Sir John Barbirolli;  Kerstin Meyer  -  Elgar   (Intaglio 701)
Item# C0121
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Sir John Barbirolli;  Kerstin Meyer  -  Elgar   (Intaglio 701)
C0121. SIR JOHN BARBIROLLI Cond. Hallé Orch.: Symphony #1 in A-flat; w.KERSTIN MEYER: Sea Pictures (both Elgar). (Italy) Intaglio 701, Live Performance, 24 July, 1970, King's Lynn Festival. Very long out-of-print, Final Sealed Copy! - 8001506551234

CRITIC REVIEWS:

“Barbirolli has been perceived as not much at all, really - just another one of the Philharmonic conductors, often overlooked today, who came between Toscanini and, in the late ’50s, Leonard Bernstein….‘They either adore me or I nauseate them’, Barbirolli said of his listeners, and it’s easy to hear why. Here was a conductor with a singular style, harking back to the days of the Romantics, late and later, whom he loved to perform. Details mattered to him, as did a sense of the whole, but he was never bothered by scrappiness or slips; what counted was the sound, the spirit of a composer, and he would stop at nothing to capture it. He was a depressive workaholic who stayed up late into the night marking up scores, learning them for months before rehearsing them for nine hours a day, tempers flaring. He was a brilliant cellist, and he could make his string sections sing like no one else, drawing out the longest of lines with the fullest of bows, swooping from note to note in defiance of all fashion. What he conducted, he conducted with heart….

His break came in 1927, covering for a Thomas Beecham concert with the London Symphony. One critic called it ‘astonishing’ but chided him for ‘sentimentalizing’, even ‘violating’, Elgar’s Second Symphony. It would become a familiar indictment, but an HMV record executive decided to sign him that night….word of his promise reached the [New York] Philharmonic’s boss, Arthur Judson, who thought for a while of offering Barbirolli a week or two of guest conducting. But with the Furtwängler debacle raw, Judson sent a surprising telegram in April 1936, offering a full third of the 1936-37 season to this lowly director of Glasgow’s Scottish Orchestra, overnight making him Toscanini’s presumed successor. Barbirolli was shocked; the British press was baffled, and not a little afraid. The stakes became clear as Barbirolli stepped ashore in America.

Reporters startled him, asking how it felt to follow Toscanini….Barbirolli was as awed as anybody. His father and grandfather had played with Toscanini, including in the orchestra in the 1887 premiere of Verdi’s OTELLO, which the great man remembered when they met. Barbirolli had attended Toscanini’s rehearsals and concerts in London for years, emerging spellbound and writing that the Italian conductor ‘radiates something very pure and noble’. But they were opposites in style. Toscanini’s conducting was lean, driven by rhythm; Barbirolli’s was lush, driven by lyricism. ‘I look for warmth and ‘cantabile’ and a working atmosphere where men play beyond the call of duty’, the younger man said.

When World War II was underway, Barbirolli was unwilling to take American citizenship to satisfy union rules, and was sick for his home country. He let his Philharmonic contract end with the 1941-42 season, remaining in the United States and making guest appearances the following year only because the wartime voyage across the Atlantic was so perilous. He would not come back to the Philharmonic until 1959.

Offers immediately came for Barbirolli’s services, first from the London Symphony and then the BBC, but he stayed dedicated to the Hallé, even as his dreadfully paid players often did not. He took on more guest conducting after 1958, and even a second post at the Houston Symphony between 1961 and 1967, but he would spend most of the rest of his life training and retraining the Manchester orchestra.

There’s a certain ‘what if’ quality about the final decades of Barbirolli’s career, then - one made all the more haunting by the success of some of his later recordings with other orchestras, which benefited from EMI technology that the Hallé rarely had access to on its mass-market labels….And then there is his Elgar, which has the authority of tradition: Barbirolli played under Elgar at the premiere of his Cello Concerto, and elsewhere. He helped Jacqueline du Pré make that concerto famous in a classic recording, but also brought conviction to works like the ‘Cockaigne Overture’ (recorded three times, with the love of a born Londoner), the ‘Introduction and Allegro’ (a trifle that Barbirolli turned into a masterpiece six times on record) and even the ‘Elegy’, short and sentimental.”

- David Allen, THE NEW YORK TIMES, 13 Aug., 2020





“Sir John Barbirolli's repertoire centered on the late Romantic era, and on British composers Elgar, Vaughan Williams, and Delius; he led the first performances of Vaughan Williams' Symphonies Nos.7 and 8; the composer also bestowed the nickname ‘Glorious John’ upon the conductor. Aside from the music of Britten, he showed little interest in music of modern tendencies; late in his career, though, he developed a particular affinity for Gustav Mahler. Barbirolli left a notable recorded legacy that extends well into the stereo LP era.”

- Joseph Stevenson, allmusic.com





"Kerstin Margareta Meyer studied singing in Stockholm with Adelaide von Skilondz, at the Salzburg Mozarteum, and in Siena, Rome, and Vienna. Her debut was at the Royal Swedish Opera in 1952 as Azucena in Verdi's IL TROVATORE. She has remained closely associated with that company, but also performed frequently with the Hamburg State Opera, appearing there in the title role of Bizet's CARMEN (1959) and creating the roles of Mrs. Claiborne in Gunther Schuller's THE VISITATION (1966), Alice Arden in Alexander Goehr's ARDEN MUST DIE (1967), and Gertrude in Humphrey Searle's HAMLET (1968). In 1960 she made her debut at Covent Garden as Didon in LES TROYENS by Hector Berlioz, and later performed Octavian in DER ROSENKAVALIER by Richard Strauss and Clytemnestra in the same composer's ELEKTRA (1975–76, conducted by Rudolf Kempe and Colin Davis). She sang Octavian, Carmen and Orfeo at the Metropolitan Opera, 1960-63. In György Ligeti's LE GRAND MACABRE (1978) she created the role of Amando/Spermando.

Her singing career has also included regular visits to other major opera houses of Europe and the U.S.A. and a number of concert tours to Australia, the Far East, and America. She also took part in both visits of the Royal Opera Stockholm to the Edinburgh Festival. She created the title-role in the British premiere of Gottfried von Einem's THE VISIT OF THE OLD LADY at Glyndebourne in 1974, in the West German premiere at the Munich Opera House in 1975. She gave a recital with pianist Geoffrey Parsons in the 1976 Aldeburgh Festival, and sang Jocasta in Stravinsky's OEDIPUS REX under Sir Georg Solti in the Royal Festival Hall, London, subsequently recording the role for Decca. She also gave a recital of songs from Sweden, Spain, and France, and German lieder by Gustav Mahler and Hugo Wolff, at the Theatre Royal during Wexford Festival Opera in 1977.”

- Wikipedia