Wozzeck  (Horenstein;  Lucienne Maree, Lovano, Peyron);  Mavra;   Renard (Rosenthal)   (2-Malibran 819)
Item# OP3216
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Product Description

Wozzeck  (Horenstein;  Lucienne Maree, Lovano, Peyron);  Mavra;   Renard (Rosenthal)   (2-Malibran 819)
OP3216. WOZZECK (Berg) (in French), Live Performance, 9 November, 1950, w. Horenstein Cond. Théâtre des Champs Elysées Ensemble; Lucienne Marée, Lucien Lovano, Joseph Peyron, André Vessieres, Gaston Rey, Irma Kolassi, etc.; MAVRA, w. Claudine Verneuil, Joseph Peyron, Yvon Le Marc-Hadour, etc.; RENARD, w. Joseph Peyron, Yvon Le Marc-Hadour, Maurice Prigent, etc. (both Stravinsky, Live Performance, 21 March, 1946, w.Manuel Rosenthal Cond. Théâtre des Champs Elysées Ensemble). [This white-hot WOZZECK, before a most enthusiastic audience, is a duly memorable performance, and especially moving is Kolassi's Marie.] (France) 2-Malibran 819. [NB: A grievous error has appeared in the recent past! The Marie in this performance is sung by Lucienne Marée, not Irma Kolassi!] - 7600003778192


“…it was not until 1950, with Horenstein's presentation of WOZZECK for Radio France, that his career began to regain some of the momentum and lustre it had enjoyed before the war (25-year old Pierre Boulez who was present at the presentation of WOZZECK, recalled later that ‘it was my first live experience [of WOZZECK] and left an immense impression’)."

- Misha Horenstein, ClassicalNet.com

“A champion of modern music and an intellectual and philosophical conductor of a sort not much encountered any more, Jascha Horenstein moved to Vienna with his family at age six. He went on to study violin with Adolf Busch, Indian philosophy at the University of Vienna, and music at the Vienna School of Music. By 20 he had already decided to become a conductor and left Vienna for study in Berlin, where he conducted the Schubert Choir and became an assistant to Furtwängler. In 1924, he made his début with the Vienna Symphony Orchestra, conducting Mahler's then-little-known First Symphony. From 1925 to 1928, he conducted the Berlin Symphony Orchestra, and in 1929, as guest conductor, he led the Berlin Philharmonic Orchestra in the premiere of Alban Berg's LYRIC SUITE. As a young man he made the acquaintance of Schönberg, Webern, Stravinsky, Rachmaninov, Richard Strauss, Busoni, and Janácek, and frequently programmed their music for the rest of his life.

On Furtwängler's recommendation, Horenstein was appointed director of the Düsseldorf Opera in 1929, and remained there until, as a Jew, he was forced to leave Nazi Germany. In the 1930s he lived in Paris and traveled extensively, conducting in Brussels, Vienna, and the USSR, visiting Scandinavia with the Ballets Russe, and touring Australia and New Zealand. He settled in the U.S. in 1942, became a U.S. citizen, conducted many of the leading orchestras of both North and South America and was one of four conductors, including Toscanini, to conduct the newly formed Palestine Symphony Orchestra. Though in great demand from the 1930s onwards, Horenstein did not actively seek a permanent conductorship; he appeared to prefer to work on his own terms.

After the Second World War, Horenstein returned to Europe and lived in Lausanne, Switzerland. Highlights of his renewed European career came in 1950, when he introduced Berg's WOZZECK in Paris and in 1959 when his performance of Mahler's Eighth Symphony for the BBC did much to stimulate a Mahler revival in Britain. After 1964, when he presented Busoni's DOKTOR FAUST in New York, he gave many concerts in London with the London Symphony Orchestra and in Manchester with the BBC Northern Symphony Orchestra. In his later years, he appeared frequently at London's Covent Garden.

From Furtwängler, Horenstein learned the importance in searching for the metaphysical rather than theoretical meaning of music, and that outlook coincided with his own interest in Eastern philosophy. As a conductor, Horenstein greatly admired Stokowski for his broad repertoire and the sense of occasion he brought to every performance. He was intolerant of routine performances, even from the greatest orchestras, and in rehearsal he would run through large sections of a work to establish coherence and continuity before proceeding to finer details of interpretation. In the words of his assistant Lazar, ‘[t]he exceptional unity and cohesion that characterized his performances arose from the way he controlled rhythm, harmony, dynamics and tempo so that each individual moment might achieve the most vivid characterization, but the overall line and cumulative effect would not be lost’."

- Roy Brewer, allmusic.com