Modest MUSSORGSKY (1839-1881) Pictures at an Exhibition (1874, orch. Ravel 1923) [29:28] Khovanshchina: Prelude (1872-1880) [4:50] Khovanshchina: Dance of the Persian Slaves (1872-1880) [6:38] Gunther SCHULLER (1925-2015) Seven Studies on Themes of Paul Klee (1959) [21:16] Richard STRAUSS (1864-1949) Don Juan, Op. 20 (1888) [16:28]
Minneapolis Symphony Orchestra/Antal Dorįti
rec. Northrop Memorial Auditorium, Minneapolis, December 1958 (Strauss), April 1959 (Mussorgsky), April 1960 (Schuller) MINUET 428411 [78:42]
All right. Now I get it.
When I began exploring classical recordings, I was constantly reading
about the realistic sound quality of the "Living Presence"
series issued by Mercury Records. I never quite understood this: those
harsh, top-heavy recordings struck me as the stereophonic equivalent
of AM radio, an impression that remained as I upgraded from a three-piece
unit to a real component rig. The Mercury "Golden Imports"
reissues of the 1970s offered smoother, fuller sound on silky imported
vinyl, but still did not jump out as superior. In the 1990s, various
CD and "super-LP" incarnations appeared, bringing variable
benefits: on the complementary issues of Stravinsky's Firebird,
each format highlighted different details!
Now, with this Minuet reissue of several Living Presence productions,
I finally understand the fuss. From the opening notes of Pictures,
we hear beautiful clear stereo, with crisp, pinpoint definition; clear
textures; and real roundness and depth in the big brass chords, notably
in the first Promenade and in Catacombae. A touch
of grain remains in the high violins; clearly, this inhered in the playing
rather than the recording. In the Khovanshchina Prelude, the
poised, eloquent woodwinds are precisely placed. Only in the final climactic
tutti of The Great Gate of Kiev does a hard, relentless
treble fatigue the ear.
The remastering also allows us to reassess conductor Antal Dorįti, whose
extensive early work for Mercury frequently came off, on vinyl, as unpleasantly
tense and driven. In these fuller, better-balanced transfers, his approach
sounds tensile, which is not a bad thing, and offers a fresh
take on the now-ubiquitous Pictures. All three of the Promenades,
representing the viewer's progress through the gallery, move
with a firm gait: the third, usually played pensively, now sounds disturbed,
as if the viewer were anxious to move on to the next picture. The rocking
6/8 of The Old Castle flows so easily as almost to catch the
saxophone soloist off-guard; Bydlo moves steadily, properly
"in two," while heavily enough to suggest the trudge of the
ox-cart. The cheerful movements --Tuileries, Limoges,
and the chicks' ballet -- are crisp, graceful, and transparent.
Finally, Cum mortuis in lingua mortua -- which can bring an
aimless lull to even the best performances -- is now clearly audible
as in triple time, and sounds unusually purposeful.
In LP days, Pictures and the two expressive Khovanshchina
excerpts constituted a program of acceptable if short duration. For
this issue, Minuet have fitted it out with other Dorįti recordings.
Gunther Schuller's Seven Studies on Themes of Paul Klee,
premiered by this orchestra and conductor, is "abstract,"
as befits the artist who inspired it: neither clearly tonal nor off-the-wall
dissonant. Stravinsky's influence is recognizable in the paired
woodwinds straight out of Petrushka in the Abstract Trio,
and in the jazzy riffs over walking bass in Little Blue Devil,
and these passages are the most effective. The dissonant clusters and
angular chords of the opening movement, Antique Harmonies,
now sound generically "modern," while An Eerie Moment
takes in the stock gestures of "menacing" television soundtracks.
Don Juan, like Pictures, receives a taut, dynamic
performance; Dorįti lays out leading voices and secondary accompaniment
figures with unusual clarity. The sound is more tightly focused here
than in the other, later recordings, though the string tone is drier,
and the trumpets have a shallow, "pasted-on" quality similar
to that on mid-fi digital productions. The pizzicatos call attention
to the slightly boomy bass, and a splice at 4:14 hasn't quite
been concealed. Some mild rumble at 7:45 suggests that
the current producers' source was a clean but not quite immaculate
LP, rather than an original master tape.
The booklet includes a biographical note on the conductor along with
the original program notes from Mercury SR 90217, the Mussorgsky program,
but nothing at all about the makeweights. It also bills the movements
of Pictures in French, which may confuse Anglophones.
Stephen Francis Vasta Stephen Francis Vasta is a New York-based conductor, coach, and
Founding Editor Rob Barnett Senior Editor
John Quinn Seen & Heard Editor Emeritus Bill Kenny Editor in Chief
Vacant MusicWeb Webmaster
David Barker MusicWeb Founder Len Mullenger