Although we have many Mahlerian studio and live recordings made by Kubelik
(those published by Audite were a wonderful surprise),
the LSO is definitely not an orchestra
strictly associated with the name of the Czech master.
So, many reasons to be curious.
Apart from a little tape hiss, the quality of the source is quite good.
"I believe that Orff's genius – combining as it does so magnificently all the resources of traditional occidental music with vigourous new conceptions of lyricism, romantic intensity, gigantic architectonics, rhythmic audacity, an extraordinarily personal blending of pagan and modern feeling, and the mature simplicity achieved only by a master – will be recognised by future generations as a major departure in the development of the art of music."
Third performance in USA.
The creation of this work was in Frankfurt in 1937, but the published score was not available in the United States until 1953. The USA premiere took place in a San Francisco concert (University of San Francisco's Schola Cantorum under Giovanni Camajani). Then, Thor Johnson conducted the second at the Cincinnati May Festival (5 May 1954).
Stokoswki's "extremist" dynamics are also evident in the Houston recording (Capitol, EMI and so on); perhaps here we have a problem (yes: in Boston, not in Houston) with the microphones or with the distances.
However, since the sharp, powerful break after "O Fortuna", it is clear that Stoky has a lot to say about this score.
Also in this case I don't know publications on CD or other format.
Ruth Ann Tobin sp
Gwendolyn Belle ms
Elmer Dickey tn
John Colleary br
Kenneth Shelton br
Newton Boys' Choir
Boston University Chorus,
Boston University Symphony
Rienzi's rehearsals has been published,
but I don't know if the CD is still available;
anyway this alternative source is very good.
Beethoven's First Symphony was released
only on old LPs now unobtainable (MDP and ATS),
but never on commercial CDs, if I'm not wrong.
I had the LP MDP 037 many years ago on loan
from a collector to make a digital copy of it.
The conversation was captured in Milan (1954).
I've included in the folder an English translation.
Mitropoulos, Cantelli's close friend,
performed Strauss's tone poem in his memory,
a few days after the plane crash.
Among the many testimonials of their friendship,
one is very nice (reported by Cantelli himself).
After a performance of Berg's Wozzeck at La Scala,
Mitropoulos was invited
to Cantelli's little apartment in Milan to have dinner.
Then Dimitri went to the piano, playing,
explaining and singing loudly Wozzeck until late at night.
At one point the protests of the neighbors arose
and forced them to quit
(may the gods forgive them).
FLAC - Details, translation and some photos included.
Here a very personal and accurate selection:
so, the term "highlights" does not mean "useless jumble"
as in some... well, MOST terrible CDs and LPs.
Three of my favorite Cantelli live recordings
(collected from the most varied sources over the years)
not only for their artistic value,
but also in terms of sound quality.
Indeed, these are particularly "vivid" and "present" performances:
of course as far as possible with sources from the early/mid 50s.
Therefore I strongly recommend this download,
even more than the previous ones...
FLAC (3 separated tracks)
About the AS, unfortunately some Cantelli CDs are completely bronzed & "gone":
Liszt Piano Concertos, a Respighi-Pizzetti-Ghedini selection, Mozart's Requiem...
The latter, in any case, had a terrible sound;
moreover, is still available a restoration
that "does everything possible" with a very bad source.
I've the same problem with some rare Bruno Walter CDs,
which I would have gladly uploaded otherwise.
Anyway, the next "chapter" will be the final one.
But if you liked this "Centenary series",
I could go on in the next months with some additions.
So, let me know...
Among all the soloists who worked with Cantelli,
Rudolf Firkusny was the most assiduous.
After their first meeting in Brussels (Grieg's Piano Concerto, 1949),
they gave several concerts in USA
(Menotti, Beethoven 3, Brahms 1, Grieg again and of course Dvořák) until 1956.
Cantelli's interest in the "Sinfonia da Requiem" is remarkable,
especially since in Italy Britten was a composer still almost unknown.
GC conducted this work for the first time at La Scala in 1952,
then several times in the United States.
Listening to Monteverdi's music - although "modified" -
in the concert hall was also rare at the time.
One of the many proofs of independence from Toscanini's tastes and repertoire,
whose only trace here is Verdi's "Te Deum".