Two Views of Chopin's First Concerto

Frédéric Chopin

A while back I observed that Frédéric Chopin wrote his two piano concertos 200 years ago and ever since critics have been complaining about the orchestrations - too thick, too dull, etc. And other composers and many conductors have gone about revising them. 

Today we'll listen to two versions of the composer's first concerto, one with the orchestrations as Chopin wrote them, and one with revised scoring by another notable composer, Mili Balakirev.

These performances are notable for other reasons as well, as will be explained in what follows.

The Pollini-Kletzki Recording

First up is a performance that makes use of the orchestrations as the composer wrote them, although I'm not smart enough to know whether conductor Paul Kletzki did or did not revise them a bit.

It is one of the great recordings of all time, in my estimation. The pianist is the 18-year-old Maurizio Pollini, fresh from his triumph at the 1960 International Chopin Competition. That's the one where Artur Rubinstein is said to have told the other judges that Pollini was better than any of them.

Maurizio Pollini at the Chopin Competition

Listening to this performance, it's easy to understand why. Pollini's skill and musicianship are astonishing. Here are a few comments from The Gramophone's Roger Fiske, all of which I agree with:

[Pollini] gives a spine-tingling performance of this magnificent music, and if you have not in the past thought it magnificent, listen to this performance and be converted.

Orchestral accompaniment and balance are worthy of the solo playing. I have never heard the opening given with such fire. The orchestra stays on its toes throughout, and Kletzki makes a splendid job of following every variation of tempo.

Thus the triumphant success of this record is a team effort, but the last word must be for the soloist. Directions like agitato, espressivo, and perhaps above all leggierissimo extract an instinctive response from him of a kind which very few pianists can parallel and which Chopin would surely have loved. I do not ever expect to hear the concerto played better.

Paul Kletzki

Pollini is so commanding that it might be ȧ surprise to learn that he was not secure about his playing. At the time, Charles Reid reported in High Fidelity the following drama in the recording studio:

Came the first playback. After a few bars Pollini put his head in his hands. "What's wrong ?" asked Kletzki. "Nothing much," said Pollini. "My playing is very bad, that's all." 

Kletzki clapped him on the back. "You've nothing to worry about," he tried to reassure him. "If that's bad playing, all I can say is that I've heard playing five times worse on many a successful first record."

Pollini refused to be persuaded. When the others went out for a meal he stayed on in the studio, sat down at the keyboard, and, frowning doggedly, began to play scales and arpeggios. The recording was finished in two and a half sessions. The master tape differed little from the playback which had provoked Pollini's despair. The young man's attitude at the end was one of stoical resignation. His EMI mentors were jubilant.

 There's more. In another report a few years later, Reid wrote:

In the autumn of the same year, Pollini came back to the Abbey Road studios here and recorded the Chopin études, which were scheduled for issue on two discs. Again he buried his head when he heard the tapes; again everybody else was congratulatory. But this time the young man was adamant as well as irreconcilable. He refused to approve the tapes, went home to Milan, and that was that.

The story goes on, which you can read in clippings in the download. Suffice to say that Pollini was always an idiosyncratic character. Also a brilliant pianist, which you can hear in a recording of Beethoven's Fourth Concerto from years later, which I shared following the pianist's death.

LINK to the Pollini-Kletzki recording

The Gulda-Boult Recording

This record is the one that started me thinking about this post. Until I came across it not long ago, I was unaware that a recording with a revised orchestration had ever been issued. In fact, on the record's packaging it's hard to even find any evidence that this is the Balakirev edition. A careful reading of the notes yields this statement, after the obligatory slam of the composer's "clumsy" orchestration: "This recording features the attractive, stylish arrangement penned by Balakirev." Rather like Chopin in a new frock.

Actually, this is a very fine record in its own right, with the fascinating Friedrich Gulda and the reliable Adrian Boult. And Balakirev's orchestrations are not as block-like as Chopin's, not that it makes a hell of a lot of difference. The interest is in the remarkable solo part.

Friedrich Gulda

In reviewing the 1954 performance in The Gramophone, Trevor Harvey, himself a conductor, did not seem aware that the orchestrations had been changed - or at least he did not mention the fact.

He did opine that, "It is a very sound performance, with a good deal of brilliance to it and some nicely sensitive singing tone too ... I think I can safely say, the best yet - and, indeed, most commendable."

Gulda was an exceptional character in his right. He had a side career as a jazz pianist, and an accomplished one at that. In that guise, he appeared on this blog many years ago via the 1956 LP Friedrich Gulda at Birdland, in the company of some noted jazz musicians - Phil Woods, Seldon Powell, Idrees Sulieman and Jimmy Cleveland. The pianist sounds as home in "A Night in Tunisia" as he does in Chopin. The Birdland LP has been newly remastered for this occasion.

LINK to the Gulda-Boult recording

Ad in High Fidelity, September 1956

Two Early LPs from Gordon Jenkins

Composer-conductor Gordon Jenkins was a musical force in the 1940s and early 50s through his recordings with Decca records. He had hits backing up such diverse acts as the Andrews Sisters, Dick Haymes and the Weavers, and produced a long string of high quality discs under his own name. The two 10-inch LPs in this post bring together many of them. One is a collection of Jenkins' own songs, the other a miscellany. The 16 items feature an array of excellent vocalists, all obscure these days and deserving of recognition.

Gordon Jenkins Playing His Own Compositions

The LP of perhaps the greater interest is this 1950 disc of Jenkins songs, which tend to be romantic, nostalgic or regretful. Look at the titles, among them "Blue Prelude," "Blue Evening," "Homesick" and "Goodbye." He must have been a melancholy soul.

This is a new transfer of an LP that I first presented 14 years ago. Back then, I observed that, "Jenkins was a formidable songwriter whose material is of unusual emotional depth. He worked with fine lyricists - here Johnny Mercer, Tom Adair and Joe Bishop. His own lyrics for 'Homesick - That's All' (a war song) and 'Goodbye' are excellent, if occasionally awkward. The latter is one of the most wrenching pop songs ever composed."

Bob Stevens

Three vocalists are featured on this disk. The first is the fine tenor Bob Stevens, who is heard on "You Have Taken My Heart," "With You So Far Away" and "Blue Evening." The lyricists were, respectively, Mercer, Adair and Bishop.

"With You So Far Away" was written for the 1949 Broadway revue Along Fifth Avenue, which ran for half a year. The number was apparently dropped before the show's opening; it doesn't appear in the first night's Playbill. 

At various times Bob Stevens belonged to many busy studio groups, including the Norman Luboff Choir, Randy Van Horne Singers, Mellomen, Ralph Brewster Singers and the Sportsmen Quartet.

Bonnie Lou Williams

Bonnie Lou Williams is the soloist on "Blue Prelude," "When a Woman Loves a Man" and "Goodbye." The words are by Bishop, Bernie Hanighen, Mercer and Jenkins himself, respectively.

The composer later made a memorable recording of "Goodbye" with Frank Sinatra, but this version is worthy, too. Jenkins also recorded "When a Woman Loves a Man" with Billie Holiday.

Bonnie Lou was previously a vocalist with Tommy Dorsey and Will Hudson.

Don Burke

Another talented singer, the baritone Don Burke, presents "Homesick, That's All" and "P.S., I Love You." Both are full of nostalgia - the former with words by Jenkins, the latter by Mercer. In the first, the singer misses "the fragrant bonfires in the fall" - presumably a reference to burning leaves, which is generally illegal these days. In the latter, the singer asks his absent wife - no reason is given for her trip - "Was it dusty on the train?" This likely refers to the soot from a steam locomotive. These are things that were well known in my youth, but vanished from the world of today.

As a bonus, I've added another song that Jenkins and Adair wrote for Along Fifth Avenue. Like "With You So Far Away," it apparently was dropped before the show's opening. "Skyscraper Blues" was a hymn of urban anomie; entirely characteristic of Jenkins, if not Adair. It would have fit well with the composer's Manhattan Tower, the 1946 concept album that was later expanded. (Both versions have appeared on this blog.) The song was issued under Dick Haymes' name, with backing by Jenkins and ensemble. The two often worked together on radio and records.

Haymes and Jenkins also recorded another song supposedly from Along Fifth Avenue - "Maybe It's Because," written by Johnnie Scott and Harry Ruby. It was apparently cut from the show as well, and is not included in this set.

LINK to Gordon Jenkins Playing His Own Compositions

For You

The second Jenkins LP is For You, a 1951 compilation of 1945-49 singles. It too features fine if obscure vocalists.

First up are the Five Hits and a Miss, a group often heard on records and radio at the time. (Depending on who was on the date, the group could be called anything from the Three Hits and a Miss to the Six Hits, etc.) Bill Seckler was a founding member and still in the group at the time of recording. This "miss" in this configuration was Beverly Mahr, who married Jenkins in 1946.

The album's title tune features the group. "For You" comes from 1931, Joe Burke and Al Dubin, and was making a comeback in 1947.

Five Hits and a Miss also take on the quasi Russian folk song "Dark Eyes," which had become popular in a version by Chaliapin. It was frequently recorded during this period, even parodied.

Nat Simon and Jimmy Kennedy wrote "On the Painted Desert." Jenkins recorded it late 1947; the songwriters had recently had hits with "The Old Lamplighter" and "An Apple Blossom Wedding." Bob Stevens presents this tale - very well, too.

Charles La Vere

Also in 1947, Gordon had a hit with "Maybe You'll Be There," the Sammy Gallop-Rube Bloom song that here has a fine vocal by Charles La Vere, a pianist that Jenkins often used for vocal chores. Charlie had a pleasing natural quality that suited such wistful numbers as this. In this collection, he also solos in "My Funny Valentine."

As a pianist, La Vere made many records with his Dixieland group Charlie La Vere and His Chicago Loopers. Years ago I compiled - but never posted - a set of these along with a number of other vocal sides he recorded for Decca with Jenkins and under his own name. La Vere also wrote songs; Andy Kirk recorded his "Cuban Boogie Woogie."

Joe Graydon

The multitalented Ida Lupino introduced "Again" in the 1948 film noir Road House, where she played a torch singer. The film's music director, Lionel Newman, wrote the music, Dorcas Cochran the words. Jenkins did well with his recording that featured vocalist Joe Graydon, who is very good in this, his only hit.

Bill Seckler; Beverly Mahr and Gordon Jenkins

The 1944 film Meet Me in St. Louis brought the old folk dance "Skip to My Lou" to the fore, and Jenkins issued his own version, with Beverly Mahr and Bill Seckler doing a highly polished hillbilly routine, if that isn't a contradiction in terms. It's an interesting tune that came from the 19th century. While similar to a square or round dance, it uses the participants as singers, rather than a caller. This was apparently a way of getting around prohibitions on the other forms of dancing.

The final song is "Temptation," which bandleaders and singers were often tempted to record during this period. Nacio Herb Brown and Arthur Freed wrote it for Bing to croon in 1933's Going Hollywood. Here it's done by chorus and orchestra.

LINK to For You

More Mozart with Marriner, Cotrubas and Co.

I much enjoyed producing the recent post on Mozart's sacred music as performed by the Academy of St. Martin-in-the-Fields, conductor Neville Marriner and soprano Ileana Cotrubas.

Today's follow-up - the Mozart Requiem - includes much the same roster of artists, including contralto Helen Watts, tenor Robert Tear and baritone John Shirley-Quirk. The only change is in the choral group, which here is the then-new Chorus of St. Martin-in-the-Fields.

The Kingsway Hall recording was made in 1977, six years after the Coronation Mass.

The Requiem is a famously fraught work. Incomplete at the death of its composer, it was completed by his pupil Franz Xaver Süssmayr, unfortunately not nearly as skilled as his teacher. This record was the first, or among the first, to attempt to clean up Süssmayr's musical solecisms, using the 1971 edition of the work by Franz Beyer. (Since then, there have been many other such editions to the same purpose.)

Robin Golding of The Gramophone outlined the major changes: "The most noticeable features are a reduction of the colla parte writing for the three trombones (especially in the Benedictus); the curtailing of the trombone solo in the Tuba mirum, after the words 'ante thronum' (at the entry of the solo tenor) - and the slight extension of the closing bars of the Osanna fugue."

Antony Hodgson elaborated in Recordings and Recording: 

It is often conjectured that, despite the very full notes left by Mozart and his direct instructions to Süssmayr, it was perhaps the pupil and not the master who was responsible for the composition of the last three of the 12 sections; and that even the re-use of some earlier music was Süssmayr's re-working rather than Mozart's intention although the music was his.

The sections thought by scholars to be Süssmayr's entire composition (nos 10 and 11) are used in Beyer's edition: this makes it possible, though not certain, that what we have there is Süssmayr edited in Mozart style by Beyer.

At the recording session: Neville Marriner, John Shirley-Quirk,
Robert Tear and Ileana Cotrubas

The critics were pleased with the performance. Typical was Robin Golding:

The choral singing and orchestral playing are of high quality, and there is an excellent team of soloists ... If the performance as a whole suggests the concert hall rather than the cathedral, it is nevertheless appropriately restrained and classical in style notably so in a direct comparison with Karajan's gleaming, operatic performance on DG.

Neville Marriner's version is certainly worth a place among the two or three most satisfactory recordings of this great work; and in its use of the Beyer text it has some claim to being closer than any of the ten other available versions to the sound Mozart himself had in mind.

The sound is among the best late analogue recordings I've heard. The download includes texts and translations from a Böhm release; there were none with the Marriner LP.

LINK

More Buddy Clark Rarities from the 30s

Here is the final set of Buddy Clark recordings from the 1930s, which have comprised his commercial recordings, transcriptions and radio airchecks. This third installment is the most unusual in that it includes a number of obscurities among its 19 selections.

The present material is cleaned up from the Kevin Hubler collection on Internet Archive, which comes from his father, a Clark devotee.

Buddy sounds great as usual on these numbers. For some of the early items, he is under the spell of Bing, but soon comes into his own.

Clark has often appeared on this blog - here's a link to all those posts.

1935-36 Associated Transcriptions

First we have a fine series of transcriptions that Buddy made for Associated circa 1935-36, all of songs from current films. For these, he was credited as "Bob Clifford." Most of the songs are conducted by "Lon Gladstone," in reality Lud Gluskin.

The first is "The Piccolino," an Irving Berlin creation from the 1935 Fred Astaire-Ginger Rogers film Top Hat. Buddy is persuasive, but if you want to sample the commercial recordings from Fred and Ginger, head here.

Next is "Did I Remember (to Tell You I Adore You)?" from the Jean Harlow-Cary Grant film Suzy from 1936. Cary and Jean presented it in the film, with Harlow dubbed by Virginia Verrill.

Billy Hill wrote "Empty Saddles (in the Old Corral)," to a poem by J. Keirn Brennan. Bing Crosby sang it in 1936's Rhythm on the Range. Bing also introduced Johnny Mercer's "I'm an Old Cowhand (from the Rio Grande)" in this epic, but that's not included here.

Alice Faye sang the obscure "Love Will Tell" in the 1936 film Sing, Baby, Sing. It's by Lew Pollack and Jack Yellen. And finally, Leo Robin and Ralph Rainger penned "You Came to the Rescue" for Shirley Ross, Frank Forest and The Big Broadcast of 1937 (which actually came out the year before).

Your Buddy

The next items come from a 1935 radio show called Your Buddy. The set starts with the show's theme, a slightly remade "My Buddy," the lachrymose 1922 tune by Walter Donaldson and Gus Kahn.

"Tender Is the Night" was a new song by Donaldson and Harold Adamson that Bing among others recorded. It picks up on the title of F. Scott Fitzgerald's final novel, published in 1934.

One song that has appeared on these blogs several times is "Bidin' My Time," the Gershwin tune written for 1930's Girl Crazy. Two different versions of the song by the Foursome can be found on my other blog. That quintet and their ocarinas introduced the number.

Buddy sings "Bidin' My Time" in medley with the Gershwins' "Liza," a wonderful song from 1929's Show Girl.

Melody Puzzles

We move ahead to 1937 for two airchecks from the show Melody Puzzles. First, Buddy avers that "I Still Love to Kiss You Goodnight," a song that came from the movie 52nd Street, where Kenny Baker warbled it.

Better remembered is "Thanks for the Memory," which Bob Hope and Shirley Ross memorably sang in The Big Broadcast of 1938. This Oscar-winning Robin-Rainger composition became Hope's theme song.

Rubinoff, His Violins and His Etchings

Next we have a song from a transcription disc of Rubinoff's Musical Moments Revue, a show that was sponsored by Chevrolet. Buddy intones Irving Berlin's "I've Got My Love to Keep Me Warm," written for the 1937 film On the Avenue. Dick Powell and Alice Faye were the first to sing the number.

Another set of transcriptions were for the Rexall drug chain, again with bandleader Rubinoff and his violin. Buddy presents "Deep Purple," which Peter De Rose wrote in 1933. Michell Parish's lyrics were added in 1938. The Rexall transcriptions are from the following year.

"Thanks for Ev'rything" is a popular song from 1938 written by Mack Gordon and Harry Revel. It comes from the film of the same name, where, IMDb tells us, it was sung by Detlef Lais. (No idea.) 

Arthur Johnston and Johnny Burke wrote "Between a Kiss and a Sigh." Artie Shaw and Helen Forrest recorded it - it was the flip side of their hit version of "Thanks for Ev'rything."

Hoagy Carmichael wrote the music for the superb "I Get Along without You Very Well," with lyrics based on an poem by Jane Brown Thompson.

A "Tijuana bible" version of the Rubinoff tale

This the end of the Rubinoff transcriptions, but not of the Rubinoff story. These recordings were made a few years after the bandleader had been famously sued for breach of promise. It seems that he had invited a woman to his apartment to see his collection of etchings, then seduced her, later refusing to marry her when she claimed to be pregnant. Thus the origin of the old catchphrase "Come up and see my etchings."

The Whole Town's Talking

The final set of songs is from a 1936 CBS program called The Whole Town's Talking about Rubinoff and His Etchings. The show was sponsored by the automaker Willys, which later became famous for Jeeps but at the time offered remarkably homely passenger cars.

Yeah, surprisingly ugly

For this show, Buddy appeared under the pseudonym Bob Craig. His offering was "Just a Quiet Evening," a lesser-known song from Richard Whiting and Johnny Mercer. This selection is a bit noisy (sorry!).

Also lesser known is a Western tune from Nick and Charles Kenny called "Leanin' on the Old Top Rail." It comes from a a circa 1939 Associated transcription; Buddy also recorded it  commercially for Varsity.

Last in this group is "Maybe," a song that used to be heard often, but that was long ago. The authors were Allan Flynn and Frank Madden. This performance comes from a test lacquer of an Associated transcription, and includes a breakdown take and the second retake. The other takes were too noisy to rescue.

LINK to Clark rarities from the 30s

Rachmaninoff Plays Rachmaninoff, Vol. 1

Rachmaninoff confers with Eugene Ormandy

The composer's own performances can be uniquely authoritative when the composer is also a superb performer. This is just what we have with Sergei Rachmaninoff's recordings of his four piano concertos and the Rhapsody on a Theme of Paganini.

His electrical recordings of these works took place periodically from 1929 to 1941. The composer, born in 1873, died two years after the final session.

All the recordings were with the Philadelphia Orchestra, the earlier ones led by Leopold Stokowski, the later sessions by Eugene Ormandy.

I'll present these concerted works in two posts: today, the Concertos No. 1 and 2, and the Rhapsody; the subsequent post will cover the third and fourth concertos.

Rhapsody on a Theme of Paganini, Concerto No. 1

Rachmaninoff's disembodied head appears to be emerging from a dust storm over the steppes in the cover of this LP reissue. The album combines:

• The Rhapsody on a Theme of Paganini, written in 1934 and recorded shortly after the work's premiere by the composer with Stokowski conducting.

• The first concerto, written in 1891 and revised in 1917, here conducted by Ormandy in 1939-40 sessions.

The Rhapsody vies with the second concerto as Rachmaninoff's most popular work. The first concerto is the weakest of the group - but it's a student composition.

The Rhapsody theme by Paganini is from the last of his 24 Caprices for solo violin. It is related to the Dies Irae, which Rachmaninoff duly quotes. The famous slow Variation XVIII is an inversion of the Paganini theme.

Rachmaninoff, circa 1933

Irving Kolodin greeted this reissue in the Saturday Review as follows: "Priceless documentation of the way a standard work of the literature sounded when new, and as played by the composer. The sound is tubby and without much resonance, but the artistic experience is there." To my ears, the sound is fairly good, after some encouragement.

Ray Ericson wrote in High Fidelity: "One of his best works, the rhapsody has been well described as 'musical champagne,' and its effervescence should last for some time. The playing is actually not as brilliant or note perfect as in many of today's concert performances of the work, and the composer could treat rather cavalierly his own dynamic markings in the printed score. Still, this is a definitive performance, in that Rachmaninoff wrote piano music to suit his style and technical specialties. Delicacy and complete lack of sentimentality mark the total performance, with its finely tapered phrases, glittering filigree, bell-like tones, and exact rhythms."

Neither reviewer was overwhelmed by the early concerto. Kolodin: "Much of it anticipates ideas more powerfully expressed in other works, but it has its melodic moments. This recording is more satisfactory." Ericson: "Somewhat dull in musical content, it is a characteristic work, characteristically played, and as such should appeal to Rachmaninoff's idolaters."

LINK to Rhapsody and Concerto No. 1

Concerto No. 2

If the Rhapsody's eighteenth variation is the composer's most popular melody, the Second Concerto is his most popular complete work. Unlike Rachmaninoff's earlier compositions, it was a success from the time of its 1901 premiere: the concerto made him famous.

This 1929 recording is perhaps the definitive performance, despite disagreements between composer and conductor. Amazingly, Stokowski insisted on disputing points of interpretation with Rachmaninoff, and the sessions were fraught with tension. None of this is apparent in the final product (nor is any residual resentment noticeable in the 1934 recording discussed above).

Leopold Stokowski

Kolodin: "I would describe as unique the leonine, infinitely expressive performance by Rachmaninoff of his Second Concerto, with a Stokowski conducted accompaniment of incomparable richness."

Philip Hart in High Fidelity: "Rachmaninoff's interpretation - and Stokowski's too - is wonderfully authoritative: The resolute solidity of cadential chords, the tenutos on the first notes of those quasi-cadenzas in the third movement, the triumphant expansiveness of the brass fanfare announcing the first-movement development, the fast albeit perfectly maintained tempos. the elegant rubato and tapered phrasing - these and many more such felicities add substance and form to by far the best of the Rachmaninoff concertos. It's too bad the composer didn't record this just one more time, with reasonably modern engineering."

Actually, as realized here, the recording is impressive for nearly 100 years ago. The piano tone was problematic, but some adjustments have improved it. To me, the sound does both composer/pianist and conductor more than credit.

LINK to Concerto No. 2

Victor Young at the Movies, Part 1

The composer-conductor Victor Young made a long series of recordings, both of instrumental music and with the best singers of the day. He also scored a great number of films, finally winning an Oscar for Around the World in 80 Days in 1957. The award was posthumous - he had died in late 1956.

In the 1950s Young recorded several LPs that collected theme music from lesser-known films, including his own work. In general, these short pieces came out first as singles, then were gathered into album form.

Perhaps the biggest hit from this group was Dimitri Tiomkin's famous theme from 1954's The High and the Mighty. Young's recording features the otherworldly whistling of Muzzy Marcellino. The latter was a former big band singer - I believe he had worked with Young when Victor was writing arrangements for Ted Fio Rito. 

The High and the Mighty can be found in two previous posts - this tribute to Tiomkin and in the LP Night Music, which is largely film themes, similar to today's main attraction. Night Music is newly remastered; more about it and ȧ link below.

Below you'll find the film collection Hollywood Rhapsodies, along with several LPs of Young's film music in newly refurbished editions.

Hollywood Rhapsodies

The Hollywood Rhapsodies recordings come from October 1953 and January 1954 sessions.

Most of the films represented - with a few notable exceptions - are not well remembered, which to me makes this collection even more interesting.

Much of the music represents almost the last gasp of the sweeping romantic style that had been in vogue since the 1930s.

Here is a rundown of the works and the composers involved.

The album begins with one of the well-remembered films: The Robe. It's a Biblical epic based on a Lloyd Douglas novel that focuses on a Roman military unit responsible for Jesus's crucifixion. The 20th Century-Fox film was the first released in the widescreen process CinemaScope. The memorable music is by Alfred Newman.

Another Hollywood legend - Max Steiner - was responsible for the score of So Big, based on an Edna Ferber novel about the life of an immigrant schoolteacher. Steiner's "Selena's Theme" is named for the main character.

The title Gog sounds like it should involve a monster eating Cleveland, and it actually is a horror film, but one that involves robots trying to destroy a nuclear facility. Machines running wild, huh? Hard to believe.

The music is by Harry Sukman. His "Nightfall" turns out to be a late-in-the-day "Warsaw Concerto" type piece, with the composer as pianist. The theme is a kissing cousin of Charles Williams' "Dream of Olwen."

Gog was made in the 3-D process, back when that was a thing.

Erich Wolfgang Korngold's "Theme Romantique" does not appear to be from a film. If anyone recognizes it, please let me know. The piece may be here due to Korngold's eminence among Hollywood composers. The music is a prime example of his plush style. Anatole Kaminsky is the violin soloist.

[Update: reader NikZ informs us: "The Korngold Theme Romantique is from the film 'Another Dawn' (Errol Flynn stars) and Korngold later used this opening theme for the main theme of the 1st movement of his violin concerto; the second theme here (with the beautiful solo violin solo) forms the main theme of that concerto’s slow movement." Thanks, Nik!]

Young himself makes the first of three appearances with his "Jubilee Trail" from the film of the same name. This is one of several on this disk from the B-picture factory Republic Pictures. Star Vera Hruba Ralston, a former figure skater, was married to Republic honcho Herbert Yates. The film's a Western with a labyrinthine plot, but Victor's music is a pleasingly simple rustic tune.

The Moonlighter is another 3-D film and another Western, with Hollywood cowpokes Fred MacMurray and Barbara Stanwyck. The music is by Heinz Roemheld, a prolific composer who had recently had a pop hit with "Ruby" from the film Ruby Gentry.

One of the best-known numbers in this collection is the theme from The Glenn Miller Story, which is also called "Too Little Time," although not here. It was Henry Mancini's breakout as a film composer.

We go back to Republic, Westerns and Vera Hruba Ralston for Belle Le Grand, which involves the adventures of Ralston as a gambler and casino owner, with the usual rivalries and complications, some of which are garishly depicted at left. Leo Shuken, who worked on many of Young's films, was the composer. He is perhaps best known for his orchestrations of the Magnificent Seven films. Harry Sukman returns for the piano part both in this number and the next.

Another well known orchestrator was Eddie Powell, who Young has included here with his "Theme for Cynthia," which does not seem to be from a film.

The label doesn't mention it (there are no cover notes), but Young's "Geraldine" was actually used in a film of that name. It was another Republic picture, but not a Western. It has something to do with the music industry, involving John Carroll as a professor and Mala Powers as a co-ed, while also involving Jim Backus and Stan Freberg. No Vera Hruba Ralston, though. I vaguely remember a 1930s film with a similar plot.

Agnes Moorhead, who got all the glamorous parts, plays a 105-year-old woman who holds the key to the film noir The Lost Moment, also starring Robert Cummings, Susan Hayward and a spooky old house. The excellent Daniele Amfitheatrof provides the score. (His music from The Mountain can be found below.)

We end the LP with more of Young's music, this time "Bon Soir" from A Perilous Journey, yet another Vera Hruba Ralston flick involving her trying to find the man who done her wrong. Meanwhile Scott Brady steers the ship with his shirt off.

The cover at top seems to be an unsigned Alex Steinweiss creation. He apparently thinks the music is Liszt/Brahms style Hungarian rhapsodies, what with a miniature gypsy fiddling on the screen siren's knee.

LINK to Hollywood Rhapsodies

Victor Young Remasters

Five earlier Victor Young posts have now been redone with better sound and complete scans. The composers Daniele Amfitheatrof and Alex North also are represented. 

The links below take you to the downloads.

Night Music. As mentioned, this is mainly a collection of film themes. They include The High and the Mighty (Tiomkin), "Passion Tango" from Passion (Forbes), "Smile" from Modern Times (Chaplin), the theme from Rear Window (Waxman), "The Song from The Caine Mutiny" (McHugh), the theme from Magnificent Obsession (Skinner), "Glamour Waltz" from Lady in the Dark (Dolan) and the theme from Female on the Beach (Burke). LINK

For Whom the Bell Tolls; Golden Earrings. This is perhaps the first LP devoted to Victor Young's film scores; it was a repackaging of material that had been recorded for 78s in 1943 (For Whom the Bell Tolls) and 1947 (Golden Earrings). Both are fine scores - and the theme from Golden Earrings was a major hit - but the LP sound was miserable. Since first posting the album eons ago, both the technology and my skills have improved, and now it all sounds surprisingly good. LINK

Omar Khayyam; The Mountain. This album splits the composing credits between Young (Omar Khayyam) and Amfitheatrof (The Mountain). The former is Hollywood's idea of what the legendary poet-statesman was all about; the latter is about mountain climbing and brotherly love. The supposed siblings were Spencer Tracy and Robert Wagner, who were 30 years apart in age. Good music throughout. LINK

The Brave One. This one is the tale of a young boy and his bull. It's set in Mexico, although Young's music sounds more Spanish to me. (But what do I know about it.) The record contains excerpts from the original soundtrack, as performed by the Munich Symphony Orchestra. While today there is such a body, back then it was usually called the Graunke Symphony after its founder and conductor, Kurt Graunke. The band specialized in soundtrack recordings, making hundreds of them. As with many scores of this time, the sound was dry, perhaps because it was designed to be played on big ol' Voice of the Theater speakers in the big ol' movie houses of the day. I've opened out the sonics. LINK

Written on the Wind; Four Girls in Town. Young plays a relatively minor role in this LP. He provided the theme for Written on the Wind, as sung here by the Four Aces, whom I just don't like. I owned the single 70 years ago and didn't like it even then. (I also couldn't figure out what "written on the wind" meant; figurative language not being my strength when I was seven.) The rest of the score is by Frank Skinner. Alex North's Four Girls in Town is terrific film jazz, here presented as the "Rhapsody for Four Girls in Town" with soloists André Previn on piano and Ray Linn on trumpet. What could be better? LINK

Boult Conducts Walton, and Related Reups

I recently remastered an old post of Sir William Walton conducting his own music - which led me to working on another LP of his compositions, this one conducted by Sir Adrian Boult. This led me in turn to remastering a Boult recording of Elgar's music.

All three are presented below; let's start with the new transfer of Sir Adrian's Walton record.

Boult Conducts Walton

Boult devoted most of three October 1954 recording sessions in Kingsway Hall to a program of Sir William's most popular works - adding Elgar's Three Bavarian Dances to one day's schedule.

The Walton pieces all ended up on the LP shown above, with an unattractive cover that contrasts with the British 10-inch issue shown below, which contains Siesta and the overtures Portsmouth Point and Scapino.

The Decca album neatly depicts the themes of these three works - the seaport of Portsmouth Point, the lazy mood of Siesta, and the amorous adventures of Scapino. Of the latter, the composer wrote the following:

Scapino is one of the less familiar characters of the Commedia dell'Arte, the hero of Molière's Fourberies de Scapin, who may figure in the complicated ancestry of Figaro. We owe him the word "escapade", which is descriptive of the character's stock-in-trade. Callot's etching portrays him in his traditional costume.

Walton is referring to the 1619 Jacques Callot etching below.

Scapin by Jacques Callot

Portsmouth Point was also inspired by another piece of art - Thomas Rowlandson's 1814 etching of that name, which depicted the port's lively goings-on.

As for Siesta, it reflects Walton's love of Italy. According to musicologist Christopher Palmer, Siesta depicts "an Italian street-scene drawn or sketched in deftly evocative strokes."

The London LP also includes The Wise Virgins, a ballet suite that Walton wrote in 1940 for Sadler's Wells and Sir Frederick Ashton, utilizing themes from Bach's music. The sources of the selections are as follows (they are not outlined in the LP's notes):

What God hath done, is rightly done (Cantata 99)

Lord, hear my longing (Chorale Prelude 'Herzlich tut mich')

See what His love can do (Cantata 85)
Ah! How ephemeral (Cantata 26)
Sheep may safely graze (Cantata 208)

Praise be to God (Cantata 129)

 

F.W. Schadow - Die kluge und törichten Jungfrauen (detail)

The "wise virgins" are characters in the parable of the wise and foolish virgins found in the book of Matthew, which concerns preparedness, spiritual readiness and faith. Ten virgins await the coming of the bridegroom (Jesus), who is delayed. The wise virgins have included enough oil to light the vigil; the foolish virgins have not.

Andrew Porter greeted the LP in The Gramophone as follows:

This is a most welcome collection, a record to have; the first LP Scapino and Siesta, and the definitive Portsmouth Point, I would say, despite the composer’s own version being available [see below]. How wonderfully fresh Portsmouth Point (after Rowlandson) and Scapino (after Callot) still sound; the former dates from 1925, the latter from 1940. Siesta, a piece that seldom seems to be given in the concert hall, is contemporary with the final version of Façade (1926). I hope Sir Adrian’s record will give it a new lease of life, for it is well worth hearing - like a more extended and elaborate version of a Façade slumber piece. All this side of the disc is most brilliantly recorded, and admirably played.

LINK to Boult conducts Walton

Walton Conducts Walton

As mentioned, my notion of transferring the LP just discussed came from remastering a "Walton conducts Walton" record. The latter was prepared for the Coronation of 1953, and included the composer's march Orb and Sceptre written for the ceremony. That 10-inch record also includes Walton's 1937 coronation march Crown Imperial, the Portsmouth Point Overture, and the "Sheep may safely graze" section of The Wise Virgins.

It was the latter that caused me to seek out more Walton - I wanted to transfer the entire suite.

The two Walton marches, of course, are well within the tradition of such works as most famously represented by those of Sir Edward Elgar - and are brilliant examples of their own.

Elgar's music also makes an appearance in this collection, directly below.

LINK to Walton conducts Walton

Elgar's Three Bavarian Dances

As mentioned, Sir Adrian's Walton sessions also yielded a tape of Elgar's Three Bavarian Dances. It so happens that recording has appeared here before, so I decided to remaster it for this occasion.

The Bavarian Dances were coupled on the 10-inch LP with two other light pieces - the Chanson de Nuit and the Chanson de Matin, which had been recorded earlier in 1954.

Sir Adrian Boult

It's a fine effort. Trevor Harvey said of it in The Gramophone: "An attractive record of some of the best of Elgar’s light music (and how good the best of it is). The Bavarian Dances are played with both charm and gusto, and the Chanson de Nuit is particularly distinguished by its feeling, as well as by the quality of sound Decca have given it. Light music done as well as this should give pleasure to everyone, whatever the expanse of their brows."

LINK to Boult conducts Elgar