Classical Music for Aficionados

The Biggs Rheinberger Concertos reissue

Those of us who were organists in the 1970s fell in love with this LP on its release in 1973; it was a revelation at the time for its energy and compositional mastery.

Then, the LP was pulled by Columbia on copyright objections by the Rheinberger family who had not been paid. My copy was loaned to a friend and never returned; but the memory lingered.

So, when it was just re-issued as a SACD I got a copy ASAP. Have 4 other performances and they are all dreadful by comparison.

This is kick-a** Rheinberger that will make you fall in love with his style, energy and compositional fluency. No 19th-century composer understood the romantic ideology and the pipe organ better. His sonatas are just as incredible.

The Columbia Symphony is superb, Biggs is Biggs, and the recording is immediate and crystal clear.

Yes, you might grouse about Bigg’s organ choice (more classical than romantic) and the brilliantly-miked orchestra that shouts in your face, but face it -- no other recording of these masterpieces has ever had the energy and connection with the 19th-century gestalt that Biggs and the Columbia Symphony pulled off in 1973.

You might want to give it a listen...Presto got it to me fairly quickly.

Oh, and BTW, if you've got a really, really, high end system you will find that blasting this SACD at concert levels is a memorable experience; the organ bass pedals will test your room out thoroughly.

During 2012 many Debussy recitals were played all over the world, but do you know who played the first all-Debussy recital ever?

Marcelle Meyer (1897-1958) was a major figure in the creation of new music from her participation in Erik Satie’s Parade in 1917 until her early death in 1958. She championed the works of Satie, Ravel, Debussy and Stravinsky, as well as the French Group of Six composers (Les Six), all of whom she knew personally. Her fluid phrasing, great dynamic range and lovely tone are just three of the hallmarks of her rare and individual playing.

“Marcelle Meyer was, without a doubt, one of the most important pianists of the 20th century. She was a woman of tremendous influence. The favourite pianist of Les Six, she is featured as the central figure in a portrait of that group and Jean Cocteau by Jacques-Emile Blanche. She played the private premiere of La Valse with Ravel at the other piano, and worked with Debussy himself on his Préludes and gave the first ever all-Debussy recital. When Stravinsky met her, he said, “Ah yes, Ravel spoke to me about you,” and she subsequently performed in the premiere of Les Noces, and Petroushka, without rehearsal and completely to the composer’s satisfaction. Milhaud and Poulenc were among the many other composers who respected her and with whom she performed. Given her involvement in early 20th century piano music and her much admired playing, it seems strange that, to date, no biography has been written about this outstanding woman.”
– Mark Ainley

In her day Marcelle Meyer was the doyenne of French piano. Cortot admired her and she performed with the likes of Ravel and Couperin. She had a vast repertoire that extended from the Baroque to contemporary composers like Stravinsky and she left a considerable recorded legacy.

In 2007 EMI released an absolutely complete edition of Marcelle Meyer’s studio recordings, remastered from scratch, utilizing the best possible source material and modern technology.
EMI France’s 17-CD set Marcelle Meyer: Ses Enregistrements 1925-1957 has elicited great recognition in the media and has won major music awards such as Dipasson d´Or in 2008.

Marcelle Meyer met Debussy at the premiere performance of Erik Satie’s Parade, for which she was the pianist. To give you an idea of the production: the mise-en-scene was by Jean Cocteau, the sets were painted by Picasso, and the choreography was by Leonide Massine, with orchestra conducted by Ernest Ansermet – the 20-year-old Marcelle Meyer was the pianist. Debussy was present at this event, which took place in 1917, just under a year before he died.

Meyer is said to have been coached by the ailing Debussy in how to play his Preludes, and certainly her playing is unique in its combination of impressionistic colours and timing. Meyer also studied with Ricardo Viñes, who had premiered several of the composer’s works, and she clearly had insight into his art. While she recorded the two books of Debussy Preludes in 1957 – a recording that was unissued until 1989 – she (had previously) also committed three of them to disc in 1947, among them an incredible “La terrasse des audiences au claire de lune” in which time seems to stand still. Hear Meyer play this Prelude below followed by “L’isle Joyeuse”.

Schubert:

The Bernstein recording of the Metamorphosis has always been my favorite and prefer it over Levi and other more recent offerings.

learsfool:

Welcome to the thread and congratulations on being a professional on what is, assuredly, the most "unpredictable" of instruments.

My favorite horn piece has always been the Schumann Konzertstuck and recently found a recording with natural horns by Gardiner and the ORR. Lots of power, needed for the natural horns that seem better at bombast than lyricism.

Have also recently explored the Mozart/Karajan/Brain recording you mention and it is astonishingly good for the 50s. A tragedy that he died in a car accident at the height of his considerable fame.

Keep us abreast of the horn recordings these days and, once again, WELCOME!

learsfool brings up wind concertos and just this last week listened to multiple performances of the Copland Clarinet Concerto -- always a favorite.

Was surprised by the fact that all three performances were superb. Rarely have I found a concerto that has received such splendid performances across the board.

And from the original performance by the dedicatee Benny Goodman, this work seems to have inspired the best in its area.

Schubert and rvpiano:

Concerning Bernstein

Was a music student, then professor in the 60s-80s. At that time, Bernstein was #1 on the orchestral heap and each of his recordings was an event by itself. Listened to all of them when they first came out. At that time, it was fashionable to disparage anyone that popular and even though several of the recordings made an indelible impression, fell into that "anti-Bernstein" camp -- preferring, instead, the "more accurate" efforts of Boulez and the like.

Then, last year, purchased the Sony remastering of all the non-symphonic recordings. Was absolutely FLOORED at how good they are. His gift was to tell the story of the score -- to make very clear the musical message in simple and direct ways. He believed he was making the music appealing to the masses -- and I think he did so to a great degree.

What is further appealing about these recordings is how good his orchestra was (an army of generals) AND how much they clearly enjoyed playing these works. This enthusiasm comes through with boundless energy and excitement. Often I get new recordings that are essentially perfect as regards notes and interpretation but the orchestra sounds cautious and does not seem to be connecting directly with the listener. Bernstein was all about connection.

SO I agree with Schubert concerning histrionics but think that is secondary to the Bernstein legacy. Check out the remastered recordings, especially the early ones. Would like to hear from you two what you think of his orchestra. BTW, he is particularly successful with American composers, notably Ives, Copland, Gershwin, and Grofe. To my ears, a number of his recordings are the best ever made.

rvpiano:

Lang Lang's 2013 recording of the Bartok 2nd proves your point. It also shows that Sony is recording well in the post-SACD world.

learsfool:

Yes, you are correct -- the Schumann notes say "horns with three rotary valves crooked in F."

BTW, we learned as musicologists that Brahms was the last major composer to specify natural horns -- and did so when most others were moving to valve instruments. Is this true? Are you familiar with any period recordings of the Brahm's symphonies that use natural instruments?

Keep buying Brahm's symphonies trying to find performances with in-tune string playing. His dramatic first violin leaps upwards never seem quite accurate and/or comfortable. The best I have found so far is the Zweden recording with the Netherlands Philharmonic. But Zweden is very cautious with tempi and the gestures never are molded the way Solti and others do so effectively. Let me know if you have any candidates.

No wonder Clara Schumann , misogamy etc.

Let's move on. I suggest a competition.

Who can identify the most beautiful horn solo in the orchestral repertoire? We can all suggest our favorites and learsfool will judge the winner.

Am suggesting this because I just got a new recording of the Tchaikovsky symphonies and was reminded of the horn solo in the 5th symphony, beginning of the 2nd movement. My bid for the most beautiful -- not the longest or hardest, but most beautiful. Doesn't hurt that the rest of this movement is spectacular with one of the great string crescendos of all time and the unexpected sfz brass attack toward the end that thrills.

So you pundits can outdo me with ease. What's your favorite for the most beautiful horn solo? Got to be a solo, Got to be an orchestral passage.