REVIEW POTPOURRI

by  Peter Cates

Jean-Baptiste Loeillet

Jean-Baptiste Loeillet

Sonatas; Trio Sonatas; and Lesson for the Harpsichord
Pierre Pouleau, recorder; Andre Chevalet, oboe; and Yvonne Schmit, harpsichord. Music Guild MS-113, 12-inch stereo vinyl LP, released 1965.

One of a select group of baroque composers who wrote truly beautiful music for both the flute and recorder, Jean-Baptiste Loeillet (1680-1730) was born in Belgium, became a very talented player on the flute and harpsichord during early childhood, and traveled to England at 25 years old where he settled for life. He composed mainly for the flute, taught and arranged concerts for the wealthy, through which he became financially quite comfortable.

The performances are superb, and, fortunately for those with a record player, the album is still available through several Amazon vendors for prices starting at six dollars.

Carousel

starring Gordon MacRae, Shirley Jones, Cameron Mitchell, etc.; directed by Henry King; 20th Century Fox, released June, 1956.

Gordon MacRae

The Rodgers and Hammerstein musical Carousel began as a hugely successful Broadway musical in 1945, but its transformation into a film shot in exquisite living color, and with better singers, superior orchestration by Alfred Newman and, for most of the film, the backdrop of our own Boothbay Harbor, turned it into a true cinematic classic – worthy of the several best film lists it has made. It and the 1945 State Farm are my two favorite R & H films.

Shirley Jones

The manner in which the movie segues at the beginning from a mundane conversation in heaven to the glorious Carousel Waltz is a case in point. Three of the greatest songs in Broadway musical history – If I Loved You, When the Children Are Asleep, and You’ll Never Walk Alone – are given the best performances they have ever received in the most pleasing seaside settings. The choreography along the marina and, later, on a lonely beach are dazzling set pieces of limber, supple virtuosity. And watching Gordon MacRae, Shirley Jones and Barbara Ruark singing in their prime is a singular pleasure!

Berlioz Symphonie Fantastique

Gennady Rozhdestvensky conducting the USSR Radio Symphony Orchestra; Eurodisc 201 984-250, 12-inch stereo LP, recorded 1967.

The conductor, Gennady Rozhdestvensky, is, at 85, one of the more accomplished and interesting conductors to have emerged since the early ‘60s. First, he is accomplished because he was barely 22 years old when he was scoring successes in his appearances with various major Russian orchestras and both the Bolshoi Opera and Ballet through live appearances and recordings. He also has upwards of 1,500 musical works of a wide range of composers committed to memory. Finally, all of the recordings I have heard of his are consistently good, unlike several of the shining stars of the firmament of today. And I own at least a shelf of them.

Gennady Rozhdestvensky

Secondly, he is interesting because of the manner in which he conducts. I once saw him live in Boston’s Symphony Hall back in ’73 when he was on tour with the Leningrad Philharmonic (now, since the fall of the former Soviet Union, referred to as the Saint Petersburg Philharmonic.). That evening, he used very precise but conventional gestures.

However, I have seen footage of him not conducting the orchestra at all while it is playing but walking around the stage smiling a lot, yet barely moving his arms. Other times, he has been known to flail his arms without the baton or grabbing it with both hands effortfully, as though it weighed 50 pounds. Still, he gets quality work while being the ham!

The Berlioz Symphonie Fantastique is one of my favorite works to collect in duplicate recordings and, it being a special favorite, I own at least 40. Rozhdestvensky’s LP is good but not great. My absolute favorite is the 1975 recording of Herbert von Karajan with the Berlin Philharmonic has been available through Amazon and its vendors as a CD for years and, more often than not, inexpensive. The third movement, Scene in the Fields, has rarely sounded more serene or sublime while the fifth movement’s Dream of a Witch’s Sabbath is most colorful and ominous.

by  Peter Cates

Emilio de Gogorza

The Holy City
Victor- 74041, one-sided, 12-inch 78, recorded 1906.

Emilio de Gogorza

The baritone Emilio de Gogorza (1872-1949) recorded more discs for Victor than has been documented accurately. Despite this number and his success as a concert artist, he never appeared in any opera on stage due to terrible near-sightednss.

The Holy City has been recorded many umpteens of times since the cylinder days. My favorite records of this are the Richard Crooks 1935 Victor 78 and the 1950 Decca ep 45 but Gigorza performed it with intelligence, sensitivitivity and a very polished voice- qualities that have been consistently noted by his fans.

He was married for 25 years to the famed soprano Emma Eames (1865-1952), who grew up in Bath and whose house is still standing!

Letters from Joseph Conrad

Edward Garnett, ed.; The Bobbs-Merrill-Company, 1928, 302 pages.

Joseph Conrad (1857-1924) did not master English fluently until his 20s. Later the Polish-born merchant marine seaman would leave his oceanic livelihood to devote his energy full time to becoming one of a tiny handful of the greatest 20th century writers and a vibrant, multi-faceted individual to those fortunate enough to have met him.

Edward Garnett

I have read and deeply enjoyed Heart of Darkness (the basis for the late ‘70s film classic Apocalypse Now), Lord Jim, the short story “Typhoon”, “Under Western Skies”, and, a huge favorite of mine, “Victory”. Searchers for truth abound in his stories with their exotic and frequently hostile locales in the darker corners of Europe, Czarist Russia, and Africa, and on board the ships travelling the dangerously wide open seas.

This book of correspondence has an insightful introduction and notes by Conrad’s longtime younger friend and editor, Edward Garnett (1868-1937), who was most helpful in motivating the often insecure writer to keep working during their mutually edifying friendship- starting in 1895, just when Conrad began his writing career, to 1924, when the author suffered a fatal heart attack. However, only Conrad’s letters to Garnett make up the bulk of this fascinating volume.

I offer select comments from Conrad to provide a sense of his larger than life personality:

His ability to put pain in its rightful place with an unexpected twist while carrying on about petty matters- “Why am I fooling thusly while there is a pain in my back to which a jab with a carving-knife would be a soothing application?”

His impatience with people – “Don’t you know my dear Edward how stupid people are! They take delight in merest twaddle, they look out for and welcome the obvious. And they understand hardly anything which is not either one or the other.”

His praise of Garnett’s uncanny ability at helping him write his best work – “You are a dear good old critic – you are! You’ve a way of saying things that would make an old sign-post take to writing. You put soul and spunk into me – you, so to speak, bamboozle me into going on – and going on and going on. You can detect the shape of a mangled idea and the shadow of an intention in the worst of one’s work – and you make the best of it. You would almost persuade me that I exist. Almost!”

Reading him at first can be difficult but patience, as I know from my own experience, yields rewards of great worth. I recommend Heart of Darkness for the beginner.

REVIEW POTPOURRI

by  Peter Cates

Handel’s Messiah

Walter Susskind conducting the London Philharmonic Orchestra and Chorus; Musical Heritage Society MHS 582/ 583/ 584, three LP set, recorded September 22-24,1958.

Walter Susskind

Being in the Easter spirit, I offer comments on this Messiah set since the music is appropriate to both Christmas and this week’s observances. Con­duc­tor Walter Susskind (1913-1980) delivered a performance of superb quality with a crackerjack quartet of singers – my special favorite being the late contralto Helen Watts (1927-2009), whose rendition of He Shall Feed His Flock gives me the thickest goosebumps every time I hear it. Harpsichordist George Malcolm (1917-1997) did beyond superb playing with the orchestra and revealed especially exquisite details in certain sections such as the Pastoral Symphony.

My first Messiah record was a 99-cent highlights disk from this same performance. A CD edition of this recording is priced starting at 2 or 3 bucks by various Amazon vendors.

Melachrino Strings

April in Paris
RCA Victor LSP-2739, recorded 1963, stereo dynagroove LP.

The Melachrino Strings were the creation of English-born George Melachrino (1909-1965), an all-around musician skilled at playing violin, viola, clarinet, oboe, etc., and composer of movie soundtracks. This orchestra landed a contract with RCA Victor in the very early fifties, sold easy listening records by the millions and were the biggest rival to Mantovani. The albums had such titles as Music for Relaxing, To Sleep By, For Dining and To Study By; and ones devoted to the songs of Rodgers and Hammerstein, Irving Berlin, and, one special favorite, Jerome Kern. To me, their arrangements were tasteful, very pleasant and, as a rule, less sugary than those of Mantovani.

April in Paris also has a group of three accordionists, the Trio de Musette, which provides charming instrumental contrasts to the larger orchestra within each selection. The program consists of French-styled pop classics such as C’est Si Bon, I Love Paris, the Bobby Darin hit Beyond the Sea, Song from Moulin Rouge, Autumn Leaves, the title song, etc. The LP shows up often on Amazon sites and in various thrift stores along with other Melachrino titles.

Charley Varrick

starring Walter Matthau, Andy Robinson, Joe Don Baker, John Vernon, Sheree North, etc.; 1972.

Walter Matthau

A mostly forgotten film of possible interest.

With respect to bank heist flicks, this movie remains one of the best ones I have ever seen. Matthau plays the title character who is thrown unwittingly into one nasty situation after he and his friends pull off the typically every day bank robbery. Their proceeds are not the common ten or, if lucky, $20,000 for their well-planned hard day’s work but a roaring six digits when

Sheree North

the gang coerces the employees into handing over certain cloth bags seen behind the counter. They have obviously hit a money laundering outfit. And become the target of some individuals, portrayed with captivating aura by Joe Don Baker and John Vernon, who pursue them with scorched earth determination. Quite fun and delightfully unpredictable at moments!

Joe Don Baker

REVIEW POTPOURRI

by  Peter Cates

Dvorak

Symphonies 4, 5, and 6; Overtures
In Nature’s Realm, My Country and Carnival; Istvan Kertasz conducting the London Symphony Orchestra; Vox Box SVBX 5138, three 12-inch LPs, recorded 1967.

Back in my early classical record collecting days during the ’63-’64 years, a peak listening experience was the 9th Symphony, better known as “From the New World;” followed within three years, as I could afford the records on my dollar a week budget, by the uniquely sweet goose-bumpish beauties of Symphonies 8, 7, and 6 and the Cello Concerto. My records of these were pretty torn up, mainly from the tone arm of my 32 dollar RCA Victor manually operated three- speed player. But, even with such crude reproduction, this music stood the test of time and still does with much better home reproduction and a variety of different recordings of each piece.

The above set features Symphonies 4, 5, and 6, via recordings leased from the Decca/London label of the late, exceptionally gifted conductor, Istvan Kertesz (1929-1973), one Maestro from whom I have not heard a single record that was never less than very good. During the spring of 1973, he was appointed music director of both the Cologne, Germany, Orchestra and Opera, the kind of challenge that Kertesz relished and, in the opinion of many, would have made a very good fit. Unfortunately, within two or three weeks while on a much-needed vacation to Israel with his wife and two children, he was caught by an undertow while swimming in the Red Sea.

The three symphonies and companion overtures are, in typical Dvorak style, a feast of dramatic excitement and charming melody, and performed in a superb manner. A highly recommended trio of LPs !

Cry, Danger

starring Dick Powell, Rhonda Fleming, Regis Toomey, William Conrad, etc.; directed by Robert Parrish; RKO Radio Films, released February 3, 1951, 79 minutes.

Dick Powell

Dick Powell (1904-1963) portrays, with commendable presence, Rocky Mulloy, a man freshly released from prison after serving five years of a life term for a robbery and murder he didn’t commit and then exonerated by a man who comes forward suddenly with a much-needed alibi for Mulloy’s whereabouts the day of the crime. The justly popular, alluring siren of fifties melodrama, Rhonda Fleming (1923-), is Nancy Morgan, Mulloy’s ex-girlfriend and now wife of his good friend Danny, who is still imprisoned unjustly for the same crime. Regis Toomey (1898-1991) weighs in as Lt. Gus Cobb, an investigator who’s still convinced Mulloy is not only guilty but knows where the unrecovered loot is; but he is also fair with people under investigation and keeps an open mind, just the type of role Toomey did so well in The Big Sleep with Humphrey Bogart.

Finally, William Conrad (1920-1994), best known as a radio actor, a narrator, a director of numerous episodes for various TV shows and star of the ‘70s hit series, Cannon, is Louis Castro – a bookie, another suspect for Mulloy’s crimes yet untouchable, and a leader of his own formidable gang, a character he deploys with commendable professionalism.

Rhonda Fleming

The story has its share of false leads, double crosses and violence but the events contribute to a pretty decent climax as Mulloy’s life is finally relieved of one bad monkey on his back. And 1951 Los Angeles is revealed in all of its pulsating ambiance – the train station and tunnel; the sleazy and semi-sleazy bars; a quaint yet sinister trailer park with year-round balmy weather; the majestic thoroughfares glutted with now-vintage automobiles, trucks and city buses; and the old hotel/apartment buildings with tobacco shops and newsstands. One solid 79 minute piece of newly-remastered black and white entertainment in its DVD incarnation.

REVIEW POTPOURRI

by  Peter Cates

Duke Ellington
                    Blue Light

Columbia CL 663, 12- inch vinyl mono LP, released 1955. From nine Brunswick 78 sides recorded between 1934-1939.

Duke Ellington

Blue Light gathers several lovely disks of the quieter jazz of which the Duke was a master. One number, Reminiscing in Tempo, not only stood out for several years after its composition and first recording in 1935 as having the longest performance time, but also as a moving commemoration of his mother who had died the same year.

The personnel during these years stood out for their musicianship, discipline, compatibility and relaxed teamwork. They included Cootie Williams, Juan Tizol, Barney Bigard, Johnny Hodges, Harry Carney, etc., and included a few who would stay for two or three decades.

The LP is available with another one, Ellington Uptown, on a single cd and can be ordered through Bull Moose and various Internet sources.

Bach
Two Concertos for Three Harpsichords and Harpsichord Concerto No. 8

Gustav Leonhardt, harpsichordist, and conducting the Leonhardt Consort; Das Alte Werk SAWT 9458, twelve inch vinyl lp, recorded October, 1963.

Johann Bach

Along with sheer beauty, J.S. Bach’s Harpsichord Concertos are a source of melody, fascinating harmonies and very stately but alive rhythms. And this LP, with the late Gustav Leonhardt’s exceptional playing and conducting, is reasonably priced, in both vinyl and CD formats, and available through the Amazon vendors and local Bull Moose and Barnes and Noble outlets for special ordering.

The Band of His Majesty’s Irish Guards
On Parade

London LPB 16, 10- inch vinyl LP, recorded 1949.

As a rule, marching band concerts and recordings bore me, but this ancient LP may be an exception to the rule. Its players display an unusual flair for nuance while performing in a captivating manner.

There are a couple of Sousa marches; Fucik’s Entry of the Gladiators – better known in its heyday as the theme for Bozo the Clown; Colonel Bogey – a late ‘50s hit for Mitch Miller, the movie theme for Bridge Over the River Kwai, and a most well timed inclusion in the 1961 Disney edition of The Parent Trap; and other less well known musical chestnuts from the British Isles. For interested parties, it is worth the search!

The Band of His Majestry’s Irish Guards