it seems natural to continue the series with this CD (of course OOP).
Preceded by Mengelberg (1929, 1930) and Walter (1934, 1941),
Rodzinski was the third to conduct this work
on the podium of the NYPO (16, 17, 19 november 1944).
In New York he also conducted the Symphonies nn. 1&2 and the Gesellenlieder,
but unfortunately no recordings of those concerts seems to survive.
The audience applauds at the end of each Movement / Lied.
What to say? I do not know.
Maybe that night the MET was closed and the opera fanatics,
wandering around, had reached Carnegie Hall.
One moment... no, a concert at 3 o'clock, saturday afternoon.
Well, everything explains itself.
It remains only to imagine
how a casual audience could have properly appreciated what was being proposed,
but perhaps is better to ignore it and concentrate on listening.
CD ripped in Flac, scans included
5 comments:
https://drive.google.com/open?id=1GU15e1GS-6tM5J8SwrQecpNETmbCDMGN
Fascinating as usual, thank you!
Well, I think that applauding after each movement was common practice in that period of time.
Thank you for sharing this! I was unaware of this recording--what a find!
With respect to the applause:
During WW2, especially in New York, it was commonplace to give free tickets to members of the Armed Services, and many of the soldiers, sailors, and airmen had probably NEVER been to a big-time classical concert, and were not cognizant of the very rigid, perhaps even stuffy, regimen. This is true of some of Toscanini's NBC live programs where -- unlike others pre- and post-war -- there was lots of applause after movements of pieces.
8H Haggis
I have only had a chance to listen closely to Das Trinklied, but my first startled reaction was "Bruno Walter!" For not only are the soloists the same as in the historic live Viennese concert with Walter and the WPO, recorded in 1936 in the Grosse Musikvereinssaal, but also the acoustical balances are nearly the same; the orchestral texture is remarkably similar; and so are the tempi! In the New York broadcast, however, the soloist is a bit farther back, enabling slightly more perceptible detail in the orchestral inner voices: revealing that the New York Philharmonic's playing is FAR more secure and precise than the Viennese orchestra (then, in 1936, having membership who had played under Mahler himself, being by then very elderly musicians.) Rodzinsky seems to take the same approach as Walter, but is just SLIGHLY more energetic and intense. This shall surely prove to be a remarkable experience, aided by the very vivid sound pickup, better than one would have expected.
8H Haggis
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