Search - London Symphony Orchestra :: Stokowski conducts Elgar/Brahms

Glorious, exhilarating music-making.

N. Daniele Pietro | Milano, MI Italy | 05/22/2001

(5 out of 5 stars)

"This cd is a re-issue of two live performances Decca released in the 70's in its famous series "Phase 4". Music lovers really have to thank Cala Records for the enterprise, because this cd is a treasure, and it's a sure recommendation even if you're not a Stokowski fan. Admittedly, I'm an admirer of this great and controversial maestro, but I like to think I'm a "critical" one: for example I never liked his Brahms: it has always sounded too fast, constantly on the verge of collapsing into self-parody. No similar reservations with this splendid 1st ! Sure , the Stokowski features are all present: stormy dynamics, seamless "legato", an overall rich and deep orchestral sound. But here the sheer excitement goes along with a strong architectural grasp, and the result is one of the best 1st I know: it's at once ebullient and perfectly balanced, fiery yet refulgently grand. This is the (unedited!) recording of a famous 1972 Royal Albert Hall concert celebrating Stoki's 90th birthday and the 60th anniversary of activity with the LSO, replicating the same program he gave ...in 1912 ! The sense of occasion is palpable as the orchestra plays splendidly, like many other times during Stokowski's indian summer. The Elgar, too, is an absolute gem, for many reasons. Stokowski played some Elgar (he gave the American premiere of the 2nd symphony, for example) but, for some reason, this is the only Elgar recording he ever made. The circumstances of the recording are notable too, and witness the very special magic of this conductor: the Czech Philharmonic never played the Elgar before, and the rehersal time was very scarce because Stokowski had an accidentduring the trip to Czechoslovakia. And yet the results, as documented by this cd and by the Decca re-issue of the Bach Transcriptions, are striking. The Enigma is up there with the very best: avoiding any excess of sentimentality, Stokowski gives us a performance that is genuinely Elgarian in its ebbs and flows of heartfelt melancholy ( the strings' "swoon" in the Enigma theme is marvelous) and "nobilmente" dignity (the final E.D.U. is majestically swaggering). Also "Nimrod" comes out splendidly and, really, the wonderful, moody diversity of the Enigma Variations really seems to fit Stokowski's mercurial style. Apart from a few, typically "live", ensemble flaws the playing of the great Czech orchestra is glorious, a warm, burnished wall of sound. It's a kind of sound quite different from the one that Elgar usually gets from British orchestras, making this release even more interesting. About the sound, splendidly remastered by Cala, your enjoyment of it depends on your taste: if you just want what the Gramophone reviewers call "a natural concert-hall perspective" you'll have doubts about the super-miked, 20-channel Phase 4 recording technique, that makes you feel surrounded by a colossal orchestra. As for me, I loved every minute! The overall Cala Records presentation ( remastering, booklet etc.) is superb."

Brahms by Stokowski

Brian H. Williams | Manteca, CA United States | 06/04/2001

(4 out of 5 stars)

"At last, Stokowski's 90th birthday celebration has been released, with superb remastering to boot! Stokowski's Brahms 1 is not in the same class as Jascha Horenstein. Horenstein's Brahms 1 ranks as the finest performance on record. That being said, Stokowski's version needs to be compared to his. Stokowski turns in a lush well played Brahms, but is lacking the bite and intensity that makes the Horenstein recording so special. Not to mention that Chesky's remastering is superb. Stokowski's performance is excellent, and is repleat with sonorous string sound. To think he was 90 years old is astonishing. Cusiously, he makes few ammendments to the score, which is surprising considering that he frequently makes changes in the score. Compare this performance to his recording of the Brahms 4. Still, from the performance, you can tell Stokowski loved this symphony, as proven by his numerous performances of it. The 2nd movement has a very peaceful, warm feeling which makes this a sterling performance."

Stokowski's best Brahms and a persuasive Enigma Variations

Santa Fe Listener | Santa Fe, NM USA | 12/18/2005

(5 out of 5 stars)

"Both of these recordings were made, in excellent, detailed stereo, from live performances in 1972 when Stokowski was ninety. Reviewers below have laid out some of the particulars. Thanks to the assiduous efforts of the Cala label, aided by the Stokowski Society, there are at least 120 CDs from him, spanning many labels. Bruno Walter also has 120, Toscanini 156, and Furtwangler 268.



The Enigma Variations was played off the cuff by the Czech Phil. when an accident forced Stokowski to skip much of the scheduled rehearsal. The performance doesn't show it, though, being warm, a bit casual for Stokowski, and replete with knowing touches. More rehearsal no doubt would have made the whole thing more impetuous. As it is, one marvels at what a great conductor can do standing before an orchestra he has barely met.



The Brahms First from London with the LSO is exceptional, especially considering that Stokowski had always been considered too eccentricly wayward in this music. His First Sym. is fast at 44 min., but Toscanini took 41 min. and trimmed 3 min. off Stokowski's almost headlong tempo in the first movement. Stokowski doesn't see this as heaven-storming or turbulent music but as lyrical and flowing. The Andante surges more and is shaped with real care. The Scherzo moves quickly (Toscanini tore through it, disastrously), skipping happily rather than ebbing and flowing in hesitant counterpoint. The trio section turns more dramatic, with Stokowski showing his flare for expressively shaping the line without distorting it.



The finale is only a minute or so faster than either Furtwangler or Karajan, taking various preformances into account. Stokowski builds up sonority without falling into postured grandness, and the famous tune surges ahead like a horse breaking out of its stall. This movement has the most fiddled-with tempos and will madden literalists, but for me Stokowski shows marvelous dramatic instincts. Five stars, especially for the Brahms."