by Peter Cates

George Szell

George Szell

Bizet’s opera Carmen was considered one worthy of meticulous study for aspiring conductors by the perfectionist Maestro George Szell (1897-1970) who held dictatorial Music Directorship of the Cleve­land Or­chestra from 1946 until his death from bone cancer.

I own a shelf of different sets of Carmen as sung by such grand prima donnas as Rise Stevens, Maria Callas, Marilyn Horne, Tatiana Troyanos and Angela Gheorghiu, etc. When Miss Horne did Carmen at the Metropolitan Opera, her co-star James McCracken as Don Jose wanted to use a real dagger instead of a rubber one for authenticity and was the kind of singer/actor who’d become totally consumed in the character.

She stated that no way in H___ was she getting on stage with him.

Another set for recent listening is an early ‘60s London Records album of three LPs and a libretto conducted by the late Thomas Schippers with Geneva’s Suisse Romande Orchestra, soprano Regina Resnik in the title role, tenor Mario del Monaco as Don Jose, soprano Joan Sutherland as Micaela and baritone Tom Krause as the bullfighter Escamillo, his own Toreador Song frequently used in TV commercials. It is a very good recording.

The arguably most famous Aria is Carmen’s own Habanera, which soprano Emma Calve (1858-1935) recorded on an acoustic 12-inch one-sided Victor Red Seal shellac and one well worth hearing via YouTube, despite the primitive fidelity of 120 years ago because of Calve’s own hypnotically sultry delivery and beautiful voice. Resnik was similarly splendid, as was Rise Stevens, Callas, Horne, Troyanos and others previously mentioned.

In the story, Carmen is employed in a Spanish cigar factory and deliberately attracts a number of men with her flirtatious ways, two of them being Don Jose with his own deadly posessive jealousy and Escamillo. Meanwhile, a wonderfully loyal girlfriend of Don Jose from back home, Micaela, arrives to plead with Don Jose to renew their commitment but he is too idiotically smitten with Carmen. Two exquisite Arias in the opera are sung by Micaela.

A popular one from Don Jose is the Flower Song.

An addendum – because of George Szell’s sarcastic personality, he was often referred to as his own worst enemy, to which former Met Opera manager Rudolf Bing retorted, “Not while I’m alive.”

While on the subject of Szell, he recorded Gustav Mahler’s 4th Symphony in 1964 with the Cleveland Orchestra . I have worn out a few copies of the record since purchasing the first one during the summer of 1966. It is a record I have played for several friends over the decades who were not fans of classical music previously. The experience had them changing their minds.

The Symphony is that beautiful and has been recorded with distinction a number of times but Szell, who was very selective with Mahler’s music had a high regard for the 4th Symphony and gave of himself totally to realizing every expressive detail. The 4th Symphony movement is sung by a soprano and ends on a quiet heavenly note. Szell had the phenomenal Judith Raskin as his soloist. It can also be heard via YouTube.

by Peter Cates

Perry Como

Perry Como

Perry Como – That Christmas Feeling; Winter Wonderland. Recorded August 8, 1946. RCA Victor 20-1968, ten-inch 78 disc.

I might be jumping the gun here seasonally speaking but I found the key words of That Christmas Feeling most apt in the 78 years and 10 days since this record was released in 1946 – “What a blessed place this world would be/If we had that Christmas feeling all year.” – especially with the constant cycles of anger, selfishness and greed roaring throughout the country these days.

And Perry Como was the kind of vocal artist who could convey such words and notes so persuasively not only with this song but such ones as May the Good Lord Bless and Keep You, Bless this House, When Someone Cares, etc. that were recorded during the ‘50s – the kinds of seemingly sentimental fluff that other lesser talents botched. He made singing seem so easy with his casual relaxed style.

That casual relaxed style disguised the sometimes two to three hours he would spend laboring over a song, trying out different keys and blendings with the best arrangers in the profession – Russ Case on this session and others of the mid-’40s (Case recorded some classy mood music instrumentals for MGM records during the same decade into the ‘50s); RCA’s head pop arranger Hugo Winterhalter; Como’s longtime conductor for his recordings and TV shows, Mitchell Ayres, until he resigned to become music director for the 1960s variety show, The Hollywood Palace; and finally Nick Perito, who would arrange and conduct for Como until his last Christmas special in Dublin in 1994.

Side 2’s Winter Wonderland has a swinging Big Band style with the saxophones and brass and a backup vocal group.

Wikipedia mentions that Sinatra would ask Como to fill in for him at the sold out Paramount theater concerts with the swooning bobby soxers.

Pablo de Sarasate

Pablo de Sarasate

Sarasate: Zapateado – Jan Kubelik, violinist; Victor Red Seal 74255, recorded 1911, a twelve-inch one-sided acoustically recorded shellac disc.

Pablo de Sarasate was a Spanish violinist and composer of show pieces for his chosen instrument. Violinists who have recorded his pieces range from Jascha Heifetz to Itzhak Perlman; Czech violinist Jan Kubelik (1880-1940) gave a performance of the composer’s Zapateado that combined the required lightning speed bowing and plucking with a breathtaking range of dynamics other fiddlers didn’t always match and an expressive beauty and depth that made this disc one splendid listening experience for its four minute duration, despite the limited fidelity of 113 years ago.

Kubelik’s son Rafael (1914-1996) was a superb conductor who served as music director of the Czech Philharmonic, Chicago Symphony, Royal Opera House at Covent Garden and the Bavarian Radio Orchestra.

The Como and Kubelik recordings can be heard via YouTube and other sources.

by Peter Cates

Eli Oberstein

Eli Oberstein

Recording producer Eli Oberstein (1901-1960) was mentioned some months ago in a column about early 78 and LP budget labels. Oberstein had worked for Victor during the 1930s and helped start its 35 cent Bluebird label with country music artists and then bandleaders Glenn Miller and Artie Shaw, which was hugely successful when 78s cost a dollar or more.

Unfortunately, he was fired for some shady business dealings, and began his own company, United States Record Corporation, in 1939, which had various inexpensive subsidiary labels such as Varsity.

A year later, the company went bankrupt. In 1948, he revived the Varsity label and began issuing LPs at el cheapo prices. The source material was often pirated from other labels and the artists listed were more often than not pseudonyms.

Lately, I have listened several times to a ten-inch LP from the label (Varsity LP 27) released in 1951. The music consists of George Bizet’s L’Arlesienne Suite #1 and Ambrose Thomas’s Mignon Overture.

Despite the very scratchy surface noise of my well worn copy and the primitive fidelity of the record itself, I enjoy it immensely. The Bizet music is equal in vibrantly colorful and beguiling sonorities and rhythms to the composer’s masterpiece opera Carmen while the Thomas Overture is a graceful and melodic piece more often performed by itself while the opera Mignon is rarely staged these days.

The listed National Opera Orchestra is non-existent; the unknown conductor and musicians played with tremendous power and beauty.

Gospel Greats

A 1987 cassette (Deluxe DLX-7791), 24 Gospel Greats, features George Jones (1931-2013) singing a generous selection of sacred tunes with his uniquely individualistic honky tonk vocalism that was exemplified in such secular country classics as the 1959 White Lightning.

They include I’ll Fly Away, Leaning on the Everlasting Arms (a favorite of the murderous preacher portrayed so well by Robert Mitchum in 1955’s The Night of the Hunter), The Old Rugged Cross and a large number of unfamiliar songs.

Penguin Dictionary

The Penguin Dictionary of Quotations has one from the long forgotten Samuel Smiles (1812-1904)- “We often discover what will do, by finding out what will not do; and probably he who never made a mistake never made a discovery.”

Bob Cummings

Bob Cummings

The late ‘50s comedy show Love That Bob, starred Bob Cummings (1910-1990) as a photographer who is also an insatiable ladies man and who is being constantly haranged by his widowed sister to settle down. He also doubles as the photographer’s grandfather who is also a ravenous flirt.

The hilarious comic situations and delivery make it one of the half dozen most incredibly entertaining comedy shows in TV history.

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Clifton Fadiman

by Peter Cates

Clifton Fadiman

In his 1941 anthology Reading I’ve Liked, editor Clifton Fadiman (1904-1999) wrote why he felt that so many children’s books are terrible:

“The trouble with these juveniles is that their authors are greatly interested in children and not at all interested in themselves.”

Having enjoyed many of the Golden Books, basal readers, etc., between six and nine years old, I was particularly fascinated by picture storybooks depicting life on a farm with a variety of two- and four-legged creatures and vividly remember one such book from second grade entitled Farm for Sale – it dealt with a married couple fed up with city life who take a ride in the country, find a ready-made farm, purchase it and live happily ever after. The drawings of the animals, pond, pasture and the farmhouse, especially after nightfall, drew me into its spell and fed into this three-year enthrallment with farms in the Vassalboro of my childhood.

And I never stopped to notice whether these authors were interested in me or themselves.

Until sixth grade, the only other reading that interested me were books and magazines where the pictures outnumbered the words.

Such examples were a Classics Illustrated edition of Gene Stratton Porter’s Pollyanna with illustrations from the 1960 Walt Disney production starring Hayley Mills, Jane Wyman, Adolf Menjou, Agnes Moorehead, etc.; A Pictorial History of the American Presidents by John and Alice Durant; and issues of Life, Look, TV Guide and American Heritage magazines.

During sixth grade, my first novel without any pictures was Penny Nichols and the Knob Hill Mystery, which I read twice. But I don’t remember its author. And, again, I never noticed whether the authors were interested in children or in themselves, my only concern being to continue reading the books and magazines.

During seventh and eighth grade, I gradually discovered the joys of collecting books through the Scholastic Book Club and local outlets such as Waterville’s long gone Farrow’s Bookstore, later renamed Canaan House at Main and Temple Streets and devoured George Orwell’s Animal Farm, Harriet Beecher Stowe’s Uncle Tom’s Cabin, numerous Hardy Boys mysteries, Horatio Alger rags to riches novels and Reader’s Digest magazines and condensed books.

Now 60 years later (with a few thousand titles too numerous to mention during the intervening decades), I am reading Alfred Kazin’s Journals , Henry James’s The Spoils of Poynton, Joseph Conrad’s Letters and Michael Korda’s biography of Eisenhower while dipping into numerous other volumes.

Collecting both books and records have become lifelong addictive hobbies impossible to break. And, with reference to Fadiman’s comment, I still could care less whether the authors are interested in us adult children or in themselves, only that they are interesting.

For what it’s worth, I did slog through Fadiman’s anthology of more than 900 pages from April 22, 2000, to August 11, 2002, and its mix of classic writers with long forgotten ones, along with Editor Fadiman’s comments, proved a very interesting, at times long-winded, experience, along with at least five or six other books I had going at the same time.

The classic writers included Thomas Mann, W. Somerset Maugham, John Steinbeck, Ernest Hemingway, James Thurber, Maine’s own Sarah Orne Jewett, and E.B. White.

Fadiman himself was a judge for more than 50 years for the Book of the Month Club, reviewed books for such publications as the New Yorker, was the host of Information Please on radio and later television, and edited several additional anthologies, including The Lifetime Reading Plan.

by Peter Cates

Carlo Maria Giulini

Carlo Maria Giulini

Italian conductor Carlo Maria Giulini was born May 9, 1914, and passed away June 14, 2005. He displayed talent by the age of five on the violin, but took up the viola as an adolescent, was gainfully employed in Italian radio orchestras, and had priceless opportunities to observe an array of some of the greatest conductors of the last century – Wilhelm Furtwangler, Arturo Toscanini, Victor de Sabata, Bruno Walter – Giulini once commented that Walter had a unique gift for making each musician feel important, Fritz Reiner, and Hancock Maine’s summer resident/teacher Pierre Monteux.

Giulini was taking up conducting himself and getting a few engagements but World War II broke out and he was conscripted into the Italian army. Being a pacifist, he couldn’t bring himself to kill enemy combatants, especially alongside German soldiers, and became a deserter, going into hiding until the allies removed Mussolini from power and drove out the Germans. During the period of hiding, his face was displayed on posters all over the countryside with orders to shoot on sight.

After the war, Giulini got numerous engagements as a guest conductor, and in 1949, was rehearsing a lesser known opera by Franz Joseph Haydn at La Scala; Toscanini happened to look in, stayed for the rehearsal, and used his influence to solidify Giulini’s engagement as La Scala Music Director Victor de Sabata’s main assistant at that opera house, eventually replacing Sabata when the older man’s health failed.

In 1955, Chicago’s own arch perfectionist Fritz Reiner told his players just before he went away for the summer that the very talented young man Giulini will be conducting them for the orchestra’s outdoor festival at Ravinia and the players will be finding the young Maestro a very gifted musician.

Years later in a New York Times interview, Giulini told of meeting Reiner just once in the lobby of a Viennese hotel and having a pleasant chat for 15 minutes.

Giulini’s working methods were quite lengthy and carefully detailed but singers and musicians enjoyed working with him because he knew exactly what he was doing yet had a very pleasant supportive personality, unlike such tyrants as Reiner, Szell, Toscanini and others. He considered them colleagues and friends and that he and they were servants of the great composers – Mozart, Beethoven, Schubert, Brahms, Verdi, Mahler and a handful of others, he being also highly selective of which piece to focus on.

For example, he conducted Tchaikovsky’s 6th or Pathetique Symphony but the 5th Symphony made him physically ill.

In 1979, I attended a concert at Boston’s Symphony Hall in which Giulini conducted the touring Los Angeles Philharmonic, of which he was music director from 1978 to 1984, in a program consisting of Beethoven’s Pastoral Symphony and the Dvorak 7th, two works which he adored and brought something truly beautiful that Sunday afternoon. I own the three recordings he did of the Pastoral and both Dvorak 7ths and they are all good for different reasons.

Two highly recommended operas that Giulini recorded during the 1980s were Verdi’s Rigoletto and Il Trovatore, both with tenor Placido Domingo singing important roles and, even though he had a voice I didn’t usually care for, he sang with beauty and power while still in his 40s.

During roughly the same decade, Giulini refused all engagements for two to three years when his wife Marcela suffered a series of strokes and stayed home to take personal care of her until she recovered.

Many of the Maestro’s recordings can be heard via YouTube and other Internet sources.

A quote by the Maestro on working with people:

“What matters most is human contact. The great mystery of music making requires real friendship among those who work together. Every member of the orchestra knows I am with him and her in my heart.”