C1707. BRUNO MADERNA Cond. Stuttgart Radio S.O.: Symphony #2 in C (Schumann), Live Performance, 25 June, 1970, Saarbrücken; BRUNO MADERNA Cond. RAI S.O., Roma, w. Salvatore Accardo & Siegfried Palm: Double Concerto in a (Brahms), Live Performance, 28 Jan., 1961. [Maderna's heavenly Schumann performance palpitates with warmth - a beautiful experience!] (Canada) St Laurent Studio T-784. Transfers by Yves St Laurent.
“Salvatore Accardo is an outstanding Italian violin virtuoso, best known as a master of the works of Niccolò Paganini, but equally accomplished across a wide variety of repertory for the instrument. His playing is characterized by a taut, visceral tone and a disciplined musical approach that avoids self-indulgence. Having also established himself as a successful conductor, chamber musician, and teacher, Accardo may be considered one of the most accomplished and influential musicians of his generation.
Accardo was born in the northern Italian town of Turin, but as a teenager he went to Naples to study violin at the Conservatorio di San Pietro a Majella; it was there, at the age of 13, that he gave his first performance of the devilish Caprices of Paganini, beginning a lifelong association with that music. He later studied in Siena, at the Accademia Musicale Chigiana. After winning the 1956 Geneva Competition and the 1958 Paganini Competition in Genoa, Accardo began a performing career that has kept him busy ever since, both as a soloist with major orchestras and as a recitalist. His repertory includes all of the violin music of Paganini, the solo partitas of J.S. Bach, virtually every mainstream violin concerto from the Classical, Romantic, and Modern eras, and a number of contemporary works. Works composed specifically for Accardo include Walter Piston's Fantasia for violin and orchestra, Iannis Xenakis' ‘Dikhthas’, and Franco Donatoni's ‘Argot’. The most notable entries in Accardo's extensive discography include his complete cycle of Paganini concertos (the first of its kind), Max Bruch's complete music for violin and orchestra, and the complete sonatas and partitas of Bach.
In 1968, he founded the Italian Chamber Orchestra and became its first conductor. He later conducted the ensemble I Musici, and in 1994 he was appointed conductor of the Orchestra del Teatro San Carlo in Naples. He is a founding member of the Accardo String Quartet and of the Walter Stauffer Academy, where he routinely gives master classes, and also of the Cremona Academy for string players. In 1987, he published a book, L'ARTE DEL VIOLINO.”
- Allen Schrott, allmusic.com
“Siegfried Palm made his name as a cellist who could play anything put in front of him. He never argued with composers or tried to make them simplify technical challenges, but considered it his duty to present their original vision in as intact a form as possible. In the process, he greatly advanced modern cello technique. Palm attended Enrico Mainardi's master class from 1950 to 1953, following the teacher to Wurzburg, Salzburg, Lucerne and Rome. Palm credited Mainardi with making him think about music, encouraging him to read books and giving him a love for the composer Max Reger, while his quartet leader, Bernard Hamann, influenced his taste - the ensemble was the first in Europe since the Kolisch to play all the music of the Second Viennese school. Palm named Schmidt-Isserstedt alongside his father as his major influence – he moved from Hamburg to Cologne as principal of the radio orchestra and professor at the Staatliche Hochschule fur Musik. In 1972, he was appointed its director.
Palm won both the German Schallplattenpreis and the Grand Prix du Disque twice. His most recent important recording was the Ligeti concerto, dedicated to him, which he did (for the second time) with undimmed mastery for the Ligeti Edition.
But Palm was far from being an avant-garde specialist. At the Marlboro summer school in Vermont, in which he participated nine times from 1970 to 1990, he happily prepared and took part in performances of Mozart, Devienne, Krommer, Beethoven, Schumann, Brahms, Dvorak, Verdi and Saint-Saens, as well as the more expected Hindemith, Ives, Copland, Webern, Kodály, Reger, Rorem, Stravinsky, Shostakovich, Kagel, Kirchner, Messiaen and Adolf Busch.”
- Tully Potter, THE GUARDIAN, 20 June, 2005
“Italian composer and conductor Bruno Maderna was one of the preeminent figures in contemporary European music in the mid-twentieth century. By the age of 20 Bruno Maderna had already earned his degree in composition from the Conservatory of Rome and returned to Venice to continue under composer Gian Francesco Malipiero.
In 1948 Maderna took a conducting class with legendary maestro Hermann Scherchen and probably through him got to know Wolfgang Steinecke, the founder of the Darmstadt Festival. Maderna had already met composer Luigi Nono at Ricordi, and would meet Luciano Berio in Milan after leaving the Venice Conservatory in 1952. Steinecke engaged Maderna as a conductor at the Darmstadt Festival, a post that made Maderna a celebrity in postwar European avant-garde and one that he would hold until the end of his days.
As the 1950s gave way to the 1960s, Bruno Maderna's work as a composer began to take a back seat to his activity as a conductor. He was named principal guest conductor with the Chicago Symphony Orchestra, appeared frequently with the Juilliard Ensemble, and was musical director for two years at the Berkshire Music Center in Tanglewood. He also spent a great deal of time in the recording studio and produced many fine albums of contemporary music, although in concert Maderna was equally well known for conducting the symphonies of Mahler and other well-worn repertoire of the Viennese classics. Perhaps this had some effect on Maderna's personality as a composer, as well, for by the end of his life he'd turned his back on the serial aesthetic espoused by the Darmstadt Festival and his colleague Pierre Boulez.
When the end came for Maderna at age 53, it did so swiftly - he was diagnosed with lung cancer during the rehearsals for his SATYRICON, which premiered in March 1973, and was dead by that November. His celebrity in America was so short-lived that by 2004 Maderna's name was largely forgotten there, but not so in Europe, where he is yet regarded as one of the giants of postwar modernism.”
- Uncle Dave Lewis, allmusic.com