Composer: Leopold Stokowski
Works: Toccata and Fugue in D minor BWV 565, Ein feste Burg Mein Jesu BWV 487, Little Fugue in G minor BWV 578, Komm süsser Tod BWV 478, Air on the G string – Orchestral Suite No 3 BWV 1068, Preludio in E Violin Partita BWV 1006, Arioso – Cantata 156, Prelude in E flat minor Andante Sostenuto, Violin Sonata BWV 1003, Passacaglia and Fugue in C minor BWV 582
Performers: The All-American Youth Orchestra, Leopold Stokowski (conductor)
Recording: 1940-41
Label: CALA 0527
The legacy of Leopold Stokowski is inextricably linked to his imaginative and often controversial transcriptions of J.S. Bach’s works. The recordings presented here, featuring the All-American Youth Orchestra from 1940-41, capture Stokowski’s unique vision at a pivotal moment in American orchestral history. Formed from a mix of young talent and seasoned players from the Philadelphia Orchestra, this ensemble was a testament to Stokowski’s charisma and artistry, despite its brief existence, ultimately disbanded due to the onset of World War II. The present disc compiles the entirety of their Bach transcriptions, showcasing both Stokowski’s skill in reinterpreting the Baroque master and the orchestra’s fresh vibrancy.
Stokowski’s interpretive choices are audacious and illuminating. The Toccata and Fugue in D minor, perhaps the most iconic of these transcriptions, is distinguished by its vivid orchestral colors and dynamic contrasts. The layering of strings and brass creates a rich tapestry of sound, while the sharp delineation of the fugue subject demonstrates Stokowski’s inherent understanding of Bach’s contrapuntal intricacies. The slow tempo of Ein feste Burg Mein Jesu reveals a seamless melodic line, where Stokowski’s control over phrasing allows for an almost operatic expression, particularly in its climactic moments. The use of portamenti in the Air on the G string adds a lyrical fluidity that transcends the typical interpretations, underscoring the emotive potential of the music.
The recording quality is commendable, especially given the historical context. The engineering captures the orchestra’s sound with remarkable clarity, allowing the nuances of Stokowski’s orchestration to shine through. The balance between sections—woodwinds placed directly in front of the conductor, with strings behind and brass to the sides—enhances the overall spatial dynamics. The warmth of the strings and the clarity of the woodwinds are particularly striking in the Arioso from Cantata 156, where the textural interplay is rendered with exquisite sensitivity.
When compared to his earlier RCA recordings, these performances reveal a freshness and spontaneity that is often absent in more polished later interpretations. The youthful exuberance of the All-American Youth Orchestra, combined with Stokowski’s unorthodox but effective seating arrangement, yields a performance that feels both immediate and alive. The Passacaglia and Fugue in C minor stands out as a masterclass in orchestral color, with Stokowski utilizing his alternate string and woodwind sectional writing to great effect, captivating the listener with its dynamic ebb and flow.
This collection is not merely a historical artifact but a vital component of Stokowski’s artistic legacy. It challenges preconceived notions of Bach’s music, inviting audiences to experience these familiar works anew. The authority of Edward Johnson’s liner notes complements the recordings well, providing insight into the conductor’s methodologies and the ensemble’s brief yet impactful journey. For those familiar with Stokowski’s Bach transcriptions, this disc offers a treasure trove of interpretative depth and a reminder of the vibrant orchestra he shaped, marking an era that still resonates within the fabric of American classical music.
