The Trotter Blotter

RARE REPERTOIRE (20th Century)

ADAMS, John:
“Harmonienlehre”. J. Domarkas; Lithuanian Philharmonic (T: 39:26) (Ve-e-e-ry interesting “Baltic” take on this modern classic. What? John Adams never reminded you of Sibelius? Well, there are moments in this live 1988 Leningrad Festival performance when he just might…)

ADLER, Samuel:
Symphony No. 4. Performers, date * venue known; decent off-the-air stereo. [Adler’s written some good music, but I can’t work up much enthusiasm for the self-conscious, rather dogged (and increasingly dated-sounding) “Modernisms” and jazz-riffs squeezed into this extremely busy but relatively superficial symphony. All here is gesture and allusion. If you’re still interested, the anonymous performers – my Source is one of those wonderful but maddeningly coy old “Aries” pressings, c. 1975 – spiel this stuff with gusto.]
Concerto for Organ & Orchestra. Performers, date & venue unknown. [I like this splurgey, ceremonial, more “public” piece much better. For some reason, it sounds “commissioned”, as though Adler were trying to make a splash, and to a fair degree he does. The well-integrated organ part twines around and through the orchestral texture effectively, the climaxes are loud and grand – in an appropriate space, this piece would generate excitement. Sound is so-so; a little distant for the music to make full impact.]

AKUTAGAWA, Yashushi:
“Ellora” Symphony. William Strickland; Imperial Philharmonic Orchestra.
Rhapsody for Orchestra. Valeri Gierjiev; Leningrad Phil. (T: 16:21)


ALBENIZ:
Iberia. George Sebastian; “Musical Treasures Symphony Orch.” [My guess is the Paris Philharmonic or the Paris Conservetoire, but who knows?]
Iberia: Sevillia, Granada, & El Puerto. Shinya Osaki; Kwansei U. Symphonic Band. [See comment under “Copland” & “Rodeo”]
Navarro (orch. by Arbos). Surinach; Paris Philharmonic Orch. [Superbly idiomatic.]

ALFVEN:
Dalcarlian Rhapsody, Op. 48. Westerberg; Stockholm P.O. (T: 21:13)
Symphony No. 3, Op. 23. Nils Grevillius; Stockholm P.O. (T: 33:47)

ALWYN, William:
Autumn Legend, for English Horn & Orchestra. Performers & venue unknown – sounds like live BBC tape, sound is very clean and up-to-date stereo for its presumed era (mid-70s) and the piece is ravishing.]


AMIROV, Firket:
“Shurh”, A Symphonic Mugam. “Niyazi” (no first name given); Azerbaijan Radio Symphony Orchestra. [Sourced from a 10-inch Melodiya I bought in Leningrad – no notes, no first name given for the conductor! – this splashy, folk-music-colored tone poem confirms Amirov as a second-rate Khatchaturian clone. If you liked Stokowski’s “Mugam” on Everest, with the Houston Symphony, here’s more of the same. Nothing blindingly original, of course, but still great fun. A “mugam”, incidentally, is a popular ballad/dance form in this region. Evidently, Amirov wrote a slew of these pieces, but I’ve only heard two. In fact, if you like Khatchaturian, you’ll probably groove on Amirov as well. On second thought, strike that description “second-rate” – he’s a first-rate “minor” composer; there – that gives him a touch more respect. And all you conductors, take note: audiences would gobble up this stuff!]



ALFVEN:
Festival Prelude, Op. 25. Tor Mann, cond. 3/13/1930 [3:52]
Symphony No. 4, Op. 39. Nils GRAVILLIUS; Stockholm Philharmonic Orch. (Time: 45:11)
Symphony No. 4, Op. 39. Stig WESTERBERG; Stockholm Philharmonic, w/ Elisabeth SODERSTROM, soprano. (Time: 46:06)

ALWYN, William:
Symphony No. 1. Composer; London Philharmonic Orch. (Time: 41:08)
Symphony No. 3. Composer; London Philharmonic Orch. (Time: 32:19)
Symphony No. 4. Composer; London Philharmonic Orch. (Time: 21:57)
Symphony No. 5 (“Hydriotaphia”). Composer; London Philharmonic Orch. (Time: 27.54).
Symphonic Prelude: The Magic Island. Composer; London Philharmonic Orch. (Time: 10:04)

AMRAM, David:
Elegy for Violin & Orchestra. Soloist unknown; David Zinman; Rochester Philharmonic Orch. (Time: 9:22).

ANDERSON, Leroy:
Irish Suite. Fielder; Boston Pops. (Remember when a “pops” concert didn’t insult your intelligence? Fiedler could really “sell” such music. A Guilty Pleasure, this.)

ANDERSON, Thomas Jefferson:
“Squares” for Orchestra. Paul Freeman; Baltimore S. O. (Time: 7:29)

ANDREISSON, Hendryck:
Symphony No. 4. David Zinman; Rotterdam Philharmonic; live, mid-Eighties, I think. [Let’s see now, Louis Andreisson is the younger, wilder one & Hendryck is either his older brother, his dad, or completely unrelated (with Dutch composers it’s sometimes awfully hard to keep track of who’s who) and both have gotten a lot of exposure thanks to the generosity of Radio Nederland & the Dutch tax-payer (it would be exceedingly interesting to learn how much of the revenues taken in through the quasi-legal sale of marijuana in Amsterdam has gone into worthy cultural subsidies!), and both, I think, are esteemable composers, although Louis, too, went through an Obnoxious Period when he wrote tooth-grindingly “political” and gimmicky music. But this piece knocked me out the first time I heard it: tough-fibered, robust, urgent music, tight as a fist and so jam-packed the energy that it throws out sparks. If you enjoy Aaron Copland’s more “urban” style, you’ll probably enjoy this symphony hugely. If you don’t, shame on you. Zinman, who can be utterly clueless in Russian music and modern Romantics in general (but who’s also managed to take Roger Norrington’s amphetamine-rush approach to Beethoven and somehow made it not only tolerable but occasionally revelatory!), conducts a dynamite performance, one that’s very handsomely complimented by the engineers.]

ANDREISSON, Louis:
“The Nine Symphonies of Ludwig van Beethoven for Promenade Orchestra and Ice Cream Vendor’s Bell”. Corneliu Dubravianu (SP???); Netherlands Radio Symphony Orch. Live, 1982. [As those of you who’ve followed the various installments of this database know, I have, well, a whole shit-load of Dutch “avant-garde” music from the Sixties & Seventies. Lord love ‘em, the Dutch subsidize their composers, and even let them smoke grass without throwing them into the slammer, and so a lot of otherwise very talented young composers cranked out reams and reams of pretentious and egregiously unpleasant codswallop during those decades. Andreisson has always been the maverick, however, kind of thumbing his nose at the whole silly phenomenon even while feeding off the Dutch government’s teat as greedily as any of his colleagues. His streak of Dadaist fur-lined teacup humor often found expression in extended “gag pieces” like this one, which is truly very funny and wondrously clever; worthy of PDQ Bach at his most besotted. It doesn’t last TOO long, either, and manages to work in hilariously out-of-context quotations from about fifteen Beethoven works, the entire demented exercise punctuated by this maddening ching-a-ching-a-ching hand-bell in the percussion section, which eventually drills into your brain-meat like a tiny silver spike. I wish somebody around here (the Triad region of North Carolina) would have the gall to program this spoof on a real concert, but that raises the question: how big a percentage of the typical audience would even GET the musical in-jokes? In twenty-seven years of covering the local arts scene I’ve watched a steady erosion of sensibilities and open-mindedness, not to mention elementary knowledge that previous generations absorbed from the surrounding gestalt by osmosis; this year’s Greensboro Symphony program, for instance, is so reactionary it makes a Toscanini season look daringly progressive by comparison. I guess that’s what the tired businessmen who support the orchestra want to hear, and no recent conductor’s had the balls to challenge them. Anyway, this piece is a hoot and a half!]

de ANGELIUS, Ugalberto: (?)
“Lute Songs” for Harp & Chamber Orch. Performer, date & venue unknown. [If you enjoy Respighi’s “Ancient Aires & Dances”, you’ll surely enjoy this. Wish I knew more about either the performance or the composer…]

ANTHEIL, George::
Ballet Mechanique Robert Craft; Los Angeles Contemporary Music Ensemble. [ Source is a wonderful old Urania collection entitled Percussion!, which also had cool pieces by Hovhaness, Chavez, and Vincent LoPresti. My friends and I thought we were hip as all get-out to be grooving on this stuff at age 14 (and I supposed we were) and I was surprised – when I vacuum-cleaned this LP for dubbing – to find out how good a condition it was in and how well both performances and recorded sound have held up. I suspect this was Robert Craft’s first record (before he learned how to use Igor Stravinsky as his ventriloquist’s dummy – I always thought Craft looked like, I dunno, a shoe salesman or a high school algebra teacher or something – anything but a conductor!), and Paul Price had been doing yeoman’s work on behalf of contemporary music for a long while before this record was taped. You miss something from not having it in stereo, but not as much as you’d think. The Ballet Mechanique had long ago lost its power to shock – it just sounded “quaint”. But the airplane engine still sounds terrific, even in mono.]
Capital of the World. Joseph Levine; Ballet Theater Orch.
McKonkey’s Ferry Overture. F. Charles Adler; Vienna Symphony Orchestra


APOSTEL, Hans Erich (1901-1972):
Requiem. Milan Horvat; Austrian Broadcast S.O. (T. 22:35) [Interested in Schrecker, Schulman, and the like? Apostel composed from the same Zeitgeist, and there’s enough interesting music here to make you curious about his other works – none of which has yet been recorded, to the best of my knowledge.]

ARNOLD, Malcolm:
Soundtrack music from “David Copperfield”. [Sir Malcolm’s career as a film-music composer serves as a marvelous pendant to his glorious achievements as a composer of “serious” concert works – and most of it is so damned good, the suites he arranged could easily compliment any concert program; conductors shouldn’t reserve them for “pops” occasions. And in the U.S., even pops concerts have become trivialized – Note to all pops conductors in my readership (you know who you are!): just study the programming Fiedler and Kunzel have done and use them as your role models. Anyway, this is splendidly “Dickensian” music and a perfect joy to the ear; bittersweet passages of Elgarian sweep alternate with scintillating musical character sketches. The composer, as always, proves to be a first-rate conductor (all his years playing IN professional orchestras gave him a fine instinct for coaxing committed playing FROM them), but I can’t tell you which ensemble it is – my Source is a cassette mailed to be from the U.K. by a fellow Arnold fan, now deceased, and he didn’t label the tape. Sound per se, however, is full and rich.]
Scottish Dances, Op. 63. Composer. L.P.O.
Symphony No. 4, Op. 59. Composer; L.P.O.

ARNESTED, Finn:
Aria Apassionata. Herbert Blomsted; Oslo Philharmonic O. (6:01)

ATTERBERG, Kurt (1887-1974):
Suite Barrocca, Op. 23. Composer; Swedish Radio Sym. Orchestra.
Suite Pastorale, Op. 34. Composer; Swedish Radio Orchestra. [Although his music still hasn’t caught on outside of Scandinavia, ignorance of it merely deprives you of some exquisitely melodic, colorful, life-affirming compositions. He was not, probably, a “major” composer, but Atterberg seemed incapable of writing anything ugly or meretricious. These performances have a beguiling sweetness and commitment, although the SRSO was by no means a world-class outfit when they were recorded, in the mid-Fifties. Give yourself a treat – try him. But start with one of the symphonies, as they have more spine, power, and depth than his casual music, delightful though it is.]
Suite No. 3 for Violin, Viola & String Orchestra, Op. 19. Endre Wolf, violin; Tage Brostrom, viola; Tor Mann; Gothenburg Symphony Orch., live, 3/19/1940. [12:27[


AULIN, Tor:
“Master Olaf”, Incidental Music, No. 2 (“The Housemistress & the Child”). Ivar Hellmann; Swedish R.S.O. Live 12/10/36. (T: 3:14)

Van BAAREN, Kees (1906-1970):
Septet. Players are first-desk personnel from the Hague orchestra and all excellent. As for the music, it’s quite good: neo-classical in tone, idiomatically written for the instruments, elegantly colorful, and even somewhat melodic – recognizable themes, at any rate. The performance is superb.]
Musica per Orchestra. Haitink; Concertgebouw of Amsterdam, Live, 1968 (T. 17:18)


B



BABBITT, Milton:
Arie [sic] da Capo, for Flute, Clarinet, Violin, Cello, & Piano. The Group for Contemporary Music. (Time: 14:34) Harvey Sollberger; Group for Contemporary Music [14:34] [By Babbittian standards, parts of this sextet sound almost “romantic”! Once or twice, we sense the composer’s fierce inner struggle to resist the impulse to write a genuine tune, but like a good 12-Stepper turning away from the saloon door at the last instant, he manages to suppress the heresy and get back into his usual arid, atomistic, anti-emotional mode of expression, Avant-garde-ists the world over breathed a vast sigh of relief… All twitting aside, there ARE some lovely tone-colors and pleasing flirtations with melodic cells here and there, making this one of The Babb’s most accessible compositions; I suspect he wrote it that way in jest, or to mock us, but no matter; Lovely, sense-making sounds ARE heard, intentionally or not. The performers, BTW, are breathtakingly secure with the demands of the writing and with the Wizard-of-Oz techno-babble the composer employs in his endless efforts to convince somebody that ten minutes’ worth of ugly, tuneless, emotionally sterile noise is worthy to be mentioned alongside the Unified Field Theory or Newton’s Third Law… And folks, he’s been getting away with it for decades! To crank out music that consistently makes Elliott Carter’s sound as congenial as Mozart’s, relatively speaking, is no small feat of charlatanism. Or…worse…what if he really believes in what he’s doing?? Now that, friends, is truly a spooky thought!
[Why do I insist on flogging this dead hor…err, this chubby bald-headed old fart? Well, he asked for it by writing such hermetic cyborgian music and then having the chutzpah to demand he be taken seriously as a “composer”; and we asked for it by allowing him to get away with it – showering grant money and perks on a guy who persisted in writing music that nobody ever liked (how can you “like” a quadratic equation?) and thumbing his snoot at composers (such as Hovhaness) who wrote music that large numbers of people adored!) Besides, ol’ Milt’s been pulling off this scam for so long, and doing it so well, that it’s hard not to have a sneaky admiration for him. He’s one-step-beyond that “Punkt-Kontra-Punkt” self-parody stage, sort of like the Dark Side version of John Cage (whose scam was just as successful; he managed to enjoy the status and fame of a great composer without even composing! Pay his fee, and he’d show up and talk about “silence”…or not talk about it, as the whim-of-the-moment carried him. I saw him deliver what was billed as being part of the SECA “concert/lecture” series, about 15 years ago, and he actually did that without ever playing a note or saying a word; he just stood behind the podium, wearing this whimsical little smile, while some intern in the control booth played a tape of Cage being interviewed by a clueless and boringly inept student journalist. And for this he was paid ten grand plus expenses! Where do I sign?)
Back to Babbitt. Here are two fairly early…um…”compositions” wherein some first-rate musicians lend their credibility to the hoax. It’s perfectly dreadful rubbish, of course, but takes itself so seriously that all music-lovers should hear a dose of it now and then, just to be reminded of how bad things really got in the Sixties! Two or three times, the musical discourse threatens, just for an instant, to morph into a recognizable cadence or even a suggestion of melody, but – not to worry!! – The Babbs always knows when to pull back into algebraic abstraction before that happens; he’s just toying with us.]
Composition for Four Instruments, 1948. John Wummer, flute; Stanley Drucker, clarinet; Peter Marsh, violin; Donald McCall, cello [13:30]
Composition for Viola & Piano (1950). Walter Trampler, viola; Alvin Bauman, piano. [11:16]

BAECK, Sven-Erik:
Fantasia for Orchestra. Blomstedt; Swedish R.S.O., Live, 6/8/60. (T: 10:55)

BADDINGS, Henk:
“Bicinicum”. Tom Burmanje, guitar. [1:40[
Trois Chasons Bretonnes. Felix de Nobel; Netherlands Chamber Choir. (Time: 8:03)

BAIRD, Tadeusz:
Chansons des Trouveres, for mezzo-soprano & Chamber Orch. Krystyna Szosten; Witold Rowicki; Warsaw Philharmonic O.
Epiphany Music for Orch. Rowicki; Warsaw Philharmonic O.
Four Novelettes for Small Orchestra. Rowicki; Warsaw Philharmonic O.

BANFIELD, Rafaello:
The Combat. Joseph Levine; Ballet Theater Orch. (What? A modern work based on Tasso’s “Jerusalem Delivered”? Yep, and it’s apparently been totally obscure since its 1953 premiere at the Metropolitan Opera. Pretty colorful, too, although it doesn’t sound a thing like Liszt…)

BANTOCK, Sir Granville:
“The Pierrot of the Minute”, Comedic Ovt. Del Mar/ Bournemouth Sinfonietta (T:11:04)
A Pagan Symphony. Performers, date & venue unknown (presumably British). [Like all Bantock’s orchestral works, this one is more a suite than a symphony – or an extended tone poem. My Source tape is pretty bunged up, but there is no commercial recording and never has been, so this will at least give you an idea of a work that deserves the full, SCDV treatment.]

BARBER, Samuel:
Cello Sonata. George Ricci, cello; Leopold Mittman, piano.
Essay for Orchestra No. 2. GOLSCHMANN, Sym. Of the Air (T: 9:50)
A Hand of Bridge, Op. 35. GOLSCHMANN, Soloists, Chamber Orch. (T:9:17)
Hermit Songs. Leontine price. Sop; COMPOSER at Piano.
“Intermezzo” from “Vanessa” Kostelanetz; NY Philharmonic Orch. [4:18]
Piano Sonata, Op. 26. Robert Guralnik piano. (T: 18:36)
Music for a Scene from Shelley, Op. 7. GOLSCHMANN, Sym of Air (T: 8:39)
A Stopwatch & an Ordnance Map, Op. 15. GOLSCHMANN; Roger deCormier Chorale; Symphony of the Air, (T: 5:39) (Extreme rarity – a potent clenched-fist work of protest about the Spanish Civil War. An ear-opener. It’s neglect, inexplicable, unless its Nationalist (Pinko-Commie-Intellectual) overtones were too politically incorrect…)
Serenade for String Orch. Op. 1. GOLSCHMANN; Sym. Of the Air (T: 8:32)
String Quartet in D Major, Op. 11 Stradivari Quartet (as fine a version as there is)
Toccata Festiva, Op. 36. E. Power Biggs; Ormandy; Philadelphia Orch. [13:46] [Smashing!]
“Vanessa”, Intermezzo from. Kostelanetz; NY Philharmonic. [4:18]


BAKER, David:
Sonata for Cello. Janos Starker; Alan Planes, piano. (Time: 16:49)

BARKIN, Elaine:
Quartet (1969). The Contemporary Arts Quartet.

BARSUKOV, Sergei:
Piano Concerto No. 2. w/ Composer; Sir Adrianb Boult; New Philharmonia (T: 23:30)
Violin Concerto No. 2. w/ Georges Tessier, piano; Louis Fremaux; Monte-Carlo National Opera Orchestra (T: 20:35)

BARTOK:
Concerto for Orchestra. Von Karajan; Berlin Philharmonic, live, undated. [Spectacular.]
Hungarian Folk Tunes. Oistrakh, violin;
Out-of-Doors Suite. Adam Fellegi, piano [Excellent work by then-young Hungarian pianist who also left us a luminous reading of the Berg Piano Sonata (NYL = Not Yet Listed)]
Piano Concerto No. 2. Edith Fernadi, piano; SCHERCHEN; Vienna State Opera Orch.
Piano Concerto No. 3. “ “ “ “ “ “ “ [Not quite the first LP versions of these modern classics, but certainly the most colorful and intriguing ones in the catalogue for many years. Fernadi is scarcely remembered today, but she & Scherchen made some outstanding discs for early Westminster and this one was at the top of every critics list. Noteworthy: the sheer spookiness of the orchestral accompaniment in movement 2/2, where Scherschen & Co. provide a hushed, slightly foreboding “nachtmusik” effect. Not as glittery, motoric, and steel-drivin’ as most later readings, but suffused with a lot of poetry and scrupulously attentive to structural nuances; essential listening for the Bartok collector.]
Piano Concerto No. 3. w/ Francois Duchables; von Karajan; Berlin Philharmonic. Live, 70s.
Piano Sonata. Benno Pierweijer, piano. [14:20]
Romanian Dances. Stokowski; CBS Symphony Orch., live, 1954
Second Suite for Orchestra, Op. 4. DORATI; Minneapolis S.O. (Ferocious mono)
Six Duets for 2 Violins. w/ MENUHIN and Nell Gotkovsky. (Time: 8:33)
Sonata for Two Pianos & Percussion. w/ Prague Chamber Players.
Sonata for Two Pianos & Percussion. [See “Stokowski” under “Conductors”]
String Quartets, complete. w/ Ramor Quartet. (First integral recording of the set)
Violin Sonata No. 1. Andre Gertler, violn; Edith Farnadi, pianbo. (T: 31:59)
Violin Sonata No. 1. w/ Hyman Bress, violin; Charles Reiner, piano. [No relation to Fritz.]
Violin Sonata No. 2 w/ Hyman Bress, violin; Charles Reiner, piano.
Violin Sonata No. 2. w/ Andre Gertler, violin; Edith Farnadi, piano. [19:09]


BASSETT, Leslie (1923 - ):
Sextet for Piano & Strings. w/ Gilbert Kalish, piano; the Concord String Quartet

BATH, Hubert (1883-1945):
A Cornish Rhapsody. Fiedler; Boston Pops orchestra. [“Cornball” rfhapsody would be more like it, with so many nods toward the “Warsaw Concerto”; still, it does evoke a nice vague yearning for simpler times and rural landscapes…not a bad thing.]

BAVICCHI, John (1922 - ) [A Boston-born composer with an interesting, very cosmopolitan style; these two brief works are the first by him I’ve heard and they didn’t outstay their welcome. Made me very curious to hear some of his orchestral music, too.]
Trio No. 4, Op. 33. David Glazer, clarinet; Matthew Raimondi, violin; Assunta Dell’Aquito, harp. [12:06]
Short Sonata for Violin & Harpsichord, Op. 39. Robert Brink, violin; Daniel Pinkham, harpsichord. [6:55]

BAX, Sir Arnold:
In the Faerie Hills. Bryden Thomson; Ulster Orch. (T: 15:17)
Into the Twilight. “ “ “ “ (T: 12:52)
Overture to a Picaresque Comedy. Igor Buketoff; Royal Philharmonic Orch. [9:50] [Alongside Bax-the-Celtic-Poet, there was Bax-the-urbane-sophisticate, and this is a prime example of that side of the composer’s genius. Witty, dazzlingly orchestrated, a perfect curtain-raiser; almost certainly never performed in America, and, again, one wonders why. Buketoff was (is?) a fine conductor, who made some excellent discs of contemporary music for RCA (back in the halcyon days when RCA WAS “RCA” instead of a mediocre arm of BMG; he also made one of the more spectacular versions of the “1812 Overture”! Where is he now? Why hasn’t this record been reissued (Bax, Berkely, Bennett)? Only God and the Shaded Dog know, my friends…]
Roscatha, tone poem. “ “ “ “ (10:49)
Symphony No. 4. Bryden Thomson; Ulster Orchestra. (Time: 41:25)
Symphony No. 7. Raymond Leppard; London Philharmonic Orch. (T: 45:13)
The Tale the Pine Trees Knew. Bryden Thomson;Ulster O. (T: 17:23)
Tintagel. Bryden Thomson; Ulster Orch. (T: 14:57)
“ . Barbirolli; Halle Orch. (Time: 15:02)

BAZELON, Irwin:
Duo for Violin & Piano. Karen Phillips, violin & Glenn Jacobsen, piano.

BELY, Pyotr:
Chamber Cantata on Poems of Baudelaire. Margarita Miroshnikova, sop; Mikhail Tolpygo, viola; Alexander Malter, piano. (T. 9:57)
Four Bagatelles. Alexander Filenko, piano. (T. 3:50)
Four Slow Waltzes. Alexander Filenko, piano. (T. 5:00)
Humoresque. Alexander Filenko, piano. (T. .35)

BEN-HAIM, Paul:
Fanfare for Israel. Performers, date & venue unknown; decent off-the-air stereo.
Symphony No. 1. “ “ “ “ “ “ “



BENJAMIN, Sir Arthur:
Jamaican Rumba. Gerhardt; National Philharmonic Orchestra.
BENNETT, Richard Rodney:
Symphony No. 1. Buketoff; Royal Philharmonic. [22:32] [One-step-beyond-Walton! A bustling, tough-minded score that manages to be thoroughly accessible without compromising the modernity of its idiom. There were orchestral works of this quality being written in the Sixties; they were just drowned out by the trendier, louder voices shrieking for attention while audiences covered their ears and turned away in droves from the concert hall, a pernicious syndrome whose effects are still hurting the cause of live music. Anyway, this is a splendid symphony, given a dazzling performance by a conductor who Knew The Secret.]

BERG, Alban:
La Vin. Phyllis Curtin, mezzo; Leinsdorf; Boston Symphony Orch.
Die Nachtigall, from “Sieben fruehe Lieder” Jitske Steendam, soprano; Wim Dirriwachter [2:20]
Schilflied, “Sieben fruehe Lieder” Jitske Steendam, sop.; Wim Dirriwachter, piano [2:05]
Three Excerpts from “Wozzeck”. Herbert Kegel; Hanne-Lohe Kuhse, sop. w/ Leipzig Radio Sym. T. 28:02
Violin Concerto. w/ Szegetti; NBC Symphony; live, 12/30/54


BERGER, Arthur:
Duo for cello & Piano. Bernard Greenhouse, celoo; Anthony Makas, piano.
Quartet in C Major for Woodwinds. The Fairfield Wind Ensemble.

BERIO, Luciano:
“Ora”. Composer conducting the Swingle Singers & Rotterdam Philharmonic O. Live, Holland Festival, 1972. (Time: 10:00)

BERKELY, Lennox:
Divertimento in B-flat. Igor Buketoff; Royal Philharmonic Orch. [18:37]
Symphony No. 2. Nicolas Braithwaite; London Philharmonic. [Yet another of that legion of fine post-war British composers. No moony pastoralism in Berekley’s work; although it is tonal and reasonably easy to grasp at first hearing, it is decidedly un-romantic and neo-classical – excepting perhaps the luxurious third, slow, movement which reminds me of Britten in his most relaxed, lyrical vein. All told, ‘tis a manly piece of work that assumes a certain degree of sophistication on the part of its listeners; listening to it will, however, greatly aid you in acquiring that sophistication. Performance is first-rate, but my FM receiver was plagued by atmospherics the night I recorded this BBC broadcast, so there’s an underlying sputter of frying-bacon noise. It’s very low level and does NOT obscure the music; I find it quite easy to ignore, but you might want flawless instead of merely good.. Another composer too little known and well worth the effort of seeking out, if only to savor his fabulous craftsmanship and confidence.]


BERNSTEIN:
Three Dances from “Fancy Free”. Gerhardt; National Philharmonic Orchestra




BERWALD:
“Estrella de Sorta” Overture. Herbert Blomstedt; Swedish R.S.O., live, 11/30/79. (T: 7:01)

BLENDINGER, Herbert (1936- ):
Media in Vita – Symphonic Scenes, Op. 37. Live premiere , 1981. [As the program notes quaintly inform us, “Media in Vita” clearly “shows us the composer’s mental roots” – I’m not sure I want to even GO there – but I suppose that’s true. The music – neither opera nor oratorio nor a series of tableaux – is curiously old-fashioned in form, yet free-tonalities run around all over the place while soprano Helen Donath and bass Hermann Becht declaim/shout/sing and orate over a wide variety of sounds/colors/textures and stuff that sounds sort-of like melodies produced by the Bavarian State Radio S.O. and chorus, under the expert (and apparently committed), leadership of Wolfgang Sawallisch. You’ve heard worse; I was intrigued enough to give the composer another listen if I found anything else by him on disc, but so far I haven’t. If post-Darmstadt Euro-sounds hold any appeal for you, this might be your cup of tea. Total time: 40 22]


BLISS, Sir Arthur:
Meditations on a Theme by John Blow. Hugo Rignold; City of Birmingham Symphony Orch. [Imagine Kodaly’s “Peacock” Variations with an Elizabethan twist and a hearty Yorkshire accent! Bliss, virtually unplayed in America, wrote engagingly colorful and clever music; if he didn’t seek out Profundity, that was because he had the self-confidence to play to his own strengths – I’ve not yet heard any piece by him that’s boring or unpalatable. This is a bang-up orchestral showpiece & this 40-year-old British issue makes a persuasive case for it. Rignold conducts with affection and energy & his orchestra sounds, at least here, every bit as polished as it did later for Simon (“Here’s a fiver for a haircut, you annoying little bugger!”) Rattle. I’d call this work a near-perfect paradigm of “unknown but thoroughly accessible repertoire – I’d love to hear the Philadelphia tackle it!]
Piano Concerto. SOLOMON; Walter Susskind; Philharmonia. (T; 46:15)
Sonata for Viola & Piano. Emannuel Vardi, viola; Frank Weinstock, piano.
A Colour Symphony. Composer/ London Symphony (Remember: it sounds better when it’s spelled “colour” in the program notes than when it’s merely spelled “color”!)

BLOCH:
Piano Quintet No. 2. Howard Karp, piano; Pro Arte String Quartet
Sacred Service. Geoffrey Simon; Soloists unidentified; London Symphony & Chorus (rec. circa 1977) (T. 50:43)
“Schelomo”, Hebraic Rhapsody for Cello & Orch. w/ Leonard Rose & Mitropoulos; NYPSO.
Suite Hebraique for Vioila & Orch. Marcus Thompson, viola; David Epstein; M.I.T. Symphony Orchestra (T. 13.45)

BLOMDAHL, Karl-Birgir:
Symphony No. 2. Dorati; Swedish Radio S. O. (Time: 24:17)

BOER, Ed de (Gawd, what an unfortunate name for a composer!):
Arina’s Dream, Op. 6. Ernest Bour/ Hilversum RSO Chamber Ensemble, Live, Holland Festival, 1966.

BOIKO, Boris:
The Bells of Peter the Great, Symphonic Suite. SVETLANOV; USSR State Academic S.O. (Time: 21:00)
Carpathian Rhapsody for Violin & Orch, Op. 63. Andrei Korsakov, violin; SVETLANOV; USSR State S.O. (T: 16:31)
Festival Procession, Op. 77. SVETLANOV; USSR State S.O. (T: 8:33)
Gutsul Rhapsody, Op. 61. SVETLANOV; USSR State S.O. (T: 9:49)
Gypsy Rhapsody, Op. 62. Dimitri Sakharov piano; SVETLANOV; USSR State S.O. (T: 16:23)
Symphony No. 2. SVETLANOV; USSRmic S.O. (T: 21:14)
Symphony No. 3. SVETLANOV; USSR State S.O. (22:17)
Volga Rhapsody, Op. 62. SVETLANOV; USSR State S.O. (T: 7:49)

Du BOIS, Rob:
Quartet for Obnoe & Strings. Performers not identified. Live, Radio Nederlands broadcast, 1966. (T: 12:27)

BORRENSEN, Hakon (1876-1954):
Symphony No. 2, Op. 7. w/ Laury Grundahl; Danish Radio Orch., live 6/4/1954; [T: 33:14]


BORSTLAP, Dick [Sixties activism – the composer used to build schools for “The People” in Chile – meets the Dutch avant-garde. Dated crap? Yep. Possibly, though, you might be assembling a collection of this kind of stuff. I’ll bet he had a Che Guevara poster in his hut the whole time he wrote this…]
“Vrijheidlied” (“Song of Victory”). Ensemble “Perseverance”, live, 1978. T. 1:55 [Please, God, don’t let anyone write one that lasts MORE than two minutes!]


BOULANGIER, Lili:
Du fond de l’anime. Igor MARKEVITCH; Lamoureux Orch. (T: 24:02)
Pie Jesu. Igor MARKEVITCH; soloists from Lamoureux O. (T: 4:40)
3 Pieces for Violin & Piano. Yehudi MENUHIN; Clifford CURZON (T: 9:33)
Psaume 24. MARKEVICH/ Lamoureux O. & Chorus (T: 3:27)
Psaume 129. “ “ “ “ (T: 6:08)
Vielle priere bouddhique. MARKEVITCH; Lamoureux O. (T: 4:40)


BOYKIN, Martin (1931 - ):
Elegy: David Hoose; The Brandeis Contemporary Chamber Players; Jayne Bryden, soprano; time: 33:19.
Epithalamium: James Maddalena, baritone; Nancy Cirillo, violin; Virginia Crumb, harp. [11:01]
String Quartet No. 1. Contempoary Arts Quartet
String Quartet No. 4. Lydian String Quartet. [17:49]

BRAGA-SANTOS, JOLY ( ):
Symphony No. 4. Silva Pereira; Romanian Broadcasting Symphony orchestra

BRANT, Henry:
Signs and Alarms. Stokowski; CBS Symphony Orch., live, 1953

BRIAN, Havergal:
Symphony No. 5 (“The Wine of Summer”) Performers not identified on Source tape. Presumably British, of course. One of Brian more lyrical, accessible works. [30:11]
Symphony No. 5 “The Wine of Summer”. Unidentified perfoemers. (T: 25:35)
Symphony No. 10 (1954). Eric Plunkett; Leicester Schools S.O. (T: 17:57)
Symphony No. 21. “ “ “ “ (T: 27:48)
Symphony No. 25. Unidentified performers. (T: 24:31)
Symphony No. 30. Performers & provenence unknown. [Curious about the late symphonies of the incredibly prolific & long-lived Brian? This is an excellent place to start, as the work is only about 25 minutes long and it has considerably more melodic interest and structural coherence than many of the composer’s late, uncompromisingly gnomic utterances. My God, the man was 90 years old when he composed this, it sounds as fresh and potent as parts of “The Gothic”! Works up to a stunning climax, too, although it’s sneaky and startlingly abrupt, as Brian’s endings often are. More and more, he looms as one of the greatest composers of the century – although nobody knows that except really determined collectors with esoteric and wide-ranging tastes. For God’s sake, go ahead and try one of his symphonies – there are 32 of them to choose from, you know – and see if they don’t grow on you!]



BRIDGE, Frank:
“Summer”, Symphonic Poem. Norman del Mar; Bournemoouth Sinfonietta (T: 10:35)
Suite for String Orch. del Mar; Bournemouth Sinfonietta (T: 21:05)
“There Grows a Willow Aslant a Brook” (Hamlet); Impression for Small Orch. Norman del Mar; Bournemouth Sinfonietta (T: 9:15)

BRITTEN:
Fantasy for Oboe & Strings, Op. 2. w/ Harold Gomberg, oboe; Galimer Quartet
String Quartet No. 1, Op. 25. Galimer Quartet. [World premiere recordings, both, I think, and never bettered. Gomberg was a sublime reed player – as well as an absolute bastard to deal with – and the quartet includes Felix Galimer and Leon Zawisza, violin; Kasren Tuttle, viola; Seymour Barab, cello – all sterling artists long associated with either the NBC Symphony or the NY Philharmonic. Source LP dates from about 1957, mono only, but holds up wonderfully; as performances, these remain unsurpassed. If you’re unacquainted with Britten’s charming chamber works, this is an ideal starting point. If you already know and love this music, you simply owe it to yourself to hear these gleaming yet warm interpretations. One of my Desert Island discs.)
Four Folk Songs. Raymond Gilvan, tenor; Frederick Capon, piano.
Holy Sonnets of John Donne. Raymond Gilvan, tenor; Frederick Capon, piano.
Winter Words (to the ballads of Thomas Hardy). Raymond Gilvan, tenor; Frederick Capon, piano.
Matinees Musicales (2nd Suite). Fiedler; Boston Pops.
BROTT, Alexander:
Profundium Praeludium, for Double Bass & String Orchestra. Composer; Gary Karr, bass; Chamber Orchestra of McGill University. [23:23] [A major addition to the still-minuscule repertoire of concert works for double-bass. Needless to say, Mr. Karr makes his ungainly instrument produce as astonishing array of tone colors and expressive nuances. You’re unlikely ever to find this work issued by a major label, which is a shame, but this Radio Canada issue isn’t likely to be surpassed, either; not in our lifetimes, anyway.]

BROTT, Boris: (Canadian jack-of-all-trades, Brott was head of the Music
Department of McGill U. in Montreal, a composer of some distinction, and a widely-traveled guest conductor who seems to have made rather a good impression in Holland, Belgium, Mexico, etc. These listing preserve a raw but exciting “Pines” and one of Brott’s own compositions, souvenirs of a guest-tour of the USSR c. 1957). As composer or conductor, I’ve heard a lot worse; sonics have impact but the usual Stalinest roughness of timbre; the stereo is phony but not bothersome. Go ahead, take a chance!)
Spheres in Orbit. w/ USSR “Greater Radio & TV Sym. Orch”. Live, 1956
Violin Concerto. Noel Brunet, violin; STOKOWSKI; His S. O. (Live, 10/16/53)

BROUWER, Leo:
Canticum. Tom Brumanje, guitar. [4:15]
Danza Characteristica. “ “ [1:15]
Fugue. Tom Brumanje, guitar. [2:30]


BROWN, Earl:
Available Forms I. Bruno MODERNA; Rome Symphony Orch (T: 8:50)
Holograph I, for flute & small percussion ensemble. David Tudor & Philip Krauss, percussion; Don Hammond, flute. (Strikes me as pretty dry academicism – I’ve learned to be wary of ANY piece that has the word “available” in the title – but it’s more listenable than much of the joyless crap CRI was circulating in the Seventies.)
Music for Cello & Piano. David Tudor & David Soyer, cello.
Music for Violin, Cello and Piano. Tudor & Soyer again, aided by Matthew Raimondi, violin. (Fifty years from now, will any of this stuff actually be played? And the depressing thing about it is that there are enough scores like Brown’s to fill a fleet of super tankers, while Nicolas Flagello, for example, couldn’t get performed on a bet.
String Quartet (1965). LaSalle Quartet. (T: 9:58)

BOYKIN, Martin (1931 - ):
Elegy: David Hoose; The Brandeis Contemporary Chamber Players; Jayne Bryden, soprano; time: 33:19.
Epithalamium: James Maddalena, baritone; Nancy Cirillo, violin; Virginia Crumb, harp. [11:01]


BRUBECK, Dave:
The Gates of Justice. Erich KUNZEL, cond.; McHenry Boatwright, bass; Westminster Choir; Cincinnati Brass Ensemble. (Time: 47:30).

BUSONI:
Six Elegies. David Bean, piano. (T: 31:48)

BUTSKO, Yuri:
Lacrimossa. Igor Zhukov; New Moscow Chamber O. (T: 25:00)
Sextet for Winds & Piano, Op. 39. Lilan Kilar, piano; New York Woodwind Quintet.

BUTTERWORTH, George:
“The Banks of Green Willow”, Idyll for Small Orch. Norman delMar’ Bournemouth Sinfonietta. (T: 5:56)

BUYS, J. Brandts (1868-1939):
Romantic Serenade for String Quartet, Op. 25. Hague Philharmonic Orchestra


C


CAGE, John (1912- mid-90s):
Amores. Composer; Manhattan Percussion Ensemble
Double Music (w/ Lou Harrison). Paul Price; Manhattan Percussion Ensemble
Fontana Mix [See comment under “Oliver Daniel Archive”]
Sonata for clarinet. “ “ “ “ “
The Seasons. Davies; American Composers Orchestra. [Believe it or not, children, there was once a time when Big Bad John actually wrote music on score paper with keys and harmonies and dynamic marks and EVERYTHING, just like a real composer. He didn’t toss the runes, consult the I Ching, throw darts at astrological charts or any of that other mind-liberating stuff, either; he actually – if briefly – wanted to be recognized as “a composer” and not as the court jester in the musical world, or the dead-pan mountebank and gadfly-soothsayer he soon became. (Ah, man, those hippies just ate that bullshit up, didn’t they? I know; I was one.). So here’s a more or less conventional ballet score, commissioned by Merce Cunningham in 1947 and performed under the baton of no less a figure than Leon Barzin in May 13 of that year. It is entirely wholesome, benign, thoroughly conventional music, albeit executed in a sort of watery pseudo-Impressionist style that doesn’t stick to your ribs. Hell, the Greensboro Symphony could program it without anybody walking out, boo-ing, or canceling their subscription tickets. Had Cage chosen to pursue this line of artistic development, who knows? He might have ended up being, oh, Lou Harrison or somebody. It’s all…pleasant-sounding and doesn’t outstay its welcome. Worth having as a curiosity; and a sure-fire stumper if you want to play “Name The Composer” at a party of musical snobs. There isn’t enough sinew or tunefulness here to engage a passionate response, but I’m kind of fond of this score. It’s very easy on the ear and anxious-to-please, which makes it pretty much unique in the Cage catalog.]



CARLEVARO, Abel (Uruguayan, mid-20th Cent.):
Tamborillas & Campo. Tom Burmanje, guitar. [6:30]

CARLSON, David:
Rhapsodies for Orchestra. William Smith; Philadelphia Orchestra, live, 1981

CARTER, Elliott:
“Pocahontas”, Ballet in One Act. Jacques Monod; Zurich Radio Symphony Orchestra
Piano Sonata. Charles Rosen, piano. [If you’re ever going to like the piano sonata, Rosen wull be the man to open it for you – he’s that fune a player


CASELLA, Alfredo:
Paganiniana, Op. 65. Cantelli; NBC Symphony live 10/1/54 {T: 17:51]

CASTEREDE, Jacques (1926-):
“La Mythomane.” [The laconic program notes tell us only that Mr. Casterede majored in composition at the Paris Conservatory under Tony Aubin, of whom I have never heard despite the program annotator’s assumption of Tony’s global fame, and that he won the Prix de Rome in 1953; that he thereafter earned his living as a government bureaucrat (Inspector of Musical Instruction!)); and that he has composed over 60 works. That’s good, because I like this one very much. Take a dash of Satie, a pinch of Poulenc, a teaspoon of Francaix, etc., etc. It’s neither original nor profound, but it’s sparkly-fizzy and tuneful and a real toe-tapper. Source is one of those nutty “Aries” pirate records, and the performers are, supposedly, “The Versailles Symphony Orchestra” under the baton of “Pierre Fournier”! But it could be anybody. The playing is neat as a pin, though, and the audio quality of this off-the-air taping is thoroughly acceptable. ]

CASTIGLIONI, Nicolo (20th Centrury Italian):
“Gymel”. Franz Vester, flute; Theo Bruins, piano. [4:15] [Odd. The Radio Nederland program folder – usually full of such information – tells us nothing about what a “geymel” is; A dance form? A small herbivorous mammal? A person born in the remote Balkan city of Gym? Whoever or whatever, it’s 4:15 of relatively innocuous music that I found mildly diverting. If you have five left-over minutes on a CD, you might request this as a filler… Sort of like a candy bar you buy in the airport in Katmandu and forget about until five weeks later you’re stuck in another airport in West Bummrummaland and get very, very hungry and suddenly remember it’s in your briefcase. Quelle surprise! Good or bad? How hungry ARE you. Pilgrim?]

CASTEREDE, Jacques (1926- ):
“La Mythomane”. Performers not identified. [The laconic program notes tell us only that M. Castrede majored in composition at the Paris Conservatory under Tony Aubin, of whom I’ve never heard, and that he won the Prix de Rome in 1953, after which he earned his living as a government bureaucrat (“Inspector of Musical Instruction”!). He’s composed some 60 works. I like this one; Take a dsash of Satie, add a pinch of Poulence, a teaspoon of Francaix, etc. It’s lightweight but sparkly and tuneful. As usual with those wonderful old records, the performers are given coyly improbable names; this, ostensibly, is the “Versailles Symphony Orchestra” under the direction of “Oierre Fournier”, but it could be Joe Blow from Idaho. The playing is neat as a pin, though, and the off-the-air sound is quite acceptable.]

CHAUSSON:
“Viviane”, Symphonic Poem. Carlos Surinach; MGM Symphony Orchestra

CARTER, Elliott:
Double Concerto for Haprsichord & Piano w/ Two Chamber Orchestras. Gustav Meier conductor; Ralph Kikrpatrick, harpsichord; Charles Rosen, piano.anonymous NY pick-up band. (For many years, I resisted Carter’s inhumanly dense and hermetic scores, but at some point in the last 20 years, I suddenly started to “get it” & started hearing all kinds of marvelous things amidst the density: sentiment, droll wit, episodes of real warmth, extraordinary tone colors…you know, real music! Don’t fight it. Still going strong in his 90s, Carter is a wonder and a national treasure. This knotty but rewarding score couldn’t be in better hands, as Kirkpatrick and Rosen make every strand clean and vibrant; hell, if they’re having such fun playing this stuff, let’s have fun listening to it!) (T: 22:46)

CASTEREDE, Jacques (1926 -- ):
“La Mythomane”. [The laconic program notes tell us only that M. Castrede majored in composition at the Paris Conservatory under Tony Aubin, of whom I’ve never heard, and that he won the Prix de Rome in 1953 and earned his living as a government bureaucrat (Inspector of Musical Instruction!) and has composed over 60 works. I like this one. Kind of a dash of Satie, a pinch of Poulenc, a teaspoon of Francaix, etc. etc. Lightweight but sparkly and tuneful. Again, this is ostensibly the “Versailles” Symphony conducted by “Pierre Fournier”. But it could be anybody. The playing is neat as a pin, though, and the off-the-air sound is thoroughly acceptable. Lively, charming stuff.]

CHAIKIN, Nikolai (1915 - ):
Concerto for Accordion & Orchestra. w/ Yuri Kazakov, accordion; Veronika Dudarova; “Symphony Orchestra of the Moscow Region”, whatever the hell that means… Time: 25:02) [Back in the very first posting of this “collectors’ service”, I promised to bring you gobs of “obscure but readily accessible” music. Consider this Exhibit A: a finely-crafted, full-scale concerto in form and content, by an otherwise unknown composer who takes the accordion seriously and then writes a first-class concerto to prove just how expressive, colorful, and surprisingly nuanced it can sound, in the hands of a true virtuoso. All three movements build on excellent musical ideas and nationalistic-sounding motifs, the emotional range is surprisingly large, the Lawrence-Welkian technical flourishes aren’t just there for effect but as integrated portions of a serious musical discourse. The 7-minute central andante for example, comprises some memorable and (I think) deeply moving melodic ideas, exquisitely shaped and transformed with deft economy by a composer who knew his craft well enough to draw a powerful sense of atmosphere from an instrument not noted for producing that quality. Now, just for argument’s sake, let’s say I WAS open for business as a “Repertoire Consultant”, this is exactly the kind of piece I would suggest to a conductor who wants to program something “novel” but not freakish, something substantial enough not to proclaim its “tokenism” ( “Fast Ride on a Slow Machine”, etc), and that is well within the technical abilities of almost any semi-pro or even advanced amateur orchestral, THIS IS IT! It’s darn good music, great fun to hear, and even a third-rate municipal orchestra could handle their part with minimal rehearsal time – all you’d need is a crackerjack accordion player of whom there are at least two dozen desperately fighting for bookings (i.e., they’ll work for a pittance compared to a comparably talented violinist or pianist), this nifty and exotic little concerto fills the bill perfectly. Now, for the research of finding 5-8 examples of such pieces, tailored to fit your orchestra’s strengths and your audience’s taste, and for burning you lengthy enough excerpts so you don’t have to hunt down and study a half-dozen hard-to-locate rental scores, I would invoice you anything from $300 to $500, depending on the difficulty of filling your request, and you would consider that an amazing bargain, wouldn’t you? I mean, compared to doing all that research on your own. Sound like a good deal? I think so. The conductor of, well, I’d better not say without his permission, certainly thinks so and he’s used my services twice, both times with considerable success – the musicians had fun playing what he selected from my sampler, the audience adored the sounds, and the morning-after reviews were uniformly positive. Obviously I am testing the waters here. Is there a market for this kind of service? I have the knowledge and the resources to burn samplers of, say, six unfamiliar but show-stopping percussion-band pieces or string-orchestra numbers, or …well, you tell ME. Is this viable? Would it fly? Just because three conductors so far have expressed great enthusiasm doesn’t mean they all would; but I could save you scads of time and money and inconvenience, and that’s what out-sourced “service agencies” do! Let me know, podium-pounders of America – A little more encouragement and I’m going to take the plunge.]

CHAVEZ, Carlos:
Sinfonia India. Kenneth Klein; Orquestra Sinfonica Nactional de Mexico. [12:30]. [Starting with the composer’s own interpretation on an early Everest LP, c. 1959, this hyper-kenetic & brilliantly scored work has gained deserved popularity. Frankly, I’ve never heard a bad recording of it, and the very talented Maestro Klein (who seems for the moment to have vanished), brings plenty of energy to this idiomatic reading – helped by glorious sonics (the gut-punch of the low percussion!). What a piece this is!]
Toccata for Percussion. Paul Price; Manhattan Percussion Ensemble. [Still a jolt!]


CHINESE (Communist era; officially composed by a committee?):
“Youth” Piano Concerto. Liu-Shih-Kun, piano; Fan Cheng-Wu; Chinese Conservatory Orch. (Time: 25:20)

COATES, Eric:
Cinderella Phantasy. Sir Charles Groves; Royal Liverpool P.O.
“Covent Garden” from London Suite. James Walker; Royal Philharmonic Orchestra.

London Suite. Sir Charles Groves; Royal Liverpool P.O.

London Again Suite. Sir Charles Groves; Royal Liverpool P.O.
The Three Bears. Sir Charles Groves; Royal Liverpool P.O.

COCHEREAUX, Pierre:
Paraphrase to “Jerusalem & the Daughters of Zion.” Composer, organ; Lamoureaux Orch.; Notre Dame Choir. [Cochereaux is only the 6th or 7th musician to hold the post of Organist at Notre Dame – rather the pinnacle of his profession. His recordings span a huge rang of repertoire & his musicianship is – one must resort to an over-worked adjective here – awesome. The selections listed here with his name in the performers’ roster are taken from the celebration of Notre Dame’s 800th anniversary and all, including this one, are suitably splendiferous. Too bad the event wasn’t taped in SACD format! Not that I can afford a system, yet, but someday…]

COLGRASS, Michael:
Variations for four Drums & Viola. [See “Boston Sym. Chamber Players below]

CONSTANT, Marius (1925 - ):
24 Preludes for Orchestra. Clark Bruck; Orchestre Philharmonique d’ORTF. [15:51]


CONSTANTINESCU, Paul (1906-1963): (Think: Enesco tinged w/ Stravinsky.)
Piano Concerto. Valentin Gheorghiu, piano; Emil Simon; Cluj-Napoca Philharmonic Orchestra. (T: 27:26)
Symphony No. 1. Ion Baciu; Moldava Philharmonic. (T: 37:04)

COPLAND:
Dance Symphony. Morton Gould; Chicago Symphony Orch. [19:09][Why this work is so seldom performed is a mystery; it’s one of Copland’s strongest orchestral offerings; the style is not forbiddingly “modernist”, although it’s unmistakably 20-th-Century; Gould conducts the living tar out of it and the CSO musicians, who adored playing under him, are just sensational.]
Four Dance Episodes from “Rodeo”. Shinya Osaki; Kwansei U. Symphonic Band. [No joke; this Japanese student ensemble sounds terrific and the LP is audiophile quality, on super-thick vinyl, quiet as the grave.]
In the Beginning… Erlendsohn; San Jose State College Chorus

COOKE, Arnold (1906 - ? ):
Jabez & the Devil, Ballet Suite. Nicolas Braithewaite/ London Philharmonic.
Symphony No,. 3 in D. Braithwaite/ London Philharmonic Orch. (Yet another of England’s seemingly inexhaustible supply of good-to-very-good note-smiths. What does Mr. Cooke’s music sound like? Suppose Hindemith had been born in Yorkshire…)


COOPER, Paul:
Cycles for Piano. John Hendrickson, piano. (T: 12:48)
Four Intermezzi. “ “ “ (T: 6:33)
Frescoes. “ “ “ (T: 10:23)
Sinfonia for Solo Piano. “ “ “ (T: 18:05)
Sonata for Piano. “ “ “ (T: 9:42)

COULTHARD, Jean:
“The Bird of Dawning Singeth All Night Long”. Mario Bernardi; CBC Vancouver Orch.

CORIGLIANO, John:
Three Hallucinations from “Altered States”. Alex Paul, “Espirit” Orchwatra of Canada.

COWELL Henry:
Concerto for Koto & Orch. Soloist unknown to me; Philadelphia Orch, live, 1964
Saturday Night at the Firehouse. F. Charles Adler; Vienna Symphony Orch. [4:05]
Set of Five. Anahid & Maro Ajemian, violin & piano; Elden Gailey, percussion.
Sinfonietta. Jorge Mester; Louisville Orchestra. [Compelling, as Cowell’s music usually is, but curiously stern and ascetic. Maybe he was heading in a new direction when he wrote it in his late sixties…]
Symphony No. 5. Dean Dixon; American Recording Society Orchestra
Symphony No. 16 (“Icelandic”). Wm Strickland; Iceland S.O.
Twilight in Texas. Kostelanetz; New York Philharmonic. [First & so far only recording; slight but atmospheric] [2:55]

CRESTON, Paul:
Midnight – Mexico. Kostelanetz; New York Philharmonic Orch. [companion piece to the Cowell, 4:07]


CROSS, LOWELL:
Three Etudes for Magnetic Tape. U. of Toronto Electronic Music Studio.

CRUMB, George (1926- ):
Ancient Voices of Children. Barbara Ann Martin, sop; James Freeman; Unidentified Orch. (Live, 1971) (T:24:59)
Dream Sequence. Aeolian Chamber Players (T: 14:01)
Dream Sequence, Images II. “Orchestra 2001”. (T: 14:22)
Four Nocturnes. Eric Russell, violin; David Hagen, piano (T: 8:52)
A Little Suite for Christmas. Marcantonio Baron, piano. (T: 13:57)
Lux Aeterna. Jan diGaetani, sop; Penn Chamber Players. (T: 13:37)
Music for a Summer Evening (from “Microcosmos III”, or something like that). [from a live German radio concert, mid-80s, performers and venue not given; whoever they were, they played this typically odd-ball Crumb score with enormous relish. I enjoy his work, although a little goes a long way and this is not what would go through most peoples’ minds when they think about sitting around on “a summer evening”. If you’re familiar with most anything Crumb’s composed since 1970, you know what to expect and whether or not you’ll like it. This broadcast times-out around 33-34 minutes and sounds like a self-contained piece, although with this kind of music it’s often hard to tell.]
Three Early Songs. Barbara Lee Martin, sop. & James Freeman, piano (T: 8:47)


D


DABROWSKI, Florian (1915 - ):
Concerto for Violin, 2 Pianos & Percussion. w/ Jadwiga Kaliszewska, violin; Konrad Cosjjowski; Posnan Philharmonic Orch.

DALLAPICCOLA, Luigi:
Marsia, Ballet Suite. Cantelli; NYPSO, live, 3/7/54. {T: 13:00}

DAN, Ikuma:
Symphony in Two Movements. William Strickland; Imperial Philharmonic Orchestra.

DAVID, Johann Nepomuk (1895-1977):
Concerto for Organ & Orch., Op. 61. Wolfgang Dallmann, organ; Karlsruhe Philharmonic. (T: 23:50)
“Ezzalied”, Oratorio, Op. 51. Rolf Schweitzer; Karlsruhe Philharmonic & Pforzheim Motet Singers. (T: 43:22).
Symphony No. 5, Op. 41. Erich Schmid; S.O. of Baden-Baden. (T: 33:15)

DAWSON, William Levi:
Negro Folk Symphony. STOKOWSKI; American Symphony (T: 35:46)

DEBUSSY: (OK, I won’t argue the point, but I think of Debussy as a 20th Century composer, and for composers who straddle the century-lines, it’s my call):
En Bateau. Rene Leibowitz; Orchestre des Concerts Symphonique, Paris.
Children’s Corner Suite (Orch. by Caplet). Felix Slatkin; Concert Arts Orchestra [Felix was Leonard’s dad, and a mighty fine conductor in his own right; his contract with Capitol Records limited him to “light” music, but like Fiedler and Kostelanetz, he understood that ‘light” music is not necessarily “trivial” music. He captures the elusive mood of these two Debussy orchestrations just perfectly (this and the Petite Suite listed below) ; each is an unalloyed joy. The “Concert Arts” orchestra, by the way, was made up of moon-lighting musicians from the L.A. Philharmonic and from the huge pool of talent orbiting around the Hollywood studios – the personnel may have changed somewhat from gig to gig, but the level of playing was always high, no matter who was conducting them
Clair de Lune (orchestrated by L.S.). Stokowski; “His Symphony Orchestra”, rec. circa 1950.
Danses Sacree et Profane. Marcel Grandjany, harp; w/ Hollywood String Quartet. [See comment under “Solo Virtuosi” below.]
Danse (Orch. Ravel) Toscanini; NBCSO, live, 1940
“La Demoiselle Eloue”. “ “ “ “
Girl with the Flaxen Hair. Peter Knight; Royal Philharmonic Orchestra. [Ravishing!]
“Golliwog’s Cakewalk” from The Children’s Corner. Peter Knight; Royal Philharmonic Orchestra
“Evening in Grenada” from “Estampes” (Arr. by Gerhardt). Charles Gerhardt; National Philharmonic Orchestra
Iberia. Toscanini; NBC Symphony; live, 1940
Iberia. Toscanini; Philadelphia Orchestra; Rec. rec. 11/18/1941 [18:04]
Iberia. Mitropoulos; NYPSO, live, 2/7/1954. [Riotous nervy dynamism here, if not much perfumed sensuality. Exciting, but a bit too edgy for me.]
Marche Ecossaise. Toscanini; NBCSO, live, 1940
La Mer. “ “ “ “
La Mer. Toscanini; Philadelphia Orchestra; Rec. 2/ 8-9/1942. [31:06]
La Mer. Golschmann; St. Louis Symphony. [See ‘CONDUCTORS”]
La Mer. w/ Berlin Philharmonic, live, c. 1986. [Reminds us of how suave and subtle a colorist the late lamented Giulini could be; this Debussy/Ravel concert reveals the same gleaming Krupp Steel ensemble that Karajan had over-polished by the mid-eighties, playing core French repertoire with affection, silken warmth and refinement – that was Giulini for you; orchestras loved him foremost as a man, then as a conductor. All three pieces on this program received gorgeous readings, but for some reason the Debussy suffers from annoying tape flutter. I’m not sure how it’s physically possible for ONE side of a strip of tape to suffer from distortion while the OTHER side sounds perfectly clean, but here it is… I won’t be offended if you only order the Ravel selections; and you won’t be disappointed if you do.]
Nocturnes. Stokowski; “His Symphony Orch.”; Robert Shaw Chorale. [See comments under “Conductors”]
Nocturnes (2): Nuages & Fetes. Toscanini; NBC Symphony, live, 1940
Petite Suite. Felix Slatkin; Concert Arts Orchestra.
Prelude to the Afternoon of a Faun. Stokowski; “His Symphony Orchestra”, recorded c. 1950
Prelude to the Afternoon of a Faun. Ansermet; Orch. de la Suisse Romande.
Reflections on Water (arr. by Gerhardt.) Charles Gerhardt; National Philharmopnic Orchestra

DELIUS:
Complete Violin Sonatas [See “Wilkomirska” under “Virtuosi”]


DELLO-JOIO, Norman:
Air Power – Symphonic Suite. Ormandy; Philadelphia Orchestra
Epigraph. Swarowsky; ARS Symphony Orchestra
Fantasy Variations for Piano & Orchestra. w/ Lorin Hollander, piano; Leinsdorf; Boston Sym. [21:24] [A really splendid min-concerto by one of America’s most accessible and under-rated composers. Here’s another piece that should be performed live occasionally, but never is.]
RS Orchestra
Two Nocturnes. Grant Johanessen, piano.

DEL TREDICI, David:
I Hear an Army. Phyllis Bryn-Julson, The Composers Quartet. [12:28]
Night Conjure-Verse. Benita Valente, sop.; Mary Burgess, mezzo; Composer conducting members of the Marlboro Music Festival Orchestra [17:04]
Scherzo for Piano, four hands. Composer & Robert Helps. [6:27]
Syzygy, Phyllis Bryn-Julson, sop.; Richard DuFallo; Members of the Marlboro Festival Orchestra . [24:27]

Delius:
Songs of Sunset. Sir Thomas Beecham; Royal Philharmonic Orchestra & BBC Chorus. [Names of soloists, date & venue not given on Source; no matter – I doubt I’ll ever hear this faded Edwardian valentine of a piece performed more fervently or with richer atmosphere. Hail, Sir Thomas! Time is about half-an-hour; it just seems longer…]

DESSAU, Paul:
Bach Variations. Composer; Leipzig Gewandhaus O. (T: 19:46)
In Memoriam: Berthold Brecht. Composer; Leipzig Gewandhaus O. (T: 13:45)

DIAMOND, Arline:
Composition for clarinet. Phillip Rehfeldt, clarinet. [6;150

DIAMOND, David:
Music from “Romeo & Juliet”. Jan Krenz; Polish National R.S.O. (T: 18:45)
Night Music. Robert Davane, accordion; Lamont String Quartet (T: 8:39)

DIEPENBROCK, Alfonse (1862-1921): [Since Chandos issued the first-ever integral set
of his music, Diepenbrock’s stock has been rising. Stylistically, he falls somewhere between Mahler and Richard Strauss & tends toward the dark shadowy side of the tonal palette; this tone poem with baritone is prime late-Romantic fare and spooky as hell]:
“Im Grossen Schweigen” for Baritone & Orchestra. w/ Ruud van der Neer, bar.,; Ferdinand
Leitner conducting the Hague Philharmonic.


D’INDY, Vincent:
Istar. Anatole FISTOULARI; “Westminster Symphony Orch”
“Fervaal” Prelude to Act 1. FISTOULARI; “Westminister S.O.” (??)
La Forest Enchantee, Op. 8. Pierre Dervaux; Orchestre Philharmonique de Loire
Jour d’ete a la Montagne, Op. 61. Pierre Dervaux; Orchestre Philharmonique de Loire
Suite in the Olden Style, for Trumpet, Two Flutes & Strings, Op. 24. Harry GLANTZ, trumpet; Julius BAKER & Claude MONTEUX, flutes; Guilet String Quartet.
The “Wallenstein Trilogy”. Mitropoulos; NYPSO, live. [31:10]


DIMITRIEV, Georgi:
From “The Russian Primary Chronicle” – Oratorio for Soloists, Chorus, & Orchestra. Alexi Martynov, tenor; Anatoli Safiulin, bass; Boy’s Chorus of the Moscow Choral Society; ROZHDESTVENSKY, conducting; USSR Ministry of Culture S.O. (Time: 47:10)

Von DOHNANYI:
Ruralia Hungarica, Op. 32. Gyorgy Lehel; Hungarian State S.O. (T: 25:39)
“ “ “ (Piano version): Evelinde Trenkner, piano.
Serenade in C, Op. 10. Heifitz, Primrose, Fuermann Trio.
Variations on a Nursery Song, Op. 25. Gyeorgy Lehel; Kornel Zempleny, piano; Hungarian State S.O. (T: 26:08)

DODGE, Charles:
In Celebration. Columbia U. Center for Electronic Music
Speech Songs. Realization by Bell Labs
“The Story of our Lives”. Nevis Laboratories & Columbia U. Center.

DOPPER, Cornelius:
Gothic Chaconne. MENGELBERG/ C.o.A. (rec. 1940) (T:19:23)

DORATI, Antal:
Nocturne & Capriccio for Oboe & String Quartet. Robert L

posted at 09:42:06 on 04/17/06 by Neal - Category: attic

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