Composer: Leopold Stokowski
Works: Beethoven: Symphony No. 6 “Pastoral”; Mozart: Sinfonia Concertante in E-flat major K297b
Performers: Marcel Tabuteau, oboe; Bernard Portnoy, clarinet; Sol Schoenbach, bassoon; Mason Jones, horn; Philadelphia Orchestra (Mozart); New York City Symphony Orchestra (Beethoven)
Recording: 1940 (Mozart); 1945 (Beethoven)
Label: CALA CACD 0523
Leopold Stokowski’s contributions to the orchestral repertoire, particularly through his interpretations of Mozart and Beethoven, have often sparked debate among critics and aficionados alike. This particular collection, which juxtaposes Beethoven’s “Pastoral” Symphony with Mozart’s Sinfonia Concertante for winds, offers insights not only into Stokowski’s interpretative choices but also into the rich textures and colors he brings to these masterworks. Recorded in the mid-20th century, the performances embody a period when orchestral sound was evolving, lending an intriguing historical context to the listening experience.
Stokowski’s 1940 recording of the Sinfonia Concertante showcases the Philadelphia Orchestra’s winds in a manner that is both nuanced and cohesive. The ensemble’s principal players—particularly oboist Marcel Tabuteau and clarinetist Bernard Portnoy—deliver performances that are marked by a remarkable blend of technical precision and expressive lyricism. Tabuteau’s oboe resonates with a beautifully shaped tone, effortlessly weaving through Mozart’s intricate melodies, while Portnoy’s clarinet playing is characterized by a limpid clarity and a flexibly phrased interpretation that adds a delightful warmth to the ensemble’s sound. The interplay among the winds is seamless, with the textures crafted by Stokowski allowing for individual voices to shine without overshadowing one another. This recording stands as a distinguished reading, one that pays homage to the collaborative nature of chamber music within the orchestral setting.
The 1945 recording of Beethoven’s “Pastoral” Symphony with the New York City Symphony Orchestra reveals Stokowski’s masterful command over orchestral dynamics and pacing. This performance is particularly notable for its ability to balance tension and relaxation, a quality that is essential to the symphony’s narrative arc. The first movement unfolds with a fleetness that invigorates, contrasting with the “Scene by the Brook,” where Stokowski takes a leisurely yet purposeful approach. At sixteen minutes, this section may displease listeners who favor brevity, yet it embodies a deeply held conviction that reflects the pastoral theme—an invitation to linger in nature’s serenity. The phrasing is rich with subtleties, illustrating Stokowski’s interpretative idiosyncrasies, which, while occasionally provocative, are deeply engaging and thought-provoking.
The engineering quality of these recordings merits commendation, with CALA’s remastering ensuring clarity and warmth, allowing the listener to fully appreciate the rich tonal palette of the orchestras. The sound captures the vibrant woodwinds and the lush string sections with a fidelity that enhances the overall listening experience. Compared to other notable recordings, particularly those by conductors like Herbert von Karajan or Leonard Bernstein, Stokowski’s interpretations offer a unique blend of spontaneity and a deep-rooted emotional connection to the music, often at the expense of traditional tempo and phrasing norms.
this collection serves as a robust testament to Stokowski’s interpretative vision and his ability to illuminate the distinct characters of both Beethoven and Mozart. The performances reveal a conductor unafraid to explore the emotional depths of these works, providing listeners with a rich tapestry of sound that is both historically resonant and artistically compelling. Stokowski’s legacy as a transformative figure in classical music is vividly illustrated in these recordings, affirming his place among the great interpreters of the repertoire.
