As the notes to this
welcome release make clear Stokowski
had never conducted The Four Seasons
before the Phase Four series of LPs
of which this is so engaging an example.
He, soloist Hugh Bean and the New Philharmonia
went to the BBC’s Maida Vale studios
and taped it for later broadcast (in
the end it wasn’t until 1968 that it
hit the airwaves), recording it the
following day. The late Hugh Bean has
recalled that it was in the can in one
session – Stokowski remaining the professional
to his batonless fingertips.
He used the Malipiero
edition, a tradition reaching back to
the first recording of the work, by
Molinari in 1940. Smaller bands, such
as Boyd Neel’s, had been experimenting
with lighter textures from the 1930s
onwards but by 1966, as now, catholicity
reigned with regard to size, ornamentation
and textual matters. One of the most
obvious examples of Stokowski’s approach
is his string moulding, especially the
basses (sample the Allegro of Spring)
and the big contrasts between forte
and piano – dynamics are in a series
of constant terracing and mobility.
Elasticity of phrasing is here, certainly,
but the effect is natural sounding and
expressive within the traditions of
a romantic approach. Echo effects are
pressed home to good effect – try the
final movement of Spring - and the recording
set up is expertly employed to cope
with the harpsichord, cello and violin
solos in the Allegro non molto of Summer;
a well balanced and judiciously adjudged
spatial set up as well. In the same
season’s Presto finale we hear the string
entry points lapping like waves but
also the unadorned, unvarnished and
unornamented Largo of Winter. One could
point to the Loveday/ASMIF/Marriner
recording as being the exemplar of sensitivity
here, but the noble simplicity of the
Bean/Stokowski reading, with its share
of expressive diminuendi and forceful
orchestral pizzicati, command admiration.
The sessions for Messiah
seem to have run on a similarly business-like
basis. There were apparently balance
checks but no extensive rehearsals –
if indeed there was much of a rehearsal
at all, though obviously there would
have been run throughs for the soloists.
Again Stokowski eschews exaggeration.
The tempo is relatively slow though
not unconscionably so. As with Vivaldi
Stokowski encourages well-moulded string
lines, as well as a characteristically
veiled tone (especially in the Pastoral
Symphony). His singers are in decent
form; Bowen is rather lean voiced though
able, Cameron is light voiced if agile,
Armstrong sustains I know that my
Redeemer liveth at an Isobel Baillie/Malcolm
Sargent type of tempo and Norma Proctor
is fine. Stokowski aims at legato phrasing
and the long line; occasionally he puts
up the soprano line (listen to Hallelujah
and the final Amen), one presumes the
better to cut through with added brilliance
and brightness. Otherwise it’s quite
a straight and narrow performance by
his lights.
Phase 4 paid dividends
in this brace of recordings; warm, deep,
rich. Notes by Edward Johnson are up
to his usual elucidatory standard. Admirers
of the conductor won’t hesitate; even
detractors might like to lend an ear.
Jonathan Woolf
Recordings warm, deep,
rich. Admirers of Stokowski won’t hesitate;
even detractors might like to lend an
ear. ... see Full Review
Sheila Armstrong (soprano)