22 March 2011

Franck from Vienna and Rodzinski

"Overloaded orchestration, plodding bass, unimaginative wind and brass doubling, weak thematic contrast, lack of organic growth, cloying sweetness, dull passages, senseless repetition, overactive chromaticism, and pointless modulation" - the list of complaints about Cesar Franck's Symphony is long, and there is some truth to them. But I love it still, and wish it were not seen as so disreputable in some quarters.

Detail from a 1943 ad
Perhaps the issue is sincerity - in Franck there is no doubt, and that goes a long way with me. With Liszt's somewhat similar music - well, the word meretricious comes to mind. (These are my completely subjective reactions, of course.)

This particular performance is one in which a very skilled conductor and a good orchestra do their best to present the music as symphonic argument and structure rather than mystical vision, with notable success. The conductor is Artur Rodzinski, whose art has been celebrated several times before on this blog. Here he is working with Vienna forces in June 1954. The LP also includes Franck's symphonic poem Le Chasseur Maudit, here in a splendid performance recorded on the same day. The sound from the Mozartsaal is quite good.

The cover has a terrific caricature of the conductor by Sam Norkin, then of the New York Herald Tribune, later of the Daily News.

This post was inspired by my friend Fred, who recently posted a recording of Franck's Psyche on his fine blog, Random Classics. I also want to draw attention to Peter Gutmann's excellent article on Franck's Symphony, from which I drew the opening quote.

Rodzinski listening to a playback at a 1951 recording session

16 March 2011

Hugh Martin and Ralph Blane

The death of composer Hugh Martin the other day started me thinking about what I could post as a tribute. Records of the shows and movies he did with Ralph Blane are now on CD – including Athena. Even the vocal LP they did in 1956 – once rare – is on CD.

Well, I decided to go ahead with the latter anyway, because a have a nice vinyl copy and because it is one of my favorite vocal LPs of the era. And if this turns out to be as much or more a tribute to Ralph Blane than Hugh Martin, that’s OK, too, because Blane was a remarkably good singer.

Martin and Blane had an unusual working relationship in that they both wrote words and music, and evidently worked separately on songs, bringing them together to produce the full score. In later years, Martin would claim to have written "Have Yourself a Merry Little Christmas" by himself, even though both men’s names were on it.

Whatever the working relationship, they were a very talented pair, being responsible for, among other works, Best Foot Forward, Look Ma, I’m Dancin’, Make a Wish, and Meet Me in St. Louis.

The strength of their songwriting shows in this collection, which includes songs from several of these scores. Most songs are presented by Blane, an exceptional vocalist who is particularly good on the great song "Ev’ry Time." His rendition includes the rarely-heard verse. Martin also is a good singer who is highly effective here as well.

Unsurprisingly, they started out as singers, and Martin appeared with Kay Thompson’s Rhythm Singers in the 30s. You will hear the Thompson influence on their vocal arrangements right from the first song of this LP. They had their own vocal group, the Martins, in the 40s, and there is an unidentified group by that name assisting on this record.

Kay Thompson Singers, 1936 - from left, Ken Lane,
Hugh Martin, Al Rinker, John Smedburgh
When the LP was announced, it was to come out on a label called Elf. Producer Bob Bach and Richard Kollmar must have thought better of that name – it was eventually issued on Harlequin. The Billboard article on the record says that the composers were working on a musical called Three Tigers for Tessie – a title so unlikely that I thought they were pulling the reporter’s leg. But I have since seen other references to that project, although as far as I can tell, it wasn’t ever produced.

The unusual cover has the pink-shirted Blane (left) and Martin surrounded by well-known 50s personalities. Too bad I don’t know all of them! From left we have “The Man in the Hathaway Shirt” (I believe he was Baron George Wrangell), Sammy Davis Jr., model Suzy Parker (I think), unknown man, Blane, columnist and TV personality Dorothy Kilgallen (Bach was the producer of her TV show, What’s My Line), Martin, Steve Allen, unknown woman, another unknown woman (Lena Horne? she introduced "Love," one of the songs on this LP), Bert Lahr.

The sound on this LP is quite good, and so are the Ralph Burns orchestral arrangements.

UPDATE: Thanks to swift responses from Dave Weiner and Progress Hornsby (two of the better informed people I know), we know have complete IDs for the cover personalities: from left they are “The Man in the Hathaway Shirt” (I believe he was Baron George Wrangell), Sammy Davis Jr., model Suzy Parker, producer Richard Kollmar, Blane, columnist and TV personality Dorothy Kilgallen (Bach was the producer of her TV show, What’s My Line, and Kollmar her husband), Martin, Steve Allen, Rosalind Russell, singer Sallie Blair, Bert Lahr.

Note (June 2024): this LP has now been remastered in ambient stereo.

14 March 2011

More from RCA's "Show Time" Series

Helena Bliss
In this, the second installment in my protracted exploration of RCA Victor's 1953 "Show Time" Series of potted musicals, we hear from two favorites from my first post (Lisa Kirk and Jack Cassidy), one less-favored hold-over (George Britton) and two other performers who were prominent on Broadway at the time (Helena Bliss and Helen Gallagher).

In the "Show Time" Series, RCA devoted one side of a 10-inch LP to the high points of a notable musical. Each was also offered as an EP. This LP combines Kiss Me Kate of 1948 with Anything Goes from 1934.

Lisa Kirk - from the original cast - is top billed in Kiss Me Kate, but performs only one number - "Always True to You in My Fashion," which she introduced. The other songs are presented by George Britton, who had succeeded Ezio Pinza in South Pacific, and Helena Bliss, who herself had recently been in a London revival of Kiss Me Kate. Bliss' most famous role was in the Wright-Forrest Grieg farrago, Song of Norway. She soon was to appear in a Broadway revival of Show Boat.

Helen Gallagher
The other side of the record, devoted to Anything Goes, is dominated by Helen Gallagher, who had the daunting task of presenting songs that had been introduced by the force of theatre named Ethel Merman. Gallagher, herself no little personality, was appearing on Broadway in Hazel Flagg, the musical version of the screwball comedy Nothing Sacred. When Hazel Flagg was made into a movie, under the title Living It Up, Hazel somehow turned into Jerry Lewis. (Lady!!)

Gallagher acquits herself beautifully here. Although she was on Broadway for many years, she is perhaps best known today for her many years in American soap operas. Jack Cassidy duets with her on "You're the Top."

The sound here is quite good. More to come.