C0323. HERMANN SCHERCHEN Cond. Vienna Staatsoper Orch., w. Sena Jurinac, Lucretia West, Hans Loeffler & Frederick Guthrie: REQUIEM in d, K.626 (Mozart). Westminster 289 471 201, recorded 1958, Konzerthaus, Wien. Very long out-of-print, Final Sealed Copy! - 028947120124
“Scherchen was one of the leading conductors in the middle part of the twentieth century, especially valued for his pioneering performances of the contemporary music of his time. He was essentially self-taught as a musician and became a violist in the Blüthner Orchestra and the Berlin Philharmonic when he was 16. In 1911 he was an assistant to Arnold Schönberg in the preparation of PIERROT LUNAIRE for performance. Following its Berlin premiere, the piece was taken on a tour in which Scherchen conducted. He became the conductor of the Riga Symphony Orchestra in 1914, but was soon interned by the Russians as an enemy alien when World War I started. He returned to Germany after Russia left the war to found the Neue Musikgesellschaft and the Scherchen Quartet. In 1919 he founded a militant magazine Melos.
He succeeded Furtwängler as the director of the Frankfurt Museum Concerts in 1922 and in the same year began a long relationship with the Winterthur Musikkollegium in Switzerland. From 1928 to 1933 he was the Generalmusikdirektor in Königsberg. He frequently conducted contemporary music festivals, especially with the International Society for Contemporary Music, with which he was connected from its founding in 1923. Among his premieres in the 1920s and 1930s were the Three Fragments from WOZZECK by Berg and the quarter-tone opera MOTHER by Alois Haba. He left Germany immediately upon the rise of the Nazis to power in 1933, settling in Switzerland, where he became music director of the Zürich Radio Orchestra and also gave courses in conducting, which became a regular summer school in Switzerland in 1939. In the same year he founded the Ars Viva Orchestra.
Scherchen resumed his continent-wide activities after World War II ended. He was director of the Zürich Radio Orchestra (1944-1950) and in 1950, with the support of UNESCO, opened a studio for electroacoustic research in 1954 in Gravesano, the village where he lived. He continued his writing about new music in the Gravesano Blätter. Unlike many conductors of his generation his ‘new music’ was not merely the new music of his youth, but the continuing evolution of new music. In the 1950s he conducted the premieres of such works as Dallapiccola's IL PRIGIONIERO, Dessau's DAS VERHÖR DES LUKULLUS, and Henze's KÖNIG HIRSCH. He was the first to play any music from Schönberg's ARON UND MOSES in Darmstadt (1951), edited it for its first performance under his colleague Hans Rosbaud, and led its first performance in Berlin. He did not appear in the United States until 1964 when he conducted the Philadelphia Orchestra. Scherchen, as ever in his readings, proves himself a highly individual, profoundly spiritual artist, whose musical vagaries can be tolerated because the results, as here, are heart-searching, those involved obviously responsive to their conductor's beseeching approach."
“With her graceful bearing and a voice both rich and penetrating, Sena Jurinac was a star of the first generation of European singers to emerge after World War II. She made her début in Vienna on 1 May, 1945 — in the company’s first performance in a liberated Austria — as Cherubino in Mozart’s NOZZE DI FIGARO, a role she sang 129 times there. Though she made her first mark in Vienna, which became her artistic home, her radiant Mozart performances at the Glyndebourne Festival in the 1950s catapulted her to international stardom. She also made lauded appearances at the Salzburg and Bayreuth Festivals, the Royal Opera House in London, the Teatro Colón in Buenos Aires, La Scala in Milan and the San Francisco Opera.”
- Zachary Woolfe, THE NEW YORK TIMES, 26 Nov., 2011
“The Jurinac voice was capable of a gleaming fortissimo, but it also commanded a wide range of shadings of colour and dynamic. The top notes could be floated with an ethereal purity; the middle and lower registers had a very human warmth….The present release is particularly valuable in presenting her as a Lieder singer….Like such great Lieder singers as Rehkemper, Erb, Janssen, Lehmann or Schumann, Jurinac gives us unforgettable musical phrases….We owe her a great deal – and history has already judged her to be one of the immortal sopranos of the twentieth century.”
- Tully Potter