C0247. HERMANN ABENDROTH; Cond. Berlin Phil.: Concerto Grosso in g, Op.6, #6; Orfeo ed Euridice - Orchestral Excerpts; w.Margarete Klose: Che faro, senza Euridice; Giulio Cesare - V'adoro, pupille; w.Erich Röhn: Concerto #3 in G, K.216 (Mozart); Concerto #1 in g (Bruch); w.Elly Ney: ‘Emperor’ Concerto #5 in E-flat (Beethoven), also featuring the voices of Abendroth & Elly Ney. (France) 2-Tahra TAH 192/3, Broadcast Performances, 1944. Very long out-of-print, Final Copy! - 3504129019211
“Hermann Abendroth (1883–1956) deserves a greater reputation than he has. His neglect is largely due to the fact that he was active in a generation of giants, being a contemporary of Furtwängler, Klemperer, Toscanini, Stokowski, Walter, Beecham, Mravinsky, and Mengelberg, to single out just some of the leading lights. He held the post of Kapellmeister of the Gürzenich Orchestra Cologne from 1914 to 1934 but was removed by the Nazi authorities because he was found to be too sympathetic to Jews. However, he subsequently had a thriving career. He was appointed Kapellmeister of the Leipzig Gewandhaus, to replace the Jewish Bruno Walter, and he remained there through the Third Reich while regularly conducting the Berlin Philharmonic and appearing at Bayreuth in 1943 and 1944. After the war Abendroth found himself in East Germany, and because of his Nazi associations he was barred from conducting briefly. He protested that he had never attended any political rally or meeting, which ultimately led to his name being cleared. The Communists appointed him as head of the Radio Orchestra in Leipzig. The bulk of his late career was spent in Communist-controlled countries, including Russia and Czechoslovakia, but also Scandinavia.
Abendroth’s style is not easy to pigeonhole. He tended to favor extremes of tempo, so slow movements (or sections of movements) might be slower than the norm, and conversely quick tempi tended to be on the fast side."
- Henry Fogel, FANFARE
"...[Abendroth] was a bright star in the constellation of German musicians. His recordings are less rare than little known, especially in the West. Though most are late, they are all in the old manner and warrant attention from anyone with an interest in musical traditions."
- David Radcliffe, AMERICAN RECORD GUIDE, Jan./Feb., 1996
"Perhaps not a household name except to followers of exceptional, tradition-oriented conductors, Hermann Abendroth was born in Frankfurt am Main in 1883, the year of Wagner 's death, and he studied in Munich, where one of his teachers was Felix Mottl, the legendary conductor and former pupil of Anton Bruckner. His artistic life centered around Cologne and Leipzig. After being conductor of the Cologne Gurzenich Orchestra from 1915 to 1934, he spent eleven years as conductor of the Leipzig Gewandhaus Orchestra. He also directed the Cologne Conservatory and had a hand in forming the College of Music. His conducting was marked by his unpretentious objectivity, and this attitude corresponded with the way he pursued his career - straightforwardly and always thinking far ahead. He was an artist with roots to his home and his institution. Just months after World War II he was appointed musical director in Weimar, where he felt at home up to the time of his death in 1956. In 1949 he had also assumed the direction of the Leipzig Radio Symphony, and four years later of the Berlin Radio Symphony Orchestra. What all of his interpretations share is the sense of architecture and dramatic structure which always places the parts of a movement in the larger context. For Hermann Abendroth, interpreting meant performing a work to the best of one's knowledge, not distorting it whatever the cost with a reading of one's own."
- Zillah D. Akron