C1239. AMERICAN RARITIES, Vol.III, incl. WALTER HENDL Cond. NYPO: Symphony #3 (Mennin), Live Performance, 28 Feb. 1947, (World Première); BERNARD HERMANN Cond. Columbia S.O., w.LOUIS KAUFMAN: Violin Concerto in A (Bennett); Hebrew Melody (Achron), 21 March, 1945, from CBS Invitation to Music; ARTHUR KREUTZ, w.Nelson Whitaker (Pf.): Violin Concerto (Played by the Composer). (Canada) St Laurent Studio YSL 78-168, (from rare existing copies, albeit with occasional technical flaws). Transfers by Yves St Laurent.
“WALTER HENDL won the New Jersey State Piano Competition in 1936 and entered the Curtis Institute of Music in Philadelphia the next year. His breakthrough came in 1941, when Serge Koussevitzky trained him as a conductor at the Tanglewood Music Festival . Mr. Hendl joined the New York Philharmonic, where he became assistant conductor in 1945. He went to the Dallas Symphony Orchestra as music director in 1949, touring extensively and conducting premieres of works by composers including Bohuslav Martinu, Heitor Villa-Lobos and Virgil Thomson. After leaving the Eastman School of Music, he joined the conducting faculty of the Juilliard School in Manhattan.”.
- THE ASSOCIATED PRESS, 16 April, 2007
“LOUIS KAUFMAN was the walking definition of a Renaissance man. A violinist of prodigious skill, he could have made his way quite well in the classical music world, and, in fact, did so for many years; but Kaufman also kept active in the fields of popular music and jazz, as well as film music, working with such diverse figures as Duke Ellington, Nancy Wilson, Randy Newman, and Quincy Jones, as well as performing on many hundreds of film scores, all of this in addition to his work with the likes of Pablo Casals, Mischa Elman, Fritz Kreisler, Jascha Heifetz, and Gregor Piatigorsky. He studied the violin at the Institute of Musical Art in New York, where his principal teacher was Franz Kneisl. At 21, he became a founding member of the Musical Art Quintet, and at 23 he received the Naumberg Award and made his recital début at New York's Town Hall later that same year.
Kaufman remained busy well into the 1960s and 1970s, and in 2004, a decade after Kaufman's death, those 1940s recordings of Vivaldi's FOUR SEASONS were re-released on compact disc by Naxos Records to great critical acclaim, in the process putting Kaufman back into the pages of The New York Times and other publications of record.”
- Bruce Eder, allmusic.com
“In 1934 HERMANN began conducting and scoring for the CBS radio network. He developed a gift for quick evocation of a situation or psychological state with very short musical gestures such as a repeating note pattern, a chord, or a shift in color. Hermann worked for Orson Welles, the young director of the Mercury Theater radio drama series. When Welles went to Hollywood to direct his début film, CITIZEN KANE, he took along several Mercury Theater regulars, including Hermann, who scored the film. With the CITIZEN KANE score Hermann virtually invented a new, American film sound that stood in contrast with lush, European-derived styles. Hermann remained with CBS, becoming conductor of the CBS Symphony Orchestra in 1940. He championed new British and American music, giving millions their first exposure to such composers as Walton and Ives. Hermann won an Academy Award for his second film score, that for William Dieterle's THE DEVIL AND DANIEL WEBSTER. Almost alone among Hollywood composers, he did all his orchestration himself, devising such novel effects as the electronic group employed in THE DAY THE EARTH STOOD STILL or the massed harps of BENEATH THE TWELVE-MILE REEF. He was noted for building his scores on ostinato patterns, often based on an unstable chord. The emotional tension thus produced made Hermann an ideal collaborator for the master of suspense, Alfred Hitchcock. Hermann's collaboration with Hitchcock began with the remake of THE MAN WHO KNEW TOO MUCH, just after CBS eliminated its orchestra in 1955. Although of his 68 film scores, only eight were written for Hitchcock (Hermann also supervised the naturalistic soundtrack for THE BIRDS), the two were among history's greatest director-and-composer teams. Hermann's all-string score to PSYCHO, with its nerve-raw shrieking violins for the knife attack scenes, was widely imitated.
Angrily leaving Hollywood when producers moved toward melodious scores that could yield a hit tune as an additional profit point, Hermann moved to London, still composing film scores for Hitchcock admirers such as François Truffaut, Martin Scorsese, and Brian DePalma. He also stepped up his concert and recording activities, committing to tape his performances of many of the classical pieces he had continued to write over the years. These include a masterly symphony and an opera version of WUTHERING HEIGHTS. Commentators regard him as the greatest of American film composers or even as the greatest of any nationality, and interest in his music of all genres has shown unceasing growth since his death.”
- Joseph Stevenson, allmusic.com
“ARTHUR KREUTZ was an American composer, famous for the PAUL BUNYAN SUITE, ‘Music for Symphony Orchestra’ and the DIXIE CONCERTO were played by the New York Philharmonic, with which he appeared as a guest conductor. He also composed the score to Martha Graham's 1942 ballet LAND BE BRIGHT.
Mr. Kreutz received a Master of Arts from Columbia University. He also attended the Royal Conservatory in Ghent, Belgium. In 1940, he won the Prix de Roma from the American Academy in Rome and in 1944 was awarded a Guggenheim fellowship”
- THE NEW YORK TIMES, 13 March, 1991
“Each of these disks, from Canadian engineer Yves St Laurent… [feature] St Laurent's natural transfer – made without filtering, like all his dubbings – it is easy to listen to, despite the surface noise.”
- Tully Potter, CLASSICAL RECORD QUARTERLY, Summer, 2011