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John Barbirolli Sir John Giovanni Battista Barbirolli, CH (December 2, 1899 - July 29, 1970), was a British conductor and cellist. Barbirolli was particularly associated with The Hallé, Manchester, which he conducted for nearly three decades. He was also music director of the New York Philharmonic and the Houston Symphony, and conducted many other orchestras including the London Symphony Orchestra, the London Philharmonic Orchestra, the Berlin Philharmonic, and the Vienna Philharmonic. He was particularly associated with the music of English composers such as Edward Elgar and Ralph Vaughan Williams. He also developed a strong reputation as a conductor of the music of Gustav Mahler. Early years 1899-1937Barbirolli was a Londoner, from a musical family. His father and uncle were violinists in London theatre orchestras, notably the Leicester Square Empire, though they had also played at La Scala, Milan, under Arturo Toscanini. Thus the young John was destined to be a string player, a specialist in British music, and to have a love of Italian opera. Barbirolli won a scholarship to study at Trinity College of Music, and later studied at the Royal Academy of Music where the Sir John Barbirolli Collection of photographs and memorabilia is now archived. As a young cellist he made some acoustic records, played in the London Symphony Orchestra (LSO), notably at the first performance of Edward Elgar's Cello Concerto, and was soon after the soloist in the second performance of the work. In the 1920s he turned to conducting and formed a chamber orchestra which recorded new works for the National Gramophonic Society, notably Elgar's Introduction and Allegro, which may have been responsible for His Master's Voice avoiding the work until after Elgar's death. Between 1929 and 1933 he conducted opera at Covent Garden. From 1933 to 1936 he conducted the Scottish Orchestra in Glasgow. Barbirolli became known for his ability to secure effective performances at short notice, and in the 1930s made many recordings with the LSO and London Philharmonic, accompanying concerti with leading soloists such as Fritz Kreisler, Jascha Heifetz and Arthur Rubinstein, most of which remain classics today.
Notes from Wikipedia: http://en.wikipedia.org/wiki/Barbirolli
The Music of Delius Delius's musical style is one of the most unusual in Western musical history. Characterized by a curious mixture of pentatonic figures and chromaticism, although still largely tonal, it reflects a move from the textbook post-romanticism of the years following the death of Richard Wagner (1883) to a style that was unique to Delius, blending Impressionism with the slightly older post-romanticism and northern European and African-American folk idioms. His use of luscious harmonies - mainly slow moving, and constantly evolving melody, with the frequent use of leitmotifs - is what prompted Sir Thomas Beecham to describe him as "the last great apostle of romantic beauty in music." His harmony and melody were influenced greatly by African-American music of the time, using blues harmony and melodic characteristics that would become distinctly jazz and blues 20 years later. His best-known works include the brief orchestral piece On Hearing the First Cuckoo in Spring, Brigg Fair ('An English Rhapsody'), In A Summer Garden, North Country Sketches, A Mass of Life to Nietzsche's Also Sprach Zarathustra, Florida Suite, Sea Drift, a setting of text by Walt Whitman, for baritone, chorus and orchestra, A Late Lark, setting of text by William Ernest Henley, Songs of Farewell, another setting of Whitman texts, for chorus and orchestra, Cynara and Songs of Sunset, both settings of texts by Ernest Dowson, Koanga, which as an opera with a black principal character antedates George Gershwin's Porgy and Bess by four decades and is roughly contemporaneous with Scott Joplin's Treemonisha, an atheist Requiem, four concertos: a violin concerto, a cello concerto, a double concerto for violin and cello, and a piano concerto (also somewhat Gershwinesque); the colourful, picturesque tone poem Paris: Song of a Great City, and the beautifully exuberant symphonic composition Life's Dance. Orchestral excerpts from his operas, for example La Calinda from Koanga — which originated in the Florida Suite — and The Walk to the Paradise Garden from A Village Romeo and Juliet, are also played and recorded reasonably often. There are a number of chamber works (three mature violin sonatas, a cello sonata and a string quartet). Notes from Wikipedia: http://en.wikipedia.org/wiki/Delius This Recording - Technical assessment Original surface quality: A quiet recording on a noisy surface, into which it tends to disappear. Reasonably low levels of crackle and scratches cause few problems, but with so little signal on the disc it's hard to discern the instruments at all for much of the time. Other notes: Unsurprisingly, we are left with a rather murky sound and some background noise, not helped by the fact that much of the music would be rather murky anyway simply by way of its scoring. Where it does lift in volume for a short section in the middle of the piece some of those mists clear and there's a fuller sense of the orchestra's full tone. If only the recording engineers had been a little more daring with their microphone gain we might have heard more of this. Once accustomed to the background noise, however, one tends to mentally filter it out and quickly become absorbed in the performance - don't let initial reactions put you off this one!
National Gramophonic Society recordings - a technical perspective
The vast majority of the original discs came from Gramophone magazine's own near-mint collection, carefully preserved in the EMI vaults at Hayes and largely unplayed for many decades. Where a choice of discs was present, naturally the very best sides were chosen for transfer, which took place at Pristine Audio over the spring, summer and autumn of 2006. Discs were carefully cleaned and a choice of custom-made stylii were available to achieve the optimum replay possible. Transfers were made at 24-bit resolution and then archived in 32-bit sound. Some initial restorations were carried out at the time of transfer, but all of the recordings presented here have been newly XR-remastered, starting in February 2008, directly from those high-quality transfers. Without the benefits of modern audio restoration technologies, it is safe to say that a good number of the Society's output would be beyond the listening tolerance of all but the most devoted and dedicated music-lover. Of the 165 numbered discs it is not until we reach discs 103-4 (the Malipiero String Quartet No. 2) that something truly remarkable happens sonically, a result of switching allegiances to the Columbia Record Company for recording and pressing duties. Prior to this the results are variable in the extreme - and the problems don't really stop after disc 104 either - we are still talking about the early days of electrical recording, and it seems clear from this history of the Society that money was tight. But for the 1920's listener, these matters would surely have been secondary to being able to hear any of these works at all, as the National Gramophonic Society's remit was to record music that had been ignored by the other record companies. The challenge for the 21st Century therefore is to render these recordings in such a way as to be faithful to the musicians as well as sparing the listener too much pain. I've tried to strike a careful balance between noise reduction and the dangers of over-processing and deadening the sound which, in some cases, may leave some of the blemishes more obvious than you might be used to hearing - if this is the case in any particular recording, I can only respond with "well you should have heard it before I started work on it!" There are many fine recording here, and I hope you will enjoy them as much as I have. Andrew Rose, March 2008
The National Gramophonic Society The National Gramophonic Society (NGS) was founded in 1923 by the novelist Compton Mackenzie to promote music which was ignored by major music companies. The Society was established for the recording and publication by subscription of classical music, principally chamber music, which was of limited circulation. Prominent on the committee for the selection of material was Walter Willson Cobbett, who was joined by Spencer Dyke (leader of a string quartet), W. R. Anderson, Alec Robinson, Peter Latham and Compton MacKenzie. Cobbett (b 1847), a chamber-music specialist, had founded the Cobbett Competition in 1905 for a short form of String Quartet composition or 'Phantasy', and for other short chamber works, prizes won variously by William Yeates Hurlestone (1876-1906, pianist) (1905), Frank Bridge (1908), John Ireland (1909), J. Cliffe Forrester (1916), H. Waldo Warner (viola of the London Quartet) (1916), York Bowen (1918) and Cecil Armstrong Gibbs (1919). In 1921 he was offering further awards to Royal Academy and Royal College of Music graduates, and commissioned many new chamber works from English composers. The National Gramophonic Society was therefore an expression of this impetus to the development of the taste for modern chamber music. The records, issued on 12-inch 78rpm (or in some cases 80rpm) discs with distinctive yellow labels, included the first-ever recordings of familiar works such as the C major quintet of Schubert and Brahms's clarinet quintet, along with pieces (then relatively little known) by Henry Purcell, Vivaldi and Mozart. The organization also helped several living composers such as Ralph Vaughan Williams, Arnold Bax, Peter Warlock (first recording of The Curlew), Eugene Goossens, Arnold Schönberg (original chamber version of Verklärte Nacht) and Sir Edward Elgar to gain greater recognition for their works. The repertoire consisted largely of chamber music, featuring the Spencer Dyke Quartet and the International String Quartet, but included some works for small orchestra and a few vocal items. Musicians who took part included John Barbirolli (as both cellist and conductor), the clarinettists Charles Draper and Frederick Thurston, the oboeist Leon Goossens, the violinist Adila Fachiri, and the pianists Donald Francis Tovey, Harold Craxton, Kathleen Long and Ethel Bartlett. The NGS ceased operations in 1931. Notes from Wikipedia: http://en.wikipedia.org/wiki/National_Gramophonic_Society
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