Notes and Editorial Reviews
A good example of Scherchen’s sensitive exploration of the repertory and is heard in a fine transfer.
Record companies are slowly getting to grips with the history of the
Four Seasons on disc. Molinari’s pioneering account, re-clothed for string orchestra
sans soloist, has appeared on an Italian label, and the first ever recording of the "real deal" by the sumptuous Louis Kaufman has recently been issued by Naxos. An off-air Campoli performance with Boyd Neel has come out on Pearl. To these the inquisitive fiddle-fancier can now add Doremi’s restoration of Berlin-born Julian Olevsky’s recording of the entire cycle of twelve concertos that make up Op.8 [Doremi DHR 7837/38].
circa 1954 with no less than Hermann Scherchen on the podium this is a rare opportunity to hear a most impressive talent, one whose career never really breached the upper echelons of the performing circuit and whose recordings have never achieved wide recognition. Yet thanks to Doremi we can now experience the complete cycle of Mozart sonatas for piano and violin and the Bach Sonatas and Partitas. In the release under question Tahra has chosen
The Four Seasons from the Op.8 set, coupling it with the
Olevsky was of Russian origin but was born in Berlin in 1926 moving to Argentina in 1935. There he studied with a violinist of distinction, if somewhat retrogressive technical equipment by then, Alexander Petschnikoff. Moving to America after a debut with Fritz Busch he made a number of discs for Westminster, had a good if unspectacular career and proved a good teacher. He died aged only fifty-nine in 1985.
He was about twenty-eight when he went to Vienna to record the Vivaldi, accompanied by the Vienna State Opera Orchestra and Scherchen.
It’s an uneven set. Olevsky was a fine player, elegant, warm if not opulently toned, and one who seldom had recourse to portamenti though he certainly did to expressive diminuendi. His contribution is fine if not especially personalised; I don’t think you’d note any distinguishing characteristics. Which is not to say that his playing is cool or uninteresting; on the contrary. The dominant force however is Scherchen. He makes sure the harpsichord is prominent throughout and certainly brings out some "interesting" harmonies in the slow movement of
Spring – see-sawing strings, desolate middle voicings. His finale is also relatively slow and the tuttis don’t really register, which may be a fault of the recording. The conductor insists on quite a bit of rubato in the opening of
Summer and devitalised speeds for the slow movements of this and
Autumn, albeit Scherchen explores the melodic and harmonic implications of
Autumn’s slow movement with real sagacity. There’s good bass pointing in the same concerto’s finale with fine instrumental exchanges but the opening of
Winter now sounds merely dogged. Its slow movement must be one of the most heroically badly recorded in history. What possessed the engineers, or Scherchen, or Olevsky to allow the orchestral string pizzicatos almost entirely to obliterate Olevsky’s solo line? So a very uneven listening experience. Olevsky is a pleasing soloist, well mannered, technically eloquent, tonally accomplished, just without being able to assert much personality on the proceedings.
Gloria shows Scherchen’s strengths in vocal music. Though by this time the weight of the choral contribution was coming to be seen to be a little ripe, nevertheless the sense of commitment is palpable. Scherchen encourages brisk punctuating brass in the opening movement, and an expressive slow tempo for
Et in terra pax hominibus, the strings bringing a relatively lightly burnished colour to the music’s texture.
Laudamus te is taken at a stately tempo, whilst there’s lovely phrasing in the
Domine Deus. The vitality of the jog-trotting
Domine Fili is also fine, the organ contribution especially in the
Qui tollis also notable. The three soloists make a notably fine contribution.
This is a good example of Scherchen’s sensitive exploration of the repertory and is heard in a fine transfer. Tahra’s work is decidedly better than Doremi’s in
The Four Seasons, being possessed of greater definition and clarity.
-- Jonathan Woolf, MusicWeb International
Works on This Recording
Gloria in D major, RV 589 by Antonio Vivaldi
Sonja Draxler (Mezzo Soprano),
Mimi Coertse (Soprano),
Ina Dressel (Soprano)
Vienna State Opera Orchestra
Written: Venice, Italy
Date of Recording: 1960
Gloria, RV 589: Gloria in excelsis Deo
Gloria, RV 589: Et in terra pax hominibus
Gloria, RV 589: Laudamus te
Gloria, RV 589: Gratias agimus tibi
Gloria, RV 589: Propter magnam gloriam
Gloria, RV 589: Domine Deus
Gloria, RV 589: Domine Fili
Gloria, RV 589: Domine Deus
Gloria, RV 589: Qui tollis peccata mundi
Gloria, RV 589: Qui sedes ad dextera
Gloria, RV 589: Cum sancto Spiritu
Il cimento dell?armonia e dell?inventione: Le Printemps, en mi majeur, RV 269
Il cimento dell?armonia e dell?inventione: L?Eté, en sol mineur, RV 315
Il cimento dell?armonia e dell?inventione: L?Automne, en fa majeur, RV 294
Il cimento dell?armonia e dell?inventione: L?Hiver, en fa mineur, RV 297
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