Word: szell
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Royalties and Pops. Nonetheless, the orchestra itself has reason to be content with its new lot. Royalties are coming in from both companies. In addition, Ormandy can now record material that was closed to him at Columbia, because Mahler belonged largely to Bernstein, and Mozart to Szell. To be released in the fall are Philadelphia versions of the Mahler First Symphony and Mendelssohn's Elijah. After that will come DeFalla's Nights in the Gardens of Spain with Rubinstein, Mahler's Second Symphony, Bach's St. Matthew Passion, and several contemporary works, including Krzystof Penderecki...
...KNABEN WUNDERHORN, ELISABETH SCHWARZKOPF, DIETRICH FISCHER-DIESKAU, GEORGE SZELL CONDUCTING THE LONDON SYMPHONY ORCHESTRA (Angel). Though not a happy composer, Mahler could be light-hearted when he turned to folk poetry. In these twelve songs-drawn from the German folk anthology The Youth's Magic Horn-he conjures up an impish world of humorous saints, sorrowful drummer boys, cuckoos and nightingales. As one would expect from such a line-up of talent, this version abounds with interpretive delights. It does not, however, outclass Angel's previous recording by Janet Baker, Geraint Evans and Conductor Wyn Morris with...
...space of only a few years, his recordings of Schoenberg, Berg, Debussy and Stravinsky have been such successes. Says the Los Angeles Philharmonic's Zubin Mehta: "When he does Stravinsky's Le Sacre du Printemps, it's so clear and expert, it's like George Szell's Eroica. It gets on your nerves a bit, because you know you can't do it as correctly...
RUDOLF SERKIN: BRAHMS PIANO CONCERTO NO. 1 IN D MINOR (Columbia). Obviously Serkin likes this noble battle plan for piano and orchestra. Previously, he recorded it with Fritz Reiner, George Szell, and with Eugene Ormandy. Now he's back again with Szell and the Cleveland Orchestra. Few other scores so perfectly show off Serkin's heroic style, his armor-plated technique, and his by now infallible sense of just when to charge Brahms' craggy, imperial peaks...
EMIL GILELS: BEETHOVEN'S FIVE PIANO CONCERTOS (Angel, 5 LPs). Recorded last April in Cleveland with Szell and the Cleveland Orchestra, this set often finds the Soviet pianist more in a mood to polish his tone than to push Beethoven's cause. The concertos are all neatly and expertly done, but they rarely express the excitement, abandon and sheer joy of the music. Gilels does better in the three sets of solo variations that constitute the sidefillers; the 32 Variations in C Minor is especially notable for its logic and rhythmic verve. But as a whole, this ambitious...