Ravel and Debussy from Cleveland, Rodziński and Leinsdorf (Plus a Bonus)

The Cleveland Orchestra did not spring into being upon the accession of George Szell to the music directorship in 1946. Three chief conductors had preceded him: Nikolai Sokoloff, Artur Rodziński and Erich Leinsdorf.

This blog has concerned itself with Rodziński's recorded output since its founding, including several Cleveland efforts: Jerome Kern's Showboat Scenario for Orchestra, Mendelssohn's Midsummer Night's Dream, and Tchaikovsky's Romeo and Juliet and 1812 Overture, in addition to many recordings from New York, one from Vienna and one from Chicago.

Last year I posted several of Leinsdorf's Cleveland outings: the Schumann Symphony No. 1, Rimsky-Korsakov's Antar, plus pieces by Schubert and Mozart.

Today we return to Cleveland for music of the Impressionists: Ravel's Daphnis et Chloé Suite No. 2 and Rapsodie Espagnole and Debussy's La Mer from Rodziński, and instrumental music from Debussy's Pelléas et Mélisande, as arranged and conducted by Leinsdorf.

A single link to all these items is at the end of the post. 

Today's bonus is in the form of another welcome compilation from David Federman: "From Dearth to Mirth," a concept we can all support, I am sure. Details and a link below.

Ravel's Daphnis et Chloé Suite No. 2 and Rapsodie Espagnole

Artur Rodziński

After the Cleveland Orchestra and Rodziński began recording for the reorganized Columbia Records company in 1939, it wasn't long until the conductor turned his attentions to the music of Ravel, first the Rapsodie Espagnole in 1940, then the Suite No. 2 from the Daphnis et Chloé ballet music the next year.

Critics differ about the merits of his readings. In the reviews included in the download, some contemporary writers longed for the more lush sounds of Stokowski or Koussevitzky. However, I am inclined to agree with critic Donald Rosenberg, who wrote, "Rodziński's limber approach and his attention to balance and tuning are ideal for the two French scores" and Howard Taubman of the New York Times, who praised the Rapsodie's "precision, rhythmic vitality and rich orchestral color."

My transfer comes from a circa 1949 first-generation LP transfer with good sound and surfaces. The download also includes the second generation cover in addition to the 1949 "tombstone" above.

Debussy's La Mer

Rodziński added a recording of Debussy's La Mer to his Cleveland discography during late 1941 sessions that also included the Daphnis et Chloé music, and the Kern and Mendelssohn works mentioned above.

Here again, some critics longed for the coloristic effects of a Koussevitzky, but I find Rodziński's control and clarity to be well suited to a score that is as fascinating and impassive as the sea it depicts.

La Mer was originally issued in a 78 set with the cover above. My transfer comes from a first-generation 10-inch LP with very good sound.

Artur Rodziński ... 'as featured in Collier's'

Debussy (arr. Leinsdorf) - Pelléas et Mélisande Suite

Erich Leinsdorf

Erich Leinsdorf made all his recordings with the Cleveland Orchestra in late February 1946, after George Szell had been appointed to succeed him as music director. Included were the recordings mentioned above, along with Dvořák, Brahms and Leinsdorf's own arrangement of instrumental interludes from Debussy's opera Pelléas et Mélisande.

Critic Edward Tatnall Canby was taken with Leinsdorf's work, not the least because it was, in his view, "a fine way to sample a rare opera." But the music is not particularly characteristic of the complete score, where the vocal lines are primary. The composer wrote the interludes to cover scene changes, and his debt to Wagner is more apparent in this music than elsewhere.

Leinsdorf was a volatile conductor at this early stage in his development, but that tendency is not in evidence here. The performance is enjoyable, but it does not (and perhaps could not) capture the unique sound world of the opera.

This transfer has been cleaned up from needle drops of the original 78 set, as found on Internet Archive. The sound is very good, but there is some surface rustle that will be apparent on headphones.

Although the recording was made in early 1946, the album did not come out until 1949, by which time Leinsdorf was the music director in Rochester. It was issued simultaneously via the 78 set and the new LP format.

Bonus: 'From Dearth to Mirth'

In his collection "From Dearth to Mirth," David has assembled a 27-song set from days gone by (the only days we recognize on this blog). He notes, "I seek out music that consoled my parents in times equivalent to ours when tyrants trod the earth. I call it 'Three-Cheers-For-Good-Times' music and I’m presenting a generous sampling of it in this mix."

He adds that "your job as listener is to try to take this music as sincerely as it was intended and be cheered by it. As you will see, George and Ira Gershwin invested heavily in the effort to cheer up America--contributing two largely forgotten Jazz Age gems, 'Clap Yo' Hands' and 'Oh Gee Oh Joy,' songs to this giddy mix. So there's no need for smirks, just smiles. They will come fairly easy to regular patrons of Buster’s blog. Or at least I am counting on it."

LINK to Ravel and Debussy

LINK to 'From Death to Mirth'