Word: horenstein
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Mahler: Kindertotenlieder (Norman Foster, bass-baritone; Bamberg Symphony conducted by Jascha Horenstein; Vox). These beautiful "songs for dead children," written more than 50 years ago, limn the gloomy sentiments of the discouraged Mahler and the aging splendor of turn-of-the-century Vienna. Boston's Norman Foster does them with a fine, lyrical sense...
...Vienna State Opera Chamber Orchestra conducted by Felix Prohaska; Vanguard, 3 LPs. Vienna soloists conducted by Jascha Horenstein; Vox, 2 LPs). The Vanguard set of these masterpieces is played more cohesively and soulfully, particularly in such spots as the dissonant slow movement in Concerto No. 1. Vox's interpretations are more rugged and, in the low-toned No. 6, merrier. Standout performer: the Vanguard trumpeter, who tootles his sky-high part in No. 2 with insolent ease. Vox says it used a "clarino" for the part, which sounds more like a clarinet than a trumpet...
Casino audiences, with Denmark's Queen Alexandrine, Britain's Lord Mountbatten and France's Maurice Chevalier, among others, floating in & out, had first heard a week of French music, a week of Italian music, and an English week. For the semaine americaine, slim, nervous Conductor Jascha Horenstein was having his troubles...
Horns & Hats. None of the 40 musicians of the Cannes Municipal Orchestra had ever played a single note of modern American symphonic music; even though Conductor Horenstein found his players "quick-witted and adaptable," he still had to rehearse them three times a day, between 8 a.m. and 10 p.m. He had waited until the day before the concert for his score of Gershwin's Rhapsody in Blue to arrive, finally had to phone the U.S. embassy in Paris to borrow another and have it flown down. There were no mutes for the trumpets; he had to borrow felt...
...Europeans . . . It's better to write good Gershwin than bad Ravel." And after hearing some piano preludes, songs from Porgy and Bess and An American in Paris, topped off by a rousing Rhapsody in Blue, Cannes connoisseurs found good Gershwin good enough for them. They let Conductor Horenstein & Co. know it with six noisy curtain calls. Concluded old Cannes Critic Edouard Berthier: "When you write that kind of music, you don't have to imitate anybody...