Romances and Serenades from Cleveland

My last post from the Clevelanders and conductor Louis Lane elicited a plea from long-time blog follower Douglas (coppinsuk), who wanted to hear the companion LP Romances and Serenades from the same source.

I warned Douglas that my copy is in mono, but that was fine with him, and I hope with you. (The sound is excellent, regardless.)

The previous LP was called Rhapsody, and included the Liszt Hungarian Rhapsody No. 2 and such. This program has nothing so beefy. In keeping with its title, the works are generally much lighter.

Louis Lane

The longest work is Vaughan Williams' The Lark Ascending. Britain's Classic FM says it is the nation's favorite classical work - and has been for 11 years.

The retailer Presto Music lists 168 releases of the piece, although presumably with some duplicates. So imagine a world where there was only one recording available - the 1952 effort by Jean Pougnet with Sir Adrian Boult and the London Philharmonic. That was the situation when this performance by Cleveland concertmaster Rafael Druian and the Cleveland Sinfonietta came on the market.

Rafael Druian

The reviewers uniformly praised the performance. Edward Greenfield in The Gramophone wrote, "I have a feeling that the very 'authenticity' of many English performances ... lies more than anything in their very tentativeness musically." He added, "Give me polish and confidence like this ... when it is allied with such warm, genuine emotions."

It's not just Druian who is outstanding here - there are notably assured contributions from the solo clarinet and horn. The cover notes say that the Sinfonietta is composed of "21 first-chair and supporting players from the internationally famous Cleveland Orchestra." This suggests that the musicians may be principal clarinet Robert Marcellus and principal horn Myron Bloom, but we can't be sure.

Druian also is featured in Delius' Serenade from Hassan, along with the orchestra's second harpist, Martha Dalton (who is identified on the label). Greenfield claims the overall performance is "soupy". This is the least successful item on the disc, but also its shortest.

Another English piece is contributed by Peter Warlock, his Serenade for Strings, sometimes called the Serenade for Frederick Delius on His 60th Birthday. Warlock wrote the piece in Delius' style. You can hear Constant Lambert's 1937 and 1941 recordings of the Warlock and Delius compositions via this post.

Much darker hued is the Sibelius Romance in C major of 1903. Greenfield says it emerges from this performance as "something more than an occasional piece."

The lightest work on the program is probably Jean Françaix's Serenade for Small Orchestra, a delightful piece that critics like to call "cheeky," and so it is. This is an accomplished performance, equal to the two previous recordings featured on this blog - a 1939 version from Hamburg under Eugen Jochum, and a 1968 reading from the Chamber Orchestra of Philadelphia and Anshel Brusilow.

I mentioned that this record has fine sound - although I should note that it was bright enough to loosen your fillings until I adjusted the usual 1960s Columbia (and Epic) glare.

Historic Delius Recordings from Sammons, Moiseiwitsch and Harrison, Plus Bonuses

The composer Frederick Delius (1862-1934) benefited from the impassioned advocacy of conductor Sir Thomas Beecham during his lifetime and until Beecham's own demise in 1961.

So pervasive were the conductor's efforts that it almost seems like he was Delius' only champion. But that is far from the truth. Notable early recordings of the composer's music included those by violinist Albert Sammons, cellist Beatrice Harrison, pianist Benno Moiseiwitsch and conductors Eric Fenby and Constant Lambert, none of which involved Sir Tommy. These form today's post, which is centered on a World Records Club LP from 1975, with the addition of several transfers from the original 78 issues.

Also today, we also have a bonus in the form of one of David Federman's much appreciated compilations, this one called "When Tourists Trod the Earth - A Farewell to Summer." Details below.

LP cover

The Violin Concerto with Albert Sammons and Malcolm Sargent

Albert Sammons by Alexander Akerbladh

Delius' concertos are not usually considered among his best or most characteristic compositions, although it is difficult not to enjoy these works in good performances. Here the Violin Concerto of 1916 is performed by its dedicatee, the eminent English instrumentalist Albert Sammons (1886-1957), who is also particularly associated with the Elgar concerto.

Malcolm Sargent

Sammons' was the first commercial issue of the Delius concerto. He, the Liverpool Philharmonic and its then-conductor Malcolm Sargent recorded the work in early July 1944 in Philharmonic Hall. Beecham followed up a few years later with his own version, done with violinist Jean Pougnet.

Sargent has been featured on this blog many times, including my transfer of his first Dream of Gerontius recording, with the Liverpool Philharmonic. Sammons has only appeared in a brief recording, that of Grainger's Molly on the Shore, which can be found in this compilation.

The Piano Concerto with Benno Moiseiwitsch and Constant Lambert

Benno Moiseiwitsch

The Russian-born British pianist Benno Moiseiwitsch was an ideal choice for Delius' Piano Concerto, which is more extroverted than much of the composer's oeuvre. It's been compared the Liszt's concertos; conductor Constant Lambert may have been an apt choice for the recording because of his affinity for the Abbé's music.

Moiseiwitsch was strongly associated with the Romantic repertoire, particularly Rachmaninoff and Schumann. To me, the Delius concerto is temperamentally more similar to the ruminative qualities of those masters than to Liszt's concoctions. The opening of Delius' work, for example, is directly indebted to Rachmaninoff. Moiseiwitsch is ideal in this music.

Constant Lambert

To record the work, the pianist, Lambert and the Philharmonia assembled in Abbey Road Studio No. 1 in August 1946. Depending on how you look at it, this was either the concerto's first or second recording. Beecham and his then-wife, pianist Betty Humby, had recorded it in late 1945, but that version was never issued. They remade the concerto in October-December 1946, and that was the one that HMV sent to market.

In 1946, Beecham sponsored a Delius Festival in London, recording a good number of the composer's works at the same time, including  the violin and piano concerto recordings mentioned above. I transferred these pieces for my own listening several years ago and can post them here if there is interest.

Delius also wrote a Double Concerto for violin and cello, which did not receive a recording until 1965, per the Delius Society discography. I also have that LP is anyone is interested.

The Caprice and Elegy with Beatrice Harrison and Eric Fenby

Beatrice Harrison

Today, perhaps the least known soloist in this set is the cellist Beatrice Harrison (1892-1965), another musician closely associated with Delius. Harrison and her sister May premiered the Double Concerto, which Delius wrote for them in 1915. Here she performs two works that the composer also wrote for her, the Caprice and Elegy, charming pieces that are lovingly played here.

The Caprice and Elegy recordings come from 1930, and are performed with small orchestra as scored and conducted by Eric Fenby. The latter was closely associated with Delius in the composer's last years, and is generally called his "amanuensis." That's a fancy term for scribe, but Fenby was far more than that. To my knowledge, he had only this one opportunity to conduct a Delius recording until many years later, when he produced a superb set for the Unicorn label.

Frederick Delius with Eric Fenby and Beatrice Harrison

The transfers of the Caprice and Elegy included here come from the original 78s, which have more immediate sound that the LP I used for the concerto transfers.

Bonus: Additional Delius Recordings from Constant Lambert

In addition to the Piano Concerto above, Constant Lambert also recorded Delius' On Hearing the First Cuckoo in Spring, the Intermezzo and Serenade from Hassan, and La Calinda from Koanga. They have appeared here before, but I am including them in this package as well.

Bonus: When Tourists Trod the Earth - A Farewell to Summer

David takes us on a tour of the past in his latest 30-song compilation, "When Tourists Trod the Earth - A Farewell to Summer." As he says in his notes, "As befits escapist fare, this medley is heavily enriched with Hawaiian music and music played through the lens it provided musicians everywhere to gaze at the songs of their own homelands." But it also continues into the 70s, "as it makes room for the Brazilian paradise that replaced the Hawaiian one."

David makes note that, "One of my favorite songs of all-time, 'On a Little Street in Singapore,' is sung by Dick Stewart - an earnest voice who made only one album I know of." I have that album myself and may transfer it if I can find it.

Thanks, David, as always for your contributions!

Lambert Conducts Warlock, Delius and Lambert

The composer-conductor Constant Lambert has been a periodic subject of posts hereabouts. Today he takes on the music of two people he knew well - "Peter Warlock" (Philip Heseltine) and Frederick Delius, along with his own most famous composition, "The Rio Grande."

Peter Warlock

Philip Heseltine by Gerald Brockhurst

In the 1920s, the young Lambert (1905-1951) was a close friend of the composer Philip Heseltine (1894-1930), who published his music under the name "Peter Warlock," supposedly because of his affinity for the occult.

Heseltine was principally known for his brilliant songs, which have appeared here more than once. His song cycle "The Curlew," set to Yeats, is one of the finest in the English language. Both "The Curlew" and the first work on today's program, the Capriol Suite, betray the influence of Vaughan Williams. The Suite was supposedly based on Renaissance dances, but it is more Warlock's work than any ancient source material.

The second Warlock work is his Serenade to Frederick Delius on His 60th Birthday, from 1922. Heseltine was a confirmed Delius disciple earlier in his life. Although the influence had faded by the time this music was written, this particular piece is a conscious homage to the older composer, and makes a good segue between Warlock's music and Delius' own.

These recordings were made at Abbey Road with the Constant Lambert String Orchestra in 1937.

Frederick Delius

Frederick Delius by Achille Ouvré

In 1938, Lambert was again in Abbey Road, this time with the London Philharmonic and Delius' most famous work, "On Hearing the First Cuckoo in Spring."

He returned to the studio in 1941 for two interludes from Delius opera, the Serenade from Hassan in Thomas Beecham's edition and "La Calinda" from Koanga as arranged by Eric Fenby. This time the orchestra was the Hallé and the site was the Houldsworth Hall in Manchester.

All these works are nicely handled and the recordings are more suitably atmospheric than those done in 1937.

Lambert's The Rio Grande

Vocal score

Lambert was well aware of currents in music, and was particularly inspired by what he considered jazz. He had been very impressed with the short-lived Florence Mills, whom he had seen in the West End revue Blackbirds in 1926. The composer wrote, "The colour and rhythm of the singing was an absolute revelation of the possibilities of choral writing and this Rio Grande is the first example of a serious and perfectly natural use of jazz technique in a choral work."

All this may be true, but the first name that comes to mind when listening is Gershwin. The writing in the important piano part is Gershwinesque in its rhythms and phrasing. The critic Angus Morrison also cites Liszt's Faust Symphony as a direct influence. Lambert was fond of Liszt; he mined the Abbe for the ballet music Apparitions, done for Sadler's Wells and for a setting of the Dante Sonata for piano and orchestra.

Sacheverall Sitwell

As we have seen before on this blog, Lambert was close with the Sitwells, serving both as conductor and reciter in William Walton's various settings of Edith's Façade. For 1928's The Rio Grande, Lambert set a poetic exercise in exoticism by Sacheverall Sitwell. The poet moved the Rio Grande from North America to South America for the purpose of his verse, and imagines a dream world of dancing and revelers.

"The music of The Rio Grande no more represents any actual scene or event than the poem that inspired it," wrote Lambert. "It is an imaginary picture that it conjures up, a picture of the gay life of a riverside town which may be in either South or North America, as the listener chooses to fancy."

Kyla Greenbaum

The poetry is atmospheric, if dated, but you would have a hard time telling from the woolly diction of the Philharmonia Chorus and even at times the well-known contralto Gladys Ripley. I've included the text for those who want to understand the words. 

The Philharmonia Orchestra plays well for Lambert. The stand-out performance is by pianist Kyla Greenbaum, one exposed slip aside. She did not have a big career, but on this evidence, was a fine talent.

For this recording, Lambert returned to Abbey Road in early 1949, two years before his early death. The recording is good. My transfer of The Rio Grande comes from a 1950s LP reissue on UK Columbia. The other works were remastered from lossless transfers found on Internet Archive and CHARM.

Sonatas by Delius and Robert Russell Bennett

Following the recent post of the Victory at Sea music, I wanted to provide an example of Robert Russell Bennett's own composition, and one that doesn't rely on his prodigious skill in orchestration. So here we have A Song Sonata, a modest violin-piano item.

Robert Russell Bennett and Louis Kaufman

The work may well have been written for the violinist on this recording, Louis Kaufman, who commissioned quite a number of works during his lifetime. Kaufman was active in the film music colony and made many records of contemporary works for such labels as Concert Hall Society, as here. He was heard here previously in an excellent recording of the Barber violin concerto.

I have to report that Bennett's sonata is as insistently unmemorable as the other compositions I have heard by him. As he himself described it, it is "friendly," but perhaps not a friend one would invite over all that often.

The balance of the record is devoted to what I believe was the initial recording of Frederick Delius' first violin sonata. Kaufman's intense sound and tendency to push ahead is perhaps not right for this music. The pianist in both works is Theodore Saidenberg, a well-known accompanist and the brother of Daniel Saidenberg.

The truth is, I have had this performance recorded for some time, but didn't offer it because of the reservations above. Sorry for the lukewarm endorsement. The sound is good, though! [Note (June 2023) - the sound is even better now, remastered in ambient stereo.] The recordings come from 1947; this LP is from 1951.

The photo portrait of Kaufman below is by Man Ray, who thought the violinist would look best with a bull fiddle coming out of his forehead.

Louis Kaufman

Delius by Collins

Another big interest of mine - I suppose from reading British music magazines my entire adult life - is English music and English interpreters. They will be a theme here, if only because they make up a big part of my collection.

In these performances you get both: the English composer Frederick Delius, and the English conductor/composer Anthony Collins leading the London Symphony, on the Decca label. This was even a "special Coronation issue" of 1953. Decca seemed to dub many of its English music releases that year "Coronation issues." Maybe it didn't sell records then, but it does help date the issues now.

This was a 10-inch version of a 12-inch record, with only two pieces included; about 15 minutes of music. Not especially generous.

These performances are not nearly as well known as Beecham's, but they are nonetheless in print as two different reissues. Collins makes the music's links to Wagner and Franck evident.

This is a good sounding transfer (if I do say so myself), but there was some peak distortion on my pressing in The Walk to the Paradise Garden.


REMASTERED VERSION - OCTOBER 2014