She often has not received her due as an artist. Here is an admiring take by the critic Bryce Morrison: "Unlike Horowitz, to take an extreme example, she never sought to stun and bemuse, to leave her audience more exhausted than elated, or to create an impossibly wide chasm between artist and listener. Hers was a voice that ‘connected’, leaving her audience refreshed and, as she would have wished, conscious of the miracle of great music."
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| Myra Hess |
Although these recordings are otherwise available, I did want to bring them to you because they show the artist's beautiful touch and sensitivity. Another reason is that it allows me to display an example of the cover designs by Atelier Cassandre.
Atelier Cassandre was the studio, I believe, of A.M. Cassandre, one of the greatest graphic artists of the 20th century. It's by no means clear that Cassandre himself designed this cover, or others in a very long series that I believe originated with Pathé in France, but whatever their provenance, they are all quietly superb.
While this is not as good an example as some, it nonetheless displays many of the series' characteristics. First, the extraordinarily elegant typography for "Myra Hess." Cassandre himself was a typographer, whose most notable contribution was Peignot. My favorite Cassandre font is Bifur, which is Art Deco incarnate. Another characteristic is the use on an inset photo or illustration. The result is simple and clean - and could hardly be more out of style. You can see a page of examples of these covers, concentrating on typography, here.
I keep trying to thank you for this extraordinary post but my comment doesn't seem to click through. Let's hope it does this time because the Symphonic Etudes is a great discovery and Myra's playing is on a level I thought only Richter had attained. Variation 10, which has a stillness like Debussy's "Footsteps in the Snow," comes from the heart of the mysterium and the playing is as profound as any I have ever heard. Indeed, Myra makes this work a 19th century equivalent to the "Goldberg Variations." Thank you for this share. I am a better person for it.
ReplyDeleteI am SOOO happy to see this. My mother has it and she played it for me 40+ years ago. Since she's got to the far side of 80 years, I had given up hope of hearing it again. Celestial Myra Hess! Now if I can find those (most improper) Kanons by Mozart, and a certain Dichterliebe/Liederkreis coupling, then she can go on living forever, for all I care!
ReplyDeleteThank you very much.
ReplyDeleteThe link is dead. Can you reup it, please?
ReplyDeleteBuster,
ReplyDeleteCould you please do some imaginative research (as you did with "Rogers Conducts Rogers" and estimate the dates of these recordings and the release date of the album? Could you also add some insight and thoughts on Myra Hess? Thanks as always for expanding my knowledge of the world of music.
Hit Parade
Hit Parade -
ReplyDeleteThe American issue above combines two British 10-inch LPs - the Schumann was issued in November 1954. The recital program came out in late 1958 or early 1959.
I believe I transferred this by request, and I don't really have that many Myra Hess records. However, I do know that even in the 1950s, she was a grand dame of the piano, noted more for her musical insight than for virtuosity. The Jesu, Joy of Man Desiring was her most famous piece; I believe she recorded it several times.
She was also a famous personality, having organized recitals in the blacked out National Gallery in London at the height of the blitz. I have heard her interviewed - she possessed a most vivid and engaging personality.
Could You please re-upload this one? :-)
ReplyDeleteMPT - Sure. Give me a little time to find the files and refurbish them.
ReplyDeleteMPT and all - There's a new link at the end of the post.
ReplyDeleteGreat! And wonderful! Thank You.
ReplyDeleteMPT - Happy to do it! Good record.
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