Composer: Leopold Stokowski
Works: Schubert: Symphony No. 8 “Unfinished”; Wagner: Forest Murmurs from Siegfried; Brahms: Symphony No. 1
Performers: All-American Youth Orchestra (Schubert); Hollywood Bowl Symphony Orchestra (Wagner, Brahms)
Recording: Schubert – July 1941; Wagner – August 1946; Brahms – August 1945
Label: Cala CACD 0520
Leopold Stokowski, a figure synonymous with orchestral color and interpretive boldness, here presents a diverse program that traverses the romantic landscape from Schubert’s poignant “Unfinished” Symphony to Brahms’s monumental First Symphony, interspersed with Wagner’s lush “Forest Murmurs.” This collection, recorded over five years in the mid-20th century, not only showcases Stokowski’s distinctive conducting style but also reflects the evolving capabilities of the orchestras he founded—the All-American Youth Orchestra and the Hollywood Bowl Symphony Orchestra—during a transitional period in American classical music.
The “Unfinished” Symphony is perhaps the most contentious of the three works presented. Recorded in 1941 with the All-American Youth Orchestra, its performance leans heavily into Stokowski’s penchant for expressive, sweeping gestures. While the orchestral forces are undoubtedly talented, the recording lacks the crystalline clarity achieved in his earlier 1927 Philadelphia Orchestra version. The string tone, though lush, often veers into an overemphasis that dulls the work’s inherent contrasts. Stokowski’s penchant for dramatic phrasing is evident, but it borders on self-indulgence, particularly in the first movement. The interpretative choices, while bold, result in a lack of the structural integrity that defines Schubert’s work; the phrasing feels at times too comfortable, lacking the tension that typically propels this music forward. The sound quality, taken from lacquer originals, exhibits some surface noise, contributing to a somewhat muted listening experience.
Shifting to Wagner’s “Forest Murmurs,” Stokowski captures the essence of nature’s tranquility with a robust yet tender orchestral palette. The Hollywood Bowl Symphony Orchestra, comprised of elite studio musicians, provides a rich tapestry of sound that complements Stokowski’s vision. The performance here is marked by a seamless integration of woodwinds and strings, expertly balancing the lushness of Wagner’s score with the intimacy of the moment. This interpretation stands as a strong contrast to the Schubert, showcasing Stokowski’s ability to maintain architectural coherence while infusing the music with his characteristic vibrancy.
The Brahms First Symphony, recorded in 1945, reveals both the strengths and weaknesses of Stokowski’s interpretative choices. The slow movement is a highlight, characterized by a superbly realized string cantilena that captures the emotional depth of Brahms’s writing. Stokowski’s approach to the symphony is undeniably dramatic, with a propensity for unmarked accelerandos that, while exhilarating, can disrupt the flow and coherence of the overall structure. In the finale, this tendency for tempo manipulation leads to a certain disjunction, compromising the symphonic architecture that Brahms so meticulously crafted. The performance is undeniably alive, showcasing Stokowski’s ability to extract a wide range of tonal colors from the orchestra, but it raises questions about interpretative fidelity in the face of personal vision.
The technical quality of the recordings varies, with the earlier Schubert suffering most from the limitations of its time, while the Brahms and Wagner pieces benefit from clearer engineering standards. However, the overall sound can feel somewhat constricted, failing to fully capture the orchestral brilliance that Stokowski often achieved in live performances.
This collection offers an intriguing glimpse into Stokowski’s artistry during a pivotal era in American classical music. The performances, though marked by moments of interpretive brilliance, are often undermined by a tendency toward excess. While the recordings are undoubtedly of historical interest and showcase the evolution of orchestral performance in America, they also illustrate the fine line between interpretative freedom and structural integrity. The listener is left with a sense of admiration for Stokowski’s vision, tempered by a recognition of the complexities within his interpretive choices.