchestra (the first was of Bax's Third Symphony), of which he had assumed control beginning with the 1943-44 season, having returned to England fron New York.  There, as director of the Philharmonic-Symphony, he had had a rocky relationship with the music critics, who constantly compared him unfavorably with Toscanini, whom he had succeeded as the Philharmonic's music director.  While in New York, however, Barbirolli had made some important recordings, first for Victor and then for Columbia, including symphonies by Sibelius (the First and Second), Schubert (the Fourth) and this brisk, bracing account of Mozart's "little G minor" symphony:

Mozart: Symphony No. 25 in G minor, K. 183
Philharmonic-Symphony Orchestra of New York conducted by John Barbirolli
Recorded November 3, 1941
Columbia Masterworks set MX-217, two 78-rpm records
Link (FLAC files, 53.51 MB)
Link (MP3 files, 32.51 MB)

My 100th Post!

Bryan Bishop, 2008

Believe it or not, eighteen months after starting this blog, I have reached my 100th post!  So, something rather unique seems in order, and I therefore offer three of my own performances as a pianist.  I've posted the Haydn here before, but only as MP3 files, so here are the FLACs to go with them.  The Vaughan Williams I have posted to YouTube, but the Brandenburg Concerto is truly new - I only got the CD myself this past Monday.  So, without further ado, here are the links:


Bach: Brandenburg Concerto No. 5 in D, BWV 1050
DaSalo Solisti Chamber Orchestra conducted by Norman Bernal
Bryan Bishop, piano
Teodora Stoyanova, flute
Norman Bernal, violin
Live recording by Carey Carlan [a member of the orchestra], November 13, 2011
Link (FLAC files, 101.35)
Link (MP3 files, 24.33)

Haydn: Piano Trio in G, Hob.XV:25 ("Gypsy") and
Haydn: Andante with Variations in F minor, Hob.XVII:6
Bryan Bishop, piano
Laura Nadine, violin
James Woodall, cello
Live recording, November 7, 2009
Link (FLAC files, 95.58 MB)
Link (MP3 files, 33.49 MB)

Vaughan Williams: Suite of Six Short Pieces
Bryan Bishop, piano
Live recording, October 12, 2008
Link (FLAC files, 44.65 MB)
Link (MP3 files, 14.91 MB)

Vaughan Williams for Piano

When I was about 13, I discovered, and fell in love with, the music of Ralph Vaughan Williams (1872-1958).  I remember telling my piano teacher of this discovery, and her reply, "oh, my, but there's no good piano music!"  Well, as I have discovered since, that wasn't entirely accurate - there is some Vaughan Williams piano music, and it's all good, but it's rather hard to find.  Vaughan Williams preferred to work on a large canvas (and after all, why not? - he was a big man!) and so it's fitting that the piano work that most readily comes to mind in connection with his name is his fine Concerto, a big work in every way, written for Harriet Cohen in 1930, and recast as a concerto for two pianos in 1946.  Here is the first recording of either version, by the artists who gave the two-piano version its American première in 1949:

Vaughan Williams: Concerto for Two Pianos and Orchestra
Arthur Whittemore and Jack Lowe, duo-pianists
Robin Hood Dell Orchestra of Philadelphia conducted by Vladimir Golschmann
Recorded July 26, 1950
RCA Victor Red Seal set WDM-1597, three red vinyl 45-rpm records
Link (FLAC file, 61.44 MB)
Link (MP3 file, 32.19 MB)

This set had no 78-rpm issue, as by the time it appeared, RCA Victor had phased out the 78-rpm format in favor of their own 45-rpm discs.

Also written for Harriet Cohen was this charming Hymn Tune Prelude on a song by Orlando Gibbons:

Vaughan Williams: Hymn Tune Prelude (on Gibbons' Song 13) and
Gibbons: Five Keyboard Pieces
Harriet Cohen, piano
Recorded December 4, 1947
English Columbia DX 1552, one 78-rpm record
Link (FLAC files, 23 MB)
Link (MP3 files, 9.1 MB)

Finally, about three years ago, I presented a Sunday morning worship service at my church, the Unitarian Congregation of Gwinnett in Lawrenceville, Ga., devoted to Vaughan Williams - whose hymn tune arrangements have become basic material in most Protestant hymnals.  In lieu of a sermon, I presented a complete performance of his "Suite of Six Short Pieces" for piano, published in 1920, and later rearranged as his "Charterhouse Suite" for string orchestra.  I have posted this performance on Youtube at the following link:

Vaughan Williams: Suite of Six Short Pieces

The Incomparable Leon Goossens - Postscript

Leon Goossens

My Christmas present to myself this year was a new turntable - an Audio-Technica LP120 3-speed direct drive unit - meaning that it will no longer be necessary for me to switch out between turntables to handle LPs and 78s (at least, I hope it won't be!).  Here is my first project using the new table: an LP featuring two oboe concertos played by the great Leon Goossens, as a kind of postscript to the transfers of concerto recordings by him that I offered earlier:

Bach-Tovey: Concerto in A, BWV 1055, for oboe d'amore and strings
Recorded June 1, 1949, and July 30, 1952
and
Vaughan Williams: Concerto for Oboe and Strings
Recorded June 16, July 7 and September 1, 1952

Leon Goossens, with the Philharmonia String Orchestra
conducted by Walter Susskind
HMV CLP 1656, one 12-inch LP record
Link (FLAC files, 96.04 MB)
Link (MP3 files, 50.18 MB)

No doubt both of these, like the earlier Goossens concerto recordings, would have been issued as English Columbia 78 sets had not the long-delayed launch of LP by EMI in September 1952 intervened.  As it was, both recordings had to wait eleven years for full issue.  In the case of the Bach, an incomplete issue actually did occur in 1953, on American Columbia (ML 4782) - apparently only the first three 78-rpm matrices of the required four were available to CBS, with the result that the concerto, on that release, cuts off about a minute into the finale!

My best wishes to everyone for a prosperous and collectingful New Year!

Happy Birthday, Ralph Vaughan Williams!

Today was Ralph Vaughan Williams' birthday (born October 12, 1872), and to acknowledge this, another "reissue" of uploads that I originally made in 2008, which was a Vaughan Williams anniversary year (he died 50 years prior).  This features Sir Malcolm Sargent conducting two works, the Overture to his incidental music for Aristophanes' "The Wasps," and "The Lark Ascending":

Vaughan Williams: The Wasps - Overture
Hallé Orchestra conducted by Malcolm Sargent
Recorded July 3, 1942
Columbia Masterworks 71605-D, one 78-rpm record

and

Vaughan Williams: The Lark Ascending - Romance for Violin and Orchestra
David Wise with the Liverpool Philharmonic conducted by Sir Malcolm Sargent
Recorded April 18, 1947
English Columbia DX 1386-87, two 78-rpm records

Link (FLAC files, 56.49 MB)
Link (MP3 files, 24.98 MB)

Sir Malcolm was knighted in the year that the second of these two Vaughan Williams recordings was made; before that, he was billed on labels as "Dr. Malcolm Sargent," as he is in this recording of a Schubert Overture (which is not a reissue but a new upload):

Schubert: Overture in the Italian Style, in C Major, D. 597
Liverpool Philharmonic Orchestra conducted by Malcolm Sargent
Recorded March 21, 1944
English Columbia DX 1157, one 78-rpm record
Link (FLAC file, 18.74 MB)
Link (MP3 file, 7.82 MB)

Through Deems' Looking Glass

If people today remember Deems Taylor (1885-1966) at all, it is as the master of ceremonies for the groundbreaking Disney motion picture "Fantasia" (1940), a role parodied by Elmer Fudd in the Warner Brothers cartoon "A Corny Concerto" (pictured above).  Here is what he really looked like (pictured in 1930 with his four-year-old daughter, Joan Kennedy Taylor, while working on his opera "Peter Ibbeston"):

Even in his lifetime, Deems Taylor's work as an advocate for classical music in various roles (broadcaster, journalist) overshadowed his composing.  He served as intermission commentator for the New York Philharmonic radio broadcasts, was music critic for the New York World, and was a best-selling author - "Of Men and Music" and "The Well-Tempered Listener" are written versions of his radio talks and remain witty and entertaining today.  Yet his work as a composer is not without merit.  Judge for yourself: I present the first recording of his Suite, "Through the Looking Glass," based, of course, on Lewis Carroll's immortal "Alice" books.  This delightful work was once quite popular, but has disappeared from the repertory; there is no recording currently available on CD, which is a great pity.  The second movement in particular ("Jabberwocky") is as fine a piece of tone-painting as I know.

Deems Taylor: Through the Looking Glass - Suite, Op. 12
Columbia Broadcasting Symphony conducted by Howard Barlow
Recorded November 9, 1938, under the supervision of the composer
Columbia Masterworks Set MM-350, four 78-rpm records
Link (FLAC files, 67.58 MB)
Link (MP3 files, 35.69 MB)

This was the first recording by Howard Barlow and the Columbia Broadcasting Symphony; there would be quite a few more over the next two years before Columbia signed up major orchestras like the New York Philharmonic, the Cleveland Orchestra and the Chicago Symphony.  Among these was the recording of the Vaughan Williams English Folk Song Suite which I uploaded last October.  This is still available at the previous post here.

Howard Barlow conducts Vaughan Williams

Here's a delightful recording conducted by the all-but-forgotten Howard Barlow (1892-1972), a broadcasting pioneer and champion of unusual repertoire (you can find a nice appreciation of his legacy here).  This is of Gordon Jacob's orchestration of Vaughan Williams' military band classic, the English Folk Song Suite (1923).  In 1940, when this recording was issued, this may well have seemed unusual repertoire, and indeed it appears to be the first (and, in the 78-rpm era, only) recording of the 1924 Jacob orchestration, which has since become standard.

Of course, for me, a good excuse to listen to any Barlow-Columbia Symphony recording is to hear the beautiful oboe playing of Mitch Miller, and here he doesn't disappoint - just listen to that oboe solo at the beginning of the second movement!

This recording was also issued, naturally enough, in England, and was reviewed in the September 1940 issue of The Gramophone.  The recording was still listed in the 1954-55 UK Columbia Catalogue, though it was slated for deletion with that issue.

Vaughan Williams (arr. Jacob): English Folk Song Suite
Columbia Broadcasting Symphony, conducted by Howard Barlow
Recorded December 19, 1939
Columbia Masterworks set X-159, two 10-inch 78-rpm records
Link (FLAC file, 29.41 MB)
Link (MP3 file, 15.45 MB)

Vaughan Williams: Violin Concerto

Here is another recording première: the Vaughan Williams Concerto in D Minor for violin and string orchestra, written in 1925 for Yelly d'Aranyi, and given the rather ironic subtitle "Concerto Accademico" - a subtitle the composer came to dislike. Ironic, because there really is nothing academic about it; it's earthy, vigorous and boasts a particularly beautiful slow movement. There is the slight aura of Bach about it: if Villa-Lobos could write works he called "Bachianas Brasileiras" (Bach in Brazilian style) then this is surely a "Bachianas Anglicanas" or something like that - Bach in English peasant dress. In any case, I loved this concerto on first hearing it at age 13, and it remains one of my very favorite Vaughan Williams works.

Vaughan Williams: Concerto in D minor (Concerto Accademico)
Frederick Grinke, violin, with the Boyd Neel String Orchestra
Recorded May 8, 1939
English Decca X 248 and X 249, two 78-rpm records
Link (FLAC file, 44.85 MB)
Link (MP3 file, 17.8 MB)

This recording features Winnipeg-born Frederick Grinke as the violin soloist, with the Boyd Neel String Orchestra conducted by - you guessed it - Boyd Neel. While Grinke moved from Canada to England as a young man, Neel made the reverse transition in middle age, becoming head of Toronto's Royal Conservatory of Music in 1953. The strong Canadian ties of both men ensure that a fair number of their recordings can be heard at The Virtual Gramophone (see my list of links at the right), but this Vaughan Williams concerto is not among them. Nor are two other Boyd Neel String Orchestra recordings that I posted to RMCR previously, which are still available for download:

Dvorak: Serenade for Strings in E, Op. 22
Boyd Neel String Orchestra (leader: Frederick Grinke) conducted by Boyd Neel
Recorded Dec. 10, 1937 and February 18, 1938
English Decca X 214 through X 217, four 78-rpm records
Link (FLAC files, 64.39 MB)
Link (MP3 files, 27.49 MB)

Stravinsky: Apollon Musagètes - Ballet (1928)
Boyd Neel String Orchestra (leader: Louis Willoughby) conducted by Boyd Neel
Recorded Feb. 17 and April 29, 1937
English Decca X 167 through X 170, four 78-rpm records
Link (FLAC file, 71.62 MB)
Link (MP3 file, 29.09 MB)

The Stravinsky ballet is also a first recording (though Koussevitzky, with the Boston Symphony, had recorded one section of it in 1928), and the Dvorak Serenade might be, too.