The final instalment of arguably the greatest recording project ever.
Do you know that John Culshaw, the Decca producer, is said to have sounded out Carlos Kleiber to conduct that ‘Ring’ cycle? If true, that would have made the recording even more remarkable than it is. (But there is no mention of it in Culshaw’s ‘Ring Resounding’ book, so the story may not be true.)
Culshaw does mention Carlos Kleiber in his Autobiography “Putting the Record Straight” published in 1981 after his own death.
There is one paragraph split over two pages and it doesn’t discuss the Ring specifically, but basically neither Kleiber not Culshaw’s boss at Decca, Rosengarten, were interested in signing Kleiber for Decca.
It’s fascinating to read what Decca thought about Carlos Kleiber.
But the records that CK did make (mostly for DGG, but the two New Years Day concerts are on Sony and there’s a quirky EMI LP of the Dvorak Piano Concerto with Sviatoslav Richter) are utterly riveting, and are amongst my very favourite of all my LPs.
Funnily enough, when CK was conducting anonymously (his father Erich did not want his son to follow him as a conductor), he used the pseudonym Carl Keller!
Did anybody watch the NYO Prom on the TV last night? I only caught the 2nd half, Copland’s 3rd Symphony. The last movement in which Copland (re)used his Fanfare for the Common Man must have been earsplittingly loud in the RAH. Great stuff.
But the best bit was the encore with a wholly joyous rendition of Benny Goodman’s Sing, Sing, Sing including two stand out solos. Just wonderful.
I do enjoy the NYO Proms - no cynicism, world weariness or going through the motions. Just excitement and enthusiasm not to mention a high degree of musicianship.
The Wigmore does archival streaming during its summer closure, free with a request for donations. I’ve just spotted this week’s streams include an Angela Hewitt concert from last year, a few movements from the Well Tempered, a couple of Mozart sonatas and some French works, Ravel, Chabrier and a Debussy encore.
Also a 2019 performance by Elisabeth Leonskaja et al of both Schubert Piano Trios.
I caught the repeat broadcast of Symphony 3 and thought: I wonder if that’s Copland, sounds very like him. Then thought it must be the 3rd symphony, of which I have a recording, but haven’t listened to it in years. I must get it out and set aside some time to enjoy it properly.
BTW I entirely agree with your comments about the NYO. It helps me to believe the future of classical music performance is in good hands.
Federico Colli’s first instalment of Mozart solo piano works frankly was a romanticised mess, but together with three equally talented peers, the new recording of Mozart’s piano quartets - clearly well rehearsed but very spontaneous - is just brilliant from start to finish.
Unlikely true given both Kleiber’s and Culshaw’s accounts of their initial meeting, and that Carlos didn’t feel ready to start recording anything until 1973. The bigger tragedy is that, had he not passed away, we might have seen a studio Ring by Furtwängler!
Vadym Kholodenko’s Scriabin gets better with age - he is a master of highlighting an idea and then playing it out beautifully. Not the only way to play this music but very rewarding. Also, the pianism remains stunning in its subtle layering and infinite depth.
The great shame is that he started a studio ‘Ring’, but his sudden death robbed us of what might have been. I have, and treasure, an old EMI 5LP set of Furtwængler’s studio recording of ‘Die Walküre’. I don’t think that it is currently available to buy.
The Jerusalem play Bartok’s fascinating quartets with an emphasis on melodic lines and a warm presentation, and as such these works sound (a bit) more accessible than in more traditional, edgier, performances. I had to get used to accents being played with less emphasis or ‘bite’, but it did make me appreciate the underlying structure and colour of these works a lot more.