Composer: Leopold Stokowski
Works: Aurora’s Wedding (from Tchaikovsky’s The Sleeping Beauty), Clair de lune, Night in Granada (Debussy), Festival in Seville (Albeniz), Perpetuum Mobile (Novacek), Prelude in E Flat minor (Shostakovich), The Flight of the Bumble-Bee (Rimsky-Korsakov), Mazurka in B flat minor, Prelude in D minor (Chopin)
Performers: National Philharmonic Orchestra, conducted by Leopold Stokowski
Recording: West Ham Central Mission, London, May and July 1976
Label: CALA CACD 0529
Leopold Stokowski, a titan of 20th-century conducting, is perhaps best known for his colorful orchestral transcriptions and arrangements that brought a new life to the classical canon. The compilation “Stokowski Encores” offers a rich tapestry of works, showcasing not only his conducting genius but also his deft ability to transform existing compositions into vibrant orchestral experiences. Recorded in the twilight of his career at the age of 94, this collection serves as a testament to his enduring artistry and deep understanding of the music he cherished.
The performance of Tchaikovsky’s Aurora’s Wedding, edited by Serge Diaghilev, reveals Stokowski’s meticulous attention to the nuances of ballet music. The National Philharmonic Orchestra, an ensemble of skilled musicians, delivers a performance that is both technically astute and lyrically expressive. Stokowski’s interpretive choices, particularly in the way he shapes the dynamic swells and delicate passages, underscore his affinity for ballet music, making this recording one of the most compelling interpretations of the piece. The lushness of the strings, combined with Stokowski’s characteristic rubato, breathes life into the divertissements of Act Three, effectively capturing the essence of the original choreography.
Debussy’s Clair de lune and Night in Granada exemplify Stokowski’s flair for color and texture. The orchestration of Clair de lune, with its harp arpeggios and the shimmering presence of the vibraphone, creates a dreamlike soundscape that is both haunting and ethereal. Notably, at 2:17, the first violins radiate a polished sheen, showcasing Stokowski’s ability to balance orchestral layers while allowing individual voices to shine through. The Night in Granada, on the other hand, is marked by sultry inflections, with a muted trumpet weaving a haunting melody that is complemented by the bassoon’s rich timbre at 5:30. These moments illustrate Stokowski’s unique capacity to evoke a wide range of emotions through orchestration and dynamics.
Isaac Albeniz’s Festival in Seville is transformed under Stokowski’s baton into a vibrant and exuberant celebration. The rhythmic vitality is palpable, as the strummed pizzicato from the cellos forms a lively backdrop for the cor anglais, muted trumpet, and trombones. This orchestration, crafted in 1925, exemplifies Stokowski’s penchant for maximalist color palettes, and the result is a sonic experience that is both exciting and grandiose. In contrast, Novacek’s Perpetuum Mobile, often viewed as a showcase for violinists, is reimagined with added wind, brass, and percussion, producing an exhilarating ride that captivates the listener. The closing of this transcription, where Stokowski hushes the violins, reveals a conductor in command of both the material and the ensemble, creating a moment of suspense.
Shostakovich’s Prelude, a somber meditation, benefits from Stokowski’s deep respect for the score. His orchestration adds a layer of gravitas that underscores the work’s emotional depth. The addition of a xylophone in Rimsky-Korsakov’s The Flight of the Bumble-Bee serves to heighten the frenetic energy, demonstrating Stokowski’s ability to infuse traditional works with innovative touches. In Chopin’s Mazurka and Prelude, Stokowski’s orchestrations are rich in texture, with the trumpet interjections and portamento from the lower strings adding a dramatic flair that enhances the inherent expressiveness of Chopin’s music.
The sound quality of this recording, made in the unassuming setting of the West Ham Central Mission, is surprisingly robust, with a well-balanced mix that allows the various instrumental colors to emerge clearly. The engineering captures the vibrant sound of the orchestra, ensuring that each nuance of Stokowski’s interpretation is effectively conveyed.
This collection stands as a remarkable representation of Stokowski’s late-career vitality and his unyielding dedication to interpreting and transforming classical music. Each piece is imbued with a sense of urgency and charm, providing not only a feast for the ears but also a window into the conductor’s soul. The synergy between Stokowski and the National Philharmonic Orchestra creates an exhilarating listening experience that feels both historically significant and timeless, solidifying its place among the most treasured recordings of orchestral music.
