Composer: Leopold Stokowski
Works: Sinfonia Concertante in E-flat major K297b (Mozart); Symphony No. 6 “Pastoral” (Beethoven)
Performers: Marcel Tabuteau (oboe), Bernard Portnoy (clarinet), Sol Schoenbach (bassoon), Mason Jones (horn), Philadelphia Orchestra (Mozart); New York City Symphony Orchestra (Beethoven)
Recording: Recorded 1940 (Mozart); 1945 (Beethoven)
Label: CALA CACD 0523
Leopold Stokowski, a conductor whose name is synonymous with innovation and theatricality in orchestral music, offers a fascinating lens through which to view Mozart and Beethoven. This collection juxtaposes the warmth and pastoral serenity of Beethoven’s Sixth Symphony with the intricate wind textures of Mozart’s Sinfonia Concertante, showcasing Stokowski’s interpretative prowess and deep understanding of both composers. The recordings, made in the 1940s, encapsulate a transitional period in American classical music, reflecting both the influence of European traditions and the burgeoning identity of American orchestras.
Stokowski’s 1940 recording of Mozart’s Sinfonia Concertante stands out for its remarkable orchestral blend and the virtuosic contributions of its wind principals. The ensemble, led by the esteemed oboist Marcel Tabuteau, delivers a performance characterized by nuanced phrasing and a fluidity that is particularly engaging. Bernard Portnoy’s clarinet playing is a highlight, marked by a limpid, metrically flexible approach that enhances the work’s lyrical qualities. The seamless integration of the individual voices allows for a rich tapestry of sound, where the textures are pliant and the inflections subtle—conveying the inherent charm of Mozart’s writing. The recording quality captures this delicate interplay beautifully, presenting the winds with clarity and depth, a testament to the engineering of the era.
In contrast, the 1945 recording of Beethoven’s “Pastoral” Symphony reveals Stokowski’s ability to evoke the natural world through orchestral color and dynamic contrast. The first movement is notably brisk, ushering listeners into its idyllic setting with a sense of immediacy. Yet it is the subsequent “Scene by the Brook” that elicits a strong response; Stokowski’s expansive approach, which stretches the duration to sixteen minutes, may challenge conventional listeners but succeeds in creating an immersive experience that draws one into the symphonic landscape. The subtle shifts in tempo and phrasing, particularly in the third movement, underscore the pastoral themes, revealing the conductor’s idiosyncratic yet deeply felt interpretation. The sound quality of this recording is commendable, with a balanced orchestral texture that allows for both the grandeur of the full ensemble and the intimacy of individual dialogues.
Comparatively, while many contemporary performances of these works strive for precision and clarity, Stokowski’s readings resonate with a romantic expressiveness that can feel both refreshing and contentious. His interpretative choices, particularly in the “Pastoral,” draw on the emotional depth of the score, inviting listeners to engage with the music on a visceral level. While some might argue that his approach lacks the crispness found in other renowned recordings, such as those by Herbert von Karajan or Leonard Bernstein, Stokowski’s artistry lies in his ability to evoke a profound emotional response, making each performance uniquely compelling.
This collection of Stokowski’s recordings serves as a powerful reminder of his artistic legacy and the enduring appeal of both Mozart and Beethoven. The interpretative depth, combined with the technical mastery of the Philadelphia Orchestra and the New York City Symphony, creates a listening experience that is rich in color and emotion. Stokowski’s contributions to these masterpieces affirm his place in the pantheon of great conductors, revealing layers of meaning in works that have resonated through the centuries. The recordings stand not just as historical artifacts but as vibrant interpretations that continue to inspire.
