Conductors – Classical Music : Great Composers and Conductores

The Maestro of Modernity: Leopold Stokowski and the Transformation of Orchestral Sound

7 March 20247 March 2024Posted in Conductors, Leopold StokowskiTagged 20th Century Music, 432hz, American Symphony Orchestra, classical music, Conductor, Fantasia Disney film, Leopold Stokowski, Music History, musica clasica, musica classica, Orchestral Repertoire, Philadelphia OrchestraLeave a comment

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Leopold Stokowski: A Maestro of Musical Interpretation

Leopold Stokowski, a name synonymous with innovation and controversy in the realm of classical music, left an indelible mark on the orchestral landscape of the 20th century. Revered by some as a magician and master colorist, and criticized by others as whimsical or even charlatan, Stokowski’s approach to conducting was nothing short of singular. His career spanned decades, marked by a relentless pursuit of pushing musical boundaries and eliciting intense, vibrant performances from his orchestras.

Stokowski’s Orchestral Palette

One of Stokowski’s most notable traits was his penchant for interventionist conducting. He was known to deviate from the notated score, implementing wholesale changes in orchestration, cuts, and even re-writing sections of pieces. While this approach garnered both admiration and skepticism, there’s no denying the vividness he brought to music, thrilling audiences with his expressive interpretations and rich orchestral textures.

Unveiling Stokowski’s Late Works

Cala’s dedication to preserving Stokowski’s legacy is evident in their recent releases, showcasing the maestro’s late works recorded in the 1970s. These recordings offer a glimpse into Stokowski’s later years, capturing his enduring passion and vitality despite his advanced age.

Symphony Showcases: Brahms and Mendelssohn

In the recordings of Brahms’ Symphony No.2 and Mendelssohn’s Symphony No.4, Stokowski’s interpretative flair is on full display. While some may note occasional imperfections in ensemble playing, the spontaneity and orchestral blend he achieves are undeniable. Stokowski’s attention to detail and emphasis on phrasing breathe new life into these beloved symphonies, showcasing his unwavering commitment to musical expression.

Schumann’s Symphony No.2: A Stokowski Interpretation

Stokowski’s rendition of Schumann’s Symphony No.2 is marked by moments of brilliance and occasional eccentricity. Despite some mannerisms that may raise eyebrows, his interpretation captures the essence of Schumann’s writing, navigating its complexities with eloquence and depth. From the soaring melodies to the intricate filigree detail, Stokowski’s grasp of the symphony’s design is evident throughout.

Exploring Stokowski’s Transcription-Encores

Stokowski’s penchant for orchestral spectacle is perhaps best exemplified in his transcription-encores. From Debussy’s poetic piano pieces to Shostakovich’s foreboding prelude, each transcription bears Stokowski’s signature flair, offering a unique perspective on these beloved compositions. While some may find his interpretations bombastic or soupy, there’s no denying the sheer audacity and creativity behind Stokowski’s arrangements.

Championing the New and the Familiar:

Stokowski wasn’t just a masterful interpreter of established repertoire; he was a passionate advocate for contemporary music. His recordings of works by Schoenberg, Stravinsky, and Prokofiev, like the monumental “Gurre-Lieder” (1932), were groundbreaking at the time and remain valuable historical documents.

However, his interpretations of familiar classics are equally noteworthy. His renditions of Tchaikovsky’s “Swan Lake” (1954) and Beethoven’s “Pastoral” Symphony (1954) showcase his ability to imbue well-known pieces with fresh energy and emotional depth.

The Art of Sonic Sculpting:

Stokowski’s approach to conducting transcended mere baton technique. He meticulously sculpted the sound of his orchestra, employing innovative seating arrangements, experimenting with early recording technology, and emphasizing long, flowing string lines. This approach is evident in his recordings of Debussy’s “La Mer” (1930) and Mussorgsky’s “Night on Bald Mountain” (from “Fantasia,” 1940), where the orchestra takes on a shimmering, otherworldly quality.

Starting Your Stokowski Journey:

If you’re new to Stokowski, there are several excellent collections to begin with. “The Essential Leopold Stokowski” offers a diverse selection across various composers and periods. For those interested in experiencing the “sonic Stokowski” in all its glory, recordings like “Stokowski: Showpieces” (featuring works like “The Sorcerer’s Apprentice”) are a great starting point.

Capturing Tchaikovsky’s Aura

The final CD in Cala’s collection juxtaposes Tchaikovsky’s grandeur with Stokowski’s inventive flair. While Stokowski’s interpretation of Aurora’s Wedding may polarize listeners with its reverberant recording, his skillful conducting brings out the music’s voltage and charisma. Despite the challenges posed by the recording environment, Stokowski’s vision shines through, offering a tantalizing glimpse into his musical world.

Q&A Section

Q1: What defines Stokowski’s approach to conducting?

A1: Stokowski’s approach is characterized by interventionist conducting, often deviating from the notated score to introduce wholesale changes in orchestration and phrasing. His goal was to elicit intense, vibrant performances from his orchestras, pushing the boundaries of traditional interpretation.

Q2: How does Stokowski’s late work differ from his earlier recordings?

A2: In his later years, Stokowski’s passion and vitality remained undiminished, despite his advanced age. His late recordings showcase a continued commitment to musical expression, with a focus on capturing the essence of each composition through innovative orchestral textures and interpretative flair.

Q3: What distinguishes Stokowski’s transcription-encores?

A3: Stokowski’s transcription-encores reflect his penchant for orchestral spectacle, offering bold reinterpretations of familiar compositions. From Debussy’s poetic piano pieces to Tchaikovsky’s grand orchestral scores, each transcription bears Stokowski’s signature flair, showcasing his creativity and audacity as a conductor and arranger.

Where to buy Loepold Stokowski recordings?

On amazon, of course: Buy Leopold Stokowski CDs / LPs / Digital Recordings

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Richard Wagner Die Walkure 1955 Keilberth Joseph @432hz FLAC

1 January 20241 January 2024Posted in die walkure, Keilberth, Joseph, Wagner, RichardTagged 432hz, classical music, download, Joseph Keilberth, musica clasica, musica classica, sottotitoli italiano, Wagner, Richard1 Comment

Orchester der Bayreuther Festspiele conducted by Joseph Keiiberth at Festspielhaus Bayreuih, 25/07/1955

https://odysee.com/@CiboVivo:3/Wagner-Walkure-1955-Keilberth-Joseph–432hz-flac:4

Wotan……………………………………………………………….Hans Hotter
Siegmund…………………………………………………………..Ramon Vinay
Hunding…………………………………………………………….Josef Greindl
Fricka……………………………………………………………… Georgine von Milinkovic
Gerhilde…………………………………………………………….Hertha Wilfert
Heimwige…………………………………………………………..Hilde Scheppan
Waltraute…………………………………………………………..Elisabeth Schartel
Schwertleite……………………………………………………….Maria von llosvay
Ortlinde……………………………………………………………..Gerda Lammers
Siegrune…………………………………………………………….Jean Watson
Grimgerde………………………………………………………….Georgine von Milinkovic
RoBweiBe …………………………………………………………Maria Graf

There is always a “plus” when taking live sound, even if the sound is less perfect, it is the feeling “to be there” and the commitment of the singers.
The fifties are considered a golden age of Bayreuth, with a skewer of recurring singers, including all who are here. No need to present them individually, they are all among the best that has been heard in these roles. Keilberth himself came several summers in a row (and there are testimonies of it: 1952, 1954).
This is the second distribution in the summer of 1955, the August series. I did sosucrit otu to Savinien’s earlier comment for Amazon. The July one is broadcast by the firm Testament, in a complete Tetralogy. Little change distribution except that Varnay moves from Brunnhilde to Sieglinde. As a result, it is Modl who endorses the armor of the Walkyrie: we stay there at “hovering” levels. I fully agree with the previous comment.
The Sieglinde and Siegmund de Varnay and Vinay are not young heroes, they are already very marked by life. Greindl is the perfect bully. Modl is an already human Walkyrie, even before she lost her status as an immortal. Hotter is THE Wotan of the period of the microfurrow disc; live it is poignant. The only weak point for me is Milinkovic’s Fricka, I heard better for this goddess, wounded but sure woman and proud of her rank (Christa Ludwig, for example).
The sound is excellent, especially for singers, the orchestra is in the background, coming out of this famous “mystical abyss.

You will have understood that any wagnerophile will want to have this version, in addition to all the other “live” Bayreuth.

Play Listing: 
CD 1

Die Walkure: Prelude (Vorspiel) (Act One)

Wes Herd dies auch sei (Act One, Scene One)

Kuhlende Labung gab mir

Mud am Herd fand ich den Mann (Act One, Scene Two)

Friedmund darf ich nicht heissen

Aus dem Wald trieb es mich fort

Ich weiss ein wildes Geschlect (Hunding)

Ein Schwert werhiess mir der Vater (Siegmund) (Act One, Scene Three)

Schlafst du, Gast? (Sieglinde/Siegmund)

Wintersturme wichen dem wonnermond (Siegmund)

Du bist der Lenz

Wehwalt heisst du furwahr? (Sielinde/Siegmund)

CD 2

Prelude (Vorspiel) (Act Two)

Nun zaume dein Ross (Wotan/Brunnhilde) (Act Two , Scene One)

Der alte Sturm (Wotan/Frica)

So ist es denn aus mit den weigen Gottern (Frica)

Nichts lerntest du

Was verlangst du? (Wotan/Fricka/Brunnhilde)

Schlimm, furcht’ ich, schloss der Streit (Brunnhilde/Wotan) (Act Two, Scene Two)

Was keinem in Worten ich kunde

Ein andres ist’s (Wotan/Brunnhilde)

O sag, kunde (Brunnhilde/Wotan)

Raste nun hier (Act Two, Scene Three)

Hinweg! Hinweg ! (Siegmund/Sieglinde)

CD 3

Siegmund ! Sieh’ auf mich! (Act Two, Scene Four)

Hehr bist du, und heilig gewaht’ich

So wenig achtest du ewige Wonne? (Brunnhilde/Siegmund)

Zauberfest bezahmt ein Schlaf(Siegmund)(Act Two, Scene Five)

Kehrte der Vater nur heim ! (Sieglinde/Hunding/Siegmund/Brunnhilde/Wotan)

Prelude – Hojotoho! Hojotoho! (Die acht Walkuren)

Schuzt mich und helft (Brunnhilde/Die acht Walkuren) (Act Three, Scene One)

Nicht sehre dich Sorge um mich (Sieglinde/Brunnhilde/Waltraute/ortlinde/Die acht Walkuren

Steh, Brunnhild’! (Wotan/Die acht Walkuren/Brunnhilde)

Wo is Brunnhild’ (Wotan/Die acht Walkuren) (Act Three, Scene Two)

Hier bin ich, Vater (Brunnhilde/Wotan)

Wehe ! Weh’! Schwester (Die acht Walkuren/Brunnhilde/Wotan)

CD 4

War es so schmahlich (Act Three, Scene Three)

Nicht weise bin ich

So tatest du

Du zeugtest ein edles Geschlect (Brunnhilde/Wotan)

Leb wohl, du kuhnes, herrliches Kind !

Denn einer nur freie die Braut

Loge, hor! Lausche hieher ! (Wotan)

Bonus:

Tannhäuser – Overtüre

Erste Aufzug – Erste Szene – Venusberg Bacchanal – Naht Euch dem Strande!

Dritte Aufzug – Zweite Szene – Daemm’rung deckt die Lande… O Du, Dein holde Abendstern

Dritte Szene – Ich hoerte Harfenschlag – Wie klang er traurig!

Time Timing: 4h 06′ 47”

Joseph Keilberth (1908-1968): A Legacy of Musical Mastery

1 January 20241 January 2024Posted in Conductors, Keilberth, JosephTagged 50 anni dalla morte, Amazon.it, Astrid Varnay, Bayreuth, Bayreuth Festival, Colin Davis, Der Freischütz, die walkure, Discogs, Du Bist Der Lenz, GBOPERA, German conductor, Hermann Uhde, Josef Greindl, Last.fm, Munich, musicandvideo it, Naxos Records, Opera, Pickup Records, Richard Wagner, Ring Cycles, Songs, The Violin Channel, Wikipedia, Wolfgang WindgassenLeave a comment

Joseph Keilberth: A Musical Journey

Joseph Keilberth (Karlsruhe, 19 April 1908 – Munich, 20 July 1968) stands as a towering figure among orchestral conductors of his generation. His illustrious career reached its pinnacle in 1958 when he assumed the role of the Musical Director at the Bavarian State Opera in Munich, a position he held until his untimely death. Keilberth’s life was intricately woven with the stylistic nuances of Richard Strauss’s theater, a connection that saw a revival of Strauss’s works in post-1945 East Germany, notably in Dresden.

A Conductor’s Palette

Keilberth’s artistic journey embraced a vast repertoire, showcasing his prowess in directing operas ranging from Gluck’s Ifigenia in Tauride to Verdi’s Otello, and Strauss’s masterpieces such as Rosenkavalier and Frau ohne Schatten. His repertoire extended to the German music of the 20th century, including composers like Reger, Hartmann, Orff, Egk, and Hindemith.

Mastering the Ring

Keilberth’s technical acumen was unparalleled, evident in his flawless execution of Wagner’s Ring cycle. His meticulous preparation, characterized by a thorough and stringent study note by note, showcased a director who could handle any late romantic or Strauss and Pfitzner composition with ease.

The Director’s Artistry

Beyond technical finesse, Keilberth embodied the professional assurance required of a stable theater director. His ability to seamlessly replace a production at the last moment demonstrated not just technical mastery but also artistic ingenuity and intelligence.

Keilberth’s Theatrical Legacy

Keilberth left an indelible mark on the reopening of the National Theater in Munich during the Festwochen of the summer of 1963. His direction of Frau ohne Schatten and Arabella set the stage for a new era, immortalized in celebrated recordings.

In Memoriam: Joseph Keilberth (1908-1968)

Joseph Keilberth’s legacy lives on not just in his recordings but in the memory of those who witnessed his theatrical brilliance. His ability to seamlessly merge stylistic fidelity with a profound understanding of the theatrical realm makes him an enduring figure in the annals of music history.

Joseph Keilberth’s Tragic Death: A Conductor’s Final Act

Joseph Keilberth, the renowned Generalmusikdirektor of the Bayerische Staatsoper, met an untimely end on July 20, 1968, during a performance of Richard Wagner’s “Tristan und Isolde” at the Munich Nationaltheater. This incident marked a somber chapter in the history of classical music, as the conductor collapsed during the second act of the opera, leaving both the audience and the musicians in shock.

The Setting: “Tristan und Isolde” Festival Performance

The ill-fated event occurred at 19:45, a pivotal moment during the festival presentation of Wagner’s masterpiece. In the second act, precisely after Tristan’s poignant words, “So stürben wir, um ungetrennt ewig einig ohne End’, ohn’ Erwachen …,” tragedy struck, and Keilberth fell to the ground without any prior warning.

Sudden Tragedy Unfolds

The orchestra, delivering precise performances up to that moment, came to an abrupt halt. A few violins continued for a fleeting moment before silence enveloped the theater. The front-row audience reacted with horror, and the concertmaster, Herbert Becker, urgently called for a doctor. The curtain fell as Keilberth lay motionless on the stage.

Efforts to revive him were in vain, and the performance was abruptly terminated. The profound shock rendered the replacement of the conductor impossible, and the audience, deeply moved, left the auditorium in silence.

Departure Inspired by a Great Predecessor

Just days before his sudden demise, Keilberth had inaugurated the festival with “Salome,” scheduled to conduct 16 times during the event. Years prior, the conductor had expressed a desire to exit the stage following the example of his idol, Felix Mottl, who had similarly collapsed during a “Tristan” performance in Munich.

Q&A

Q1: What was Joseph Keilberth’s most significant contribution to the world of opera?

A1: Joseph Keilberth’s most significant contribution lies in his revival of Richard Strauss’s works in post-1945 East Germany, particularly in Dresden.

Q2: How did Keilberth approach the challenges of conducting Wagner’s Ring cycle?

A2: Keilberth approached the challenges of conducting Wagner’s Ring cycle with meticulous preparation, studying every fragment thematically and memorizing each musical phrase.

Q3: What set Joseph Keilberth apart as a theater director?

A3: Joseph Keilberth’s distinction as a theater director stemmed from his ability to seamlessly replace productions at the last moment, showcasing not just technical mastery but also artistic ingenuity and intelligence.

Richard Wagner Die Walkure 1955 Keilberth Joseph @432hz flac

Beethoven Symphonies 9 / 5 + Schoenberg A Survivor From Warsaw – Erich Leinsdorf / Placido Domingo / Boston Symphony Orchestra @432hz

31 December 202331 December 2023Posted in Beethoven, Ludwig Van, Conductors, Leinsdorf, Erich, SchoenbergTagged 432hz, classical music, download, listen, musica clasica, musica classica, torrentLeave a comment

Free listening in FLAC quality and Free Download in FLAC:
https://odysee.com/@CiboVivo:3/Schoenberg-Warsaw—Beethoven-9th-Symphony—BSO,-Leinsdorf-1969:b

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Erich Leinsdorf’s stint as music director of the Boston Symphony lasted from 1962 through 1969; these recordings were made at the very end of his tenure and they are glorious. The performance of the Ninth Symphony is lean, beautifully articulated and powerful, rather in the manner of Toscanini, Szell or Reiner. But unlike other, to my ears rather impersonal sounding Leinsdorf/BSO Beethoven symphony recordings, here the conductor seems thoroughly engaged with the music. And undoubtedly that is the result of the brilliant theatrical stroke of preceding the performance of Beethoven’s paean to triumphant humanism with Schoenberg’s shattering little cantata about the Holocaust. Leinsdorf insisted that this juxtaposition, one he had devised for his final public appearance as BSO Music Director at Tanglewood, should also appear on his recording of the Beethoven symphony. And it is positively chilling how the Schoenberg seems to fade into the opening string tremolos of Beethoven’s so-familiar first movement. Once you experience Leinsdorf’s performance of these two masterpieces you will never hear either the same way again. (I especially recommend the experience to those for whom the Ninth has become perhaps too familiar.) An amazing, unique experience. Sound quality is superb, completely living up to BMG’s promotional hype about its 96/24 remastering process.

Like another reviewer noted, Leinsdorf’s reading of this seminal work is lean and propulsive. It is far from routine as so many cookie-cutter performances are like Previn Beethoven: Symphony No. 9 ~ Previn or Dohnányi Beethoven: Symphony No. 9 , or overly brittle like much of Szell’s Beethoven can be. I owned this newer release of the performance but ended-up selling it because I had absolutely no interest in the Schoenberg discmate. Instead, I purchased the Victrola reissue very inexpensively and in very acceptable sound Beethoven: Symphony No. 9 “Choral” . No one investing in this recording should be disappointed. Highly recommended.

This recording of the towering Ninth is a revelation–not in spite of, but BECAUSE of Leinsdorf’s ability to get out of the way and let Beethoven be heard! I’m sick to death of having overzealous conductors drop anvils on my head to demonstrate the effects of their supposedly “inspired” deep thoughts on this work. If there’s a composer whose work doesn’t require the conductor to turn to the listener as if to say, “See? This part right here is significant!”, it’s Beethoven. Leinsdorf neither pushes nor drags; he may not be trying to provide the greatest “depth”, but he also isn’t boring us to death–a trend that started with Otto Klemperer, a well-documented manic depressive who made far too many recordings during his depressive periods and far too few during his manic periods. I like the way Leinsdorf varies the dynamics in the cantabile passages in the second movement, which helps it move, and the tympani are FOR ONCE not suppressed! He keeps the third movement moving (if there’s one thing I hate, it’s passing out and waking up to find the third movement is STILL going on like a bad day at work). And then there’s the finale, where Sherrill Milnes and Placido Domingo blend like chocolate and darker chocolate (which they would do for next two decades), both because of the sounds they make and their incredible skill at ensemble. Their dark tones and careful shading cover the passages where some awful, discordant sounds often emerge when the soprano is suddenly exposed or the principals are scaling in different directions–painful if you have a rather dry, sharp-toned tenor and a too-dark mezzo coupled with a wooly basso and a screechy soprano. This is a very well matched, blended, highly skilled ensemble of principal singers who for once don’t sound like they met up ten minutes before the recording–the best sung Ninth you’re likely to hear. I’ve heard too many versions where the singers are singing well but sound like they are on different planets.

I don’t know what another reviewer was getting at in saying Milnes is not a good enough vocal actor to put Schoenberg’s Warsaw piece over. It’s not an operatic role nor a standard accompanied narration, it’s a cantata-like sprechstimme (speech-singing) piece meant to dramatize terrible events that are actually depicted by the music. “Acting” it adds little value for a lot of effort, and whatever there is to be added that supposedly isn’t provided by Milnes is not something I’d search the catalog for to in the hope of acquiring a mythical better version of this short piece. It’s not like Sherrill Milnes was muttering to himself in this version!

The remastering has excellent sound and adds a little boom to what was already a well recorded and spacious LP issue; the previous CD issue was a bit more remote in sound and cut the Schoenberg.

This recording was made in April 1969 following the farewell concert of Erich Leinsdorf as Music Director of the Boston Symphony Orchestra with the same programme. For that ocasion Maestro Leinsdorf choose Beethoven’s 9th preceded with Schoenberg’s short but dramatic and intense work. This is a demonstration of Leinsdorf as a smart concert scheduler: both works speak on freedom and human rights, besides the great differences in motivation and inspiration. The results are terrible. Sherril Milnes as narrator in A Survivor form Warsaw frezees one’s blood, exposing al terror from the nazis invading the Jewish ghetto (it is told that Schoenberg heard the story from an actual survivor and composed the work on it). Leinsdorf’s Beethoven is a well paced, classic performance. You will not find here spectacular sounds, just an honest and exact performance with great sound form the Bostonians in a very german style. Timpani have a great presence and execution, also the chorus and the soloists. Besides, this is the first Ninth sung by Domingo, then an ascending star in the opera arena who had just signed an RCA contract. Recording is clear, wide and detailed.

The only recording in which the great tenor Domingo sings the ninth solo. Furthermore, “The Survival of Warsaw,” which I don’t have a chance to listen to easily, has also been made up for it. The combination of a tragic chorus song and a “song of delight” is valuable. It’s the essential ninth performance, but it’s the ninth standard in the analog stereo era for me, who is a favorite of Rheinsdorf and Boston Hibiki.

From the first movement to the third movement, Rheinsdorf’s skills as a symphony conductor are clearly understood. In the fourth movement with vocal music, “Oh, Rheinsdorf is a person from the opera.”It is stunning to be painstakingly.The choir is excellent, and the solo, especially the male voice, is amazing.It should be that, too, Sheryl Milns and Placid Domingo.

Revel, who likes Rheinsdorf, is already familiar with the decision-making of the various songs in the book of things.So, I will briefly introduce the “Rheinsdorf Board” that I caught, which is not hard to obtain and is easy to priced.

1. Mahler’s Symphony No. 6, which he wrote first.Both domestic and imported the Boston Symphony Orchestra and Bavarian Radio Symphony Orchestra are excellent.
2) Brahms Piano Concerto No. 2, recorded with Richter at the Chicago Symphony Orchestra.
3. Prokofiev’s Violin Concerto No. 2 with Perlman.
4. Hit at Puccini’s Turandot (
“Leinsdorf, Turandot”) at the Roman State Opera.(Björrink, Nilsson, and Tebaldi!).
5. Violin Concerto by Tchaikovsky and Sibelius, who swung the Boston Symphony Orchestra in concert with Perlman (22 years old at Perlman).This is why only hits “Sibelius, Perlman”).

( Orchestra is the Chicago Symphony Orchestra) Brahms Piano Concerto No. 1 with Lazare Bellman.

For 5, for some reason Sibelius has led a lack of propulsion, and this may be the reason why this is said to be “inevitable”.6 It is not without the tendency of “rare edition”, but its responsibility is due to the difference in the Auftact sense of Bellman (at the end of the same board there is a live in Carnegie Hall of Beethoven’s “Tragic Sonata”(but the audience’s puzzled applause is interesting), Rheinsdorf is just Rheinsdorf.

Arnold Schoenberg: Evolution from Tonality