Marian Anderson in Brahms and Mahler

Here are two uncelebrated but nonetheless remarkable performances by contralto Marian Anderson, one of the greatest artists of the 20th century.

Marian Anderson

This 1950 LP contains the third of her three recordings of Brahms' Alto Rhapsody, and what may be her only recording of Mahler's Kindertotenlieder.

RCA has never re-released the Brahms, and I believe the Mahler has only appeared in a reissue series devoted to conductor Pierre Monteux.

Fritz Reiner's conducting generates notes, staves and whirligigs

In the superb Alto Rhapsody, Miss Anderson is beautifully supported by a recording orchestra conducted by Fritz Reiner, then at the Metropolitan Opera, and the men's voices of the Robert Shaw Chorale. Her earlier (and better known) versions date from 1939 (with the Philadelphia Orchestra and Eugene Ormandy) and 1945 (with the San Francisco Symphony and Monteux).

Monteux also leads his San Francisco band in the Mahler song cycle. Monteux did not conduct Mahler regularly - and this appears to be his only recording of that composer. His rendition is understated, which is perhaps not a fault in this wrenching composition. Miss Anderson's warm voice is well suited to this approach.

Pierre Monteux

The Mahler comes from a February 1950 session in the War Memorial Opera House; the Brahms is from an October 1950 date in the Manhattan Center. The sound from San Francisco is good; from New York even better.

My previous Marian Anderson posts were devoted to spirituals and Christmas carols.

Note (August 2023): these recordings are now available in ambient stereo.

A Wagner Concert from Pittsburgh and Reiner

My recent post of a Brahms concerto with Rudolf Serkin, the Pittsburgh Symphony and Fritz Reiner sent me looking through my files for other early Reiner recordings. The first one that came to hand was this "Wagner concert" from the first years of the conductor's tenure in the then-Steel City.

As sometimes happens, my friend Bryan of The Shellackophile blog had the simultaneous idea of posting the same set, and did so yesterday. I would urge you to go there to take advantage of Bryan's efforts, for several reasons: he does a great job on his transfers; he worked from the 78 set while I worked from the LP; he includes the very good graphics from the 78 album, which appear to be by Alex Steinweiss; and his download includes the Venusberg music, not included here.

Reiner caricature by
Olga Koussevitzky

Here are the LP contents and dates (all recordings were made in the Syria Mosque):

Die Meistersinger - Prelude (January 9, 1941)
Siegfried - Forest Murmurs (January 9, 1941)
Lohengrin - Prelude from Act 1 (November 15, 1941)
Lohengrin - Prelude from Act 3 (January 9, 1941)
Die Walküre - Ride of the Valkyries (February 25, 1940)

Similar to the Brahms, these excerpts display fine control, balance and orchestral discipline, if little glamour, delivered in boxy sound.

Reiner's later work in Chicago has been much discussed; I'll be posting a few more examples of what he was able to accomplish in Pittsburgh. If you want to learn more about the conductor, here's a good article with some familiar anecdotes and a few I hadn't heard before.

Brahms First Concerto with Serkin, Reiner

Not too long ago I posted the Brahms second concerto in a recording by Rudolf Serkin and the Philadelphia Orchestra. I had a request for Serkin in Brahms No. 1, so here is his first go at it. This comes from February 1946, and is with the Pittsburgh Symphony and Fritz Reiner, rather than the Philadelphians and Eugene Ormandy.

Serkin recorded the concerto four times for Columbia - beside this effort, he addressed it in 1952 with Cleveland/Szell, in 1961 with Philadelphia/Ormandy, and in 1968 with the Cleveland combination once again. According to Michael Gray's discography, there also is an unissued Philadelphia attempt from earlier in 1961.

This is a good performance, closely recorded in Columbia's manner of the time. The Pittsburgh musicians don't possess the sheen of their cross-state counterparts, but the orchestral details are vivid and well balanced. It's not clear why Columbia and Serkin decided to redo the concerto only six years later.

The cover above is from the second LP issue. I actually transferred this from a near-mint first generation LP with a tombstone cover. (Scans of both are in the download.) You'll notice that the inset illustration at top depicts Brahms at the piano behind an open door. The scene is a detail pulled from the 78 album art, below. Making use of the 78 set's artwork to provide some color for the LP was a common technique for Columbia at the time. The illustration is pasted onto the cover, which uses a standard design. The art direction for both covers is by Alex Steinweiss; I don't know who did the drawing of Brahms.

Cover of 78 set

Jazz with Fritz Reiner

Tonight we present the world's only 12-tone jazz band symphony orchestra record - the only one in my collection, anyway.

Here by request is Rolf Liebermann's Concerto for Jazz Band and Symphony Orchestra, with the Chicago Symphony, led by that famous jazz hound, Fritz Reiner, in a 1954 recording.

In the goofy wire service article on the back cover (below), Reiner seems to take credit for the idea, but I think the Liebermann piece may have been the idea of the band. Contemporary Billboard articles make reference to the group taking the item on the road for appearances with symphony orchestras, apparently also including the New York Phil under that other noted jazz maniac, Dimitri Mitropoulos.

Eddie Sauter and Bill Finegan were arranger refugees from the swing band scene. Their dual-named outfit was something of a thinking person's band in the 1950s, leaving behind their dance band origins for a (mildly) quirky approach, something to the right of the Stan Kenton stentorian brass sound and to the left of the recidivist Ralph Flanagan-Ray Anthony approach. That said, the Liebermann piece is far away from the sound of their "Doodletown Fifers"; it's closer to Kenton.

Don't be put off by the 12-tone label - this music is actually quite enjoyable and very well put across by the Sauter-Finegan forces, the Chicago band and Fritz "Jazzme" Reiner.

Fritz Reiner and Rolf Liebermann

There are only a few recordings of Rolf Liebermann's music; and this is apparently the only composition of its type from his pen. He later gave up composing for many years and became a well known arts administrator, leading the opera companies in Hamburg and Paris. His 1999 obituary from The Gramophone is in the download; also an article from Down Beat reviewing the concerts that led up to this recording.

On the other side of the LP, Reiner trots out Strauss' Don Juan, something more in his usual line. 

The cover painting appears to have some representational intent among the splotches, and every time I look at it, I try to figure it out - it's either a man playing a saxophone or someone scraping food off a plate into a trash can. Let's go with the first one.

Note (August 2024): Both the Liebermann and the Strauss pieces were recorded in stereo, although not released as such until much later. For this new version I've transferred the first stereo issue of Don Juan, from a 1968 RCA Victrola LP. I don't have the stereo edition of the Liebermann composition, but for this version I've remastered the piece in excellent ambient stereo. However, the stereo version is also available separately. Fourteen years ago, Ricardo (aka Rich) made available the stereo tape version of that recording via this link, which still works. Thanks again, Rich!

LINK to the Liebermann in ambient stereo and the Strauss in stereo