Composer: Leopold Stokowski
Works: Two Ancient Liturgical Melodies: Veni Creator Spiritus and Veni Emmanuel; Spanish Dance from La Vida Breve; Gypsy Dance Op. 55 No. 5 “Sacred Mountain”; The Raven; Etenraku – Ceremonial Japanese Prelude; The Legend of the Arkansas Traveller; Dance of the Workers; Rhumba from Symphony No. 2; Bali – Symphonic Variations; Concerto for Two Pianos and Orchestra; Manhattan Beach; El Capitan
Performers: Philadelphia Orchestra; Alexander Hilsberg, violin; Jeanne Behrend and Alexander Kelberine, pianos; Benjamin de Loache, narrator
Recording: Various performances recorded between 1929 and 1940
Label: TESTAMENT
Leopold Stokowski’s contributions to the orchestral landscape remain a vibrant chapter in classical music history, characterized by his innovative interpretations and orchestral colorations. This release, a compilation of rarities from his tenure with the Philadelphia Orchestra, showcases a diverse repertoire that resonates with both historical significance and artistic flair. Stokowski’s penchant for rich textures and dramatic contrasts is evident across these selections, each demonstrating his unique ability to breathe life into both familiar and obscure works.
The opening pieces, Stokowski’s arrangements of the liturgical melodies “Veni Creator Spiritus” and “Veni Emmanuel,” are profound statements of his orchestral vision. The arrangements exhibit a masterful control of dynamics, with the deep, resonant basses providing a foundation that supports the swelling brass and ethereal violin lines. The seamless execution of melodic threads reflects a deep understanding of orchestral balance, showcasing the Philadelphia sound that Stokowski meticulously cultivated. This lush orchestration is not merely a backdrop but an active participant in the liturgical narrative, creating an immersive auditory experience.
Stokowski’s interpretations of Manuel de Falla’s and Joaquín Turina’s dances are particularly noteworthy for their rhythmic vitality and fluidity. The Spanish Dance from “La Vida Breve” is imbued with a galvanizing energy, the orchestra’s articulation capturing the essence of Spanish folkloric dance. Similarly, Turina’s “Gypsy Dance” benefits from Stokowski’s command of dance rhythms, which he renders with a flexibility and exuberance that invigorate the listener. These performances highlight Stokowski’s enduring reputation as a superb exponent of rhythmic nuance.
The inclusion of Arcady Dubensky’s “The Raven,” narrated by Benjamin de Loache, adds a fascinating layer to this collection. The piece, a melodeclamation that vividly translates Edgar Allan Poe’s haunting text into sound, is drenched in Tchaikovskian echoes, with supernatural arpeggios that shimmer and evoke a palpable sense of dread. De Loache’s narration is compelling, his voice resonating against the orchestral backdrop, which Stokowski shapes with a blend of sensitivity and dramatic intensity. This recording, originating from an era of rare Picture Records, sheds light on Stokowski’s innovative approach to multimedia performance.
The exotic allure of Hidemaro Konoye’s “Etenraku” provides a compelling contrast, showcasing Stokowski’s fascination with Eastern music. The orchestration is lush and evocative, presenting a hypnotic depiction of ceremonial Japanese traditions. Stokowski’s interpretation renders Konoye’s work with a delicate precision, allowing the inherent beauty of the melodies to unfold organically. The soundscape here is a testament to Stokowski’s ability to transcend cultural boundaries through orchestral color.
Harl McDonald’s contributions, particularly “The Legend of the Arkansas Traveller,” encapsulate a sense of Americana, replete with folk motifs that are playfully rendered by the orchestra. The inclusion of the “Rhumba” from the Second Symphony adds a spirited flair, showcasing Stokowski’s knack for energetic performances that are both technically adept and thoroughly entertaining. The orchestral incident throughout McDonald’s works is engaging and well-proportioned, reflecting a composer whose works complement Stokowski’s dynamic style.
Henry Eichheim’s “Bali” presents a more complex blend of Orientalism and Western orchestral traditions. While the thematic material is richly evocative, the structural integrity occasionally falters amidst the intricate tapestry of gamelan motifs and Western orchestral elements. Nonetheless, Eichheim’s adeptness in weaving cultural motifs remains evident, even if the fusion lacks full cohesion.
The recording quality, while occasionally exhibiting the limitations of its time, nonetheless captures the essence of Stokowski’s interpretations. The sonic landscape is vibrant, allowing the listener to appreciate the nuances of orchestral color and dynamic contrasts, though some may find the absence of matrix or issue numbers a notable oversight in this historical compilation.
This collection of Stokowski’s Philadelphia rarities is a treasure trove for enthusiasts and newcomers alike, offering a glimpse into the conductor’s genius and the fertile musical landscape of the early 20th century. Each piece serves not only as a testament to Stokowski’s artistry but also as an invitation to explore a rich tapestry of musical heritage that continues to resonate today. The recordings stand as a celebration of Stokowski’s legacy, encapsulating the vibrant spirit of his era while inviting listeners to experience the timeless beauty of orchestral music.
