JUDY ADAMS
The Philadelphia Orchestra and conductor Eugene Ormandy is an esemble which ranks between first and fifth in the world depending on personal taste. Wednesday April 23, they appeared at Masonic Auditorium and played a program of Wagner (with the exception of Beethoven’s seventh).
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JUDY ADAMS
Double Concerto in F for two
Harpsichords
Allegro
Largo
allegro Assai
Concerto in B Flat for Cello
Allegretto
Adagio
Allegro Assai
A PROGRAM OF WAGNER . . . by Judy C. Adams
The Philadelphia Orchestra and conductor Eugene Ormandy is an esemble which ranks between first and fifth in the world depending on personal taste.
Wednesday April 23, they appeared at Masonic Auditorium and played a program of Wagner (with the exception of Beethoven’s seventh).
Their first number was prelude to “Die Meistersigner von Nurnberg”. It opened magnificently with the arrogant theme which soared into a sonorous climax. The medieval tune pf the following theme, a march, was so authentic, you could almost picture a 15th century calvary parading across the stage.
The second piece on the program was from the opera (“Das Rheingold” in which Ormondy utilized every effect possible to convey the story of the powerful Rhinegold). Wagner himself employed instruments that would in many cases merely have a part consisting of a few notes, (tube, harps, celeste, the triangle).
Next were selections from “Die Gotterdammerung”. The final opera of the “The Ring of the Nibeliengs” cycle. Ormondy certainly emphasizes that this was the end of the cycle. The culmination point of this opera was so powerful, it was almost thrown at the audience. The finale was so tremendous and “huge” that one could wonder how even one hundred people could create such a sound.
Eugene Ormondy won’t be back to Detroit until May of 1971 but it’s worth waiting .for. In the meantime their records should suffice and as they reflect perfection plus?
’ C.P.E. Bach
Double Concerto in F for Two Harpsichords and Orchestra Concerto in B-Flat for Cello & Orchestra. Gustav Leonhardt and Alan Curtis, Harpsichord Angelice May, Cello Calleguim Aureum R.C.A. Victrola VICS-1343 ’ by Judy Adams
The cultural life of Germany showed a strong French influence, 'during the early 17th century. The German language was permeated with French words. Likewise, the French Galant style made an impression on German music in spite of the strong French and Italian influences. German music of after the time of J.S. Bach, displayed some distinctive features; known as Empfindsamkeit which means; sensitivity, sensibility or sentimentality. This style was represented by Carl Philip Emanuel Bach, third son of J.S. Bach.
After studying law for many years, C.P.E. Bach entered the services of King Frederick the Great. He served as the courts’ harpsichordist and accompanist. The King ruled the musical life of the court with an “iron hand” and military disipline. He was so conservative in his musical taste (which was 40 years old), that he tolerated no liberties with the written music; meaning improvization upon embellishments was under threat of. corporal punishment! This caused C.P.E. Bach to seek employment elsewhere.
Characteristics of C.P.E. Bach’s style were his use of a variety of sentiments often in rapid succession. His rhythm patterns changed often through use of short phrases. His concerts in particular usually began with contfasting bodies of sound; with two or more themes presented in the opening tutti. A clear-cut cadential progression brought the orchestra to a close.
His adagios were great emotional outbursts, by use of chromaticism, harmonic intensity which included many enharmonic changes, augmented chords and modulations to remote keys.
LAST CHANCES FOR MONO .. . by Judy Adams
Todays prospects for the monaural LP are not very bright. Some recording companies have stopped making them and the rest may well soon follow the trend.
The LP collectors are faced with the problem of the disappearance of many great mono recordings from 1948 when the LP was introduced and 1958 when stereo was born. Some of these recordings will be reissued like Angel’s Great Recordings of the Century, but most will not. Nor will rechanneling the mono recording solve the problem either.
However, wise collectors are buying up the choice albums, that are still available. Here is just a partial list of the “Mono greats”.
Walter Giesehing (Col ML 45 3 6/3 7/3 8/3 9) Superb interpretations of Mozarts Piano Concerto No. 23 and French Symphonic Variations, plus works of Debussy.
Maria Callas (Angel 3502, 3508) Bellini’s I Puritani and Puccini’s Tosca. The Greek-American soprano in her prime.
Dinu Lipatti (Angel 3556). Last Recital - Chopin, Bach and Schubert played by the great Rumanian pianist who died at 33 in 1950.
Virgil Thomson: Four Saints in Three Acts (RCA Victor LM 2756). The Thomson-Gertrude Stein masterpiece of sophistication and naivete, recorded under the composer’s direction in 1947.
Schoenberg: Four String Quartets (Columbia ML 4735/36/37). Incomparable performances by the Juilliard String Quartet.
Webern: Complete Works (Columbia K4L-232). The brief, vital lifework of one of the pivotal figures of 20th century music, conducted by Robert Craft.
Mahler: Das Lied von der Erde (London 4212). An unmatched rendering by Conductor Bruno Walter and Contralto Kathleen Ferrier.
Weill: The Rise and Fall of the City Mahagonny (Columbia K3L-243). The most elaborate of the collaborations by Weill and Bertolt Brecht, with the great Lotte Lenya heading the cast.
Wagner: Tristan und Isolde (Angel 3588). Still the best recorded Tristan ever, with Conductor Wilhelm Furtwangler and Soprano Kirsten Flagstad.
Schubert: String Quartets Nos. 13, 14 and 15 (Columbia ML 4831/2/3); Haydn: Six Quartets, Op. 76 (Columbia ML 4922/3/4). Masterpieces of chamber music performed by the elegant Budapest Quartet.
