Stokowski, The Eternal Magician = ENESCO: Rumanian Rhapsody No. 1 in A Major; Rumanian Rhapsody No. 2 in D Major, Op. 11; DEBUSSY: Three Nocturnes; STRAVINSKY: Firebird Suite; WAGNER: Ride of the Valkyries – Symphony Orchestra/All-American Youth Orchestra (Wagner)/Robert Shaw Chorale of Women’s Voices/Leopold Stokowski
Cala CACD0549, 75:38 [www.calarecords.com] ****:
Culled from the RCA vaults, the 17 April1953 and 1 October 1953 Enesco inscriptions with Stokowski and selected New York players resounds with glib, virtuoso energy, the A Major pulsating with all kinds of quicksilver riffs from viola, bassoon, trumpets, and flute in the course of its colorfully explosive periods. The original album on LP (LM 1878) included three Liszt Hungarian Rhapsodies in equally startling realizations. The two vivacious Enesco pieces quiver and throb with exalted vivacity. If the A Major resonates with rustically frenzied, folksy flavors, the D Major basks in the kind of sonic, melodic luxury Stokowski could bestow on any music he championed. The D Major, too, embraces pastoral and gypsy elements in its diverse treatment of the original, cantilena opening that soon evolves into a pantheistic hymn. William Lincer’s expressive viola makes a lasting impression as an indelible part of the Stokowski sound.”
Stokowski recorded the triptych version of Debussy’s Nocturnes three times, his first having been made in Philadelphia. This second realization (11 October and 10 November 1950) captures the grisaille–a study in grays–quality of all three portraits, their hazy motion in often modal harmonies. Perfect music for romantic fantasy, as realized by Dimitri Tiomkin when he scored the film Portrait of Jenny. Nuages hints at all sorts of later applications from Bela Bartok. As a manipulator of orchestral color and harmonic timbre, Stokowski set a standard even Celibidache had to envy. Instant electrical energy infiltrates Fetes, whose muted, processional trumpet section follows a host of hectic, kaleidoscopic, rhythmic impulses. Great trumpet and harp work from principals William Vacchiano and Lucile Lawrence, respectively. The deft RCA engineers for LM 1154 don’t hurt, either. Sirenes utilizes women’s voices to instrumental effect, a languorous, sensual excursion into Triton’s love-life. Robert Bloom’s oboe writhes with particular, exotic charm.
This 24 May and 7 June 1950 inscription of Stravinsky’s Firebird Suite is the sixth of a total of eight in Stokowski’s discography. The six-movement suite appeared on RCA LP LM 9029, which garnered immediate acclaim for Stokowski’s sympathetic and evocative leadership in a score he prized perhaps beyond all others by this composer. Julius Baker’s lithe flute in the Round Dance of the Princesses elicits equally tender response from Leonard Rose’s cello, James Chamber’s French horn, and Robert McGinnis’ clarinet. The ensuing Infernal Dance of King Kastchei enjoys all the demonic, color elements we expect from Stokowski when his flamboyant disposition is on full tilt. The whirlwind flute part from Julius Baker, along with some bravura tonguing from the trumpets, makes for vivid listening, indeed. The elegantly paced Berceuse shows off John Corigliano’s violin to advantage against Ms. Lawrence’s glissando harp, while the glowing Finale instantiates Stokowski’s ability to transform every and any musical moment into an apotheosis of ravishing beauty. Excellent remastering by Mark Obert-Thorn on this one.
For collectors who cherish every inscribed note in the Stokowski oeuvre, the inclusion of the previously unreleased 3 July 1941 Ride of the Valkyries with the AAYO commands their investment into this fine disc. The recording is dual-channel, so we have an authentic, stereo experience from the master of acoustical experience. The sonic separation proves sweeping and startling at once, the trumpets and flutes devoted to the left ear while the churning strings sizzle in the right. [The two synchronized lacquer masters were labeled Left and Right, but it is not known whether this was another example of “accidental stereo” (put that in Google) such as discovered in many recordings of the 30s & 40s by collector Brad Kay, or an intentional experiment done by Stoky the audiophile conductor. Anyone interested in early stereo will want to have the disc regardless…Ed.] The violins’ attempt at Ho-Yo-To almost convinces us that Helen Traubel is among the participants. Kudos to the Leopold Stokowski Society for another visceral album in a vital catalogue of historic recordings.
–Gary Lemco
