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The Art Of Guido Cantelli - New York Concerts & Broadcasts 1949-1952


Release Date: 04/20/2004 
Label:  Music & Arts Programs Of America Catalog #: 1120   Spars Code: AAD 
Number of Discs: 12 
Recorded in: Mono 
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Notes and Editorial Reviews

When in 1949 the nearly unknown young Italian conductor Guido Cantelli appeared on the New York musician scene, everyone knew that the Toscanini epoch--already sixty-three years on--was drawing to its inevitable final cadence. Cantelli's coming, then, promised music lovers that the next generation would have a conductor of comparable rectitude; an icon worthy of continuing the Toscanini magic. Cantelli's style was, in many ways, strikingly similar to his illustrious sponsor's, and the similarity had been publicly proclaimed by the great man himself. Cantelli, however, was no mere clone and though he obviously idolized Toscanini, he gave--even at the start of his career--evidence of being a strong-willed interpreter; very much his own man. Read more His conceptions resembled Toscanini's in their rhythmic drive and clarity of outline and Latin beauty of sonority, but they were often more lyrical in their pacing, more coloristic in nuance. Furthermore, while both conductors inevitably shared many of the same repertory preferences, Cantelli's programming from the start displayed an adventurousness not to be found in Toscanini's broadcasts of his later years. On the one hand, he showed an affinity for works of the twentieth century. During his first American visit, he gave us Hindemith's symphony Mathis der Maler and Bartók's Concerto for Orchestra. On his second NBC engagement, he programmed Stravinsky's Chant du Rossignol. And during that second year, he served notice of another important departure from Toscanini's accustomed repertory--the broadcast of January 14, 1950 began with four lovely organ pieces of Frescobaldi, stunningly orchestrated by the Italian composer and Baroque specialist, G.F. Ghedini, a teacher of Cantelli who fostered in the young Guido a deep commitment to early Italian music-- including the then still rarely heard Corelli, Vivaldi, Geminiani and the two Gabrielis (Andrea and his nephew, Giovanni) who became "constants" of Cantelli's program building. And listeners to the Cantelli broadcasts discovered that they sometimes heard works of the standard literatures that Toscanini had never performed (Cantelli's marvelous reading of the Tchaikovsky Fourth Symphony on Christmas Eve 1949, preserved in this anthology, is a case in point). Read less

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