C1608. GEORGE SZELL Cond. Cleveland Orch.: Nozze - Overture; w.GEDA ANDA: Piano Concerto #21 in C, K.467
(both Mozart), Live Performance 17 Aug., 1969; w.ERICA MORINI: Violin Concerto in e (Mendelssohn), Live Performance, 15 May, 1969. (Canada) St Laurent Studio YSL T-426. Transfers by Yves St Laurent.
"Erica Morini (1905-1995), born and trained in Vienna, managed, as one of the first female violinists of the first half of the 20th-century, to build an international career.
This was unusual at a time when the concert platforms were still dominated by male soloists. Morini started out as a child prodigy; following sensational debuts with the Gewandhaus Orchestra Leipzig and the Berlin Philharmonic under Arthur Nikisch, she performed at Carnegie Hall in New York for the first time in 1921. Morini, who was of Jewish descent, emigrated to the US in the late 1930s, extending her career in that country. Her artistic career lasted for over five decades; however, she made few commercial recordings.
Admired by colleagues and audiences alike, Erica Morini rose to an eminence far beyond that of a mere violinist's violinist or token woman in a man's world."
- Robert Maxam, FANFARE, July/Aug., 2001
“Géza Anda was a Swiss-Hungarian pianist, a celebrated interpreter of classical and romantic repertoire, particularly noted for his performances and recordings of Mozart, he was also a tremendous interpreter of Beethoven, Schumann, Brahms and Bartók. In his heyday he was regarded as an amazing artist, possessed of a beautiful, natural and flawless technique that gave his concerts a unique quality.
Anda was born in 1921 in Budapest. He studied with some of the renowned teachers of the 20th century such as Imre Stefaniai and Imre Keeri-Szanto, and became a pupil of Ernst von Dohnányi and Zoltán Kodály at the Franz Liszt Academy in Budapest. In 1940 he won the Liszt Prize, and in the next year, he made an international name for himself with his performance of Brahms' Piano Concerto #2. In 1941, he also made his debut with the Berlin Philharmonic under Wilhelm Furtwängler, who dubbed him ‘troubadour of the piano’. In 1943, he settled in Switzerland. In the mid-1950s, Anda gave masterclasses at the Salzburg Mozarteum, and in 1960 he took the position of director of the Lucerne masterclasses, succeeding Edwin Fischer.
As a performer, Anda was particularly noted for his interpretation of Schumann's and Brahms' piano music. The New Grove Dictionary cites his ‘charismatic readings of Bartók and Schumann’. He was regarded as the principal Bartók interpreter of his generation, even if other pianists since his death have made more obviously exciting recordings of that composer's concertos. Although he played very little Mozart in his early career, he became the first pianist to record the full cycle of Mozart's piano concerti; he recorded them between 1961 and 1969, conducting himself from the keyboard. His performance of the Andante from Mozart's Piano Concerto #21 in C on the soundtrack of the 1967 film ELVIRA MADIGAN led to the epithet ‘Elvira Madigan’ often being applied to the concerto.”
- Concours Géza Anda, Zürich
"It must be remembered that when George Szell came to prominence in the United States in the mid 1940s (and his mid-forties) he was a highly respected conductor and musician in Europe. He had a very solid grip on his repertoire which soon expanded to new works which he was debuting and championing. However, all that most music lovers around the world today know about Szell’s artistry they have divined from the recordings made by Columbia in Cleveland from the late 1940s on. In an interview with Szell as an intermission feature in one of the weekly broadcast concerts he stated that Columbia allowed him to record items that he requested only if they were not in conflict with Ormandy or Bernstein. Those he did make revealed meticulously prepared performances which could be misinterpreted as being somewhat objective. The lean balances of those LPs and then CDs only reinforced that impression."
- Bruce Surtees
"Part of the wave of great Hungarian conductors who took over American musical life just before and after World War II - the others included Fritz Reiner, Antal Dorati, and Eugene Ormandy - George Szell quickly transformed a middling Midwestern orchestra into one of the nation's 'Big Five'. His cultivation of the Cleveland Orchestra set an example of discipline and hard work that gradually helped raise the standards of orchestras across America.
Szell was a wunderkind, playing a Mozart piano concerto with the Vienna Symphony Orchestra when he was ten, and composing a number of solid chamber and orchestral works in a lush, late Romantic style as a child and teenager. He was 17 when he conducted the Berlin Philharmonic in a program that included one of his own compositions.
Despite these early successes, Szell rose through the conducting ranks in the traditional way of the period, with a series of opera positions: Royal Opera of Berlin (1915-1917), Strasbourg (1917-1918), Prague (1919-1921), Darmstadt (1921-1922), and Düsseldorf (1922-1924). Szell's first prestigious post came to him in 1924, when he was named first conductor of the Berlin State Opera; he simultaneously served as a professor at Berlin's Hochschule für Musik. In 1929, he moved on to become general music director of the German Opera and Philharmonic in Prague, where he remained until 1937.
Szell began focusing more on orchestral repertory in the 1930s; he made his U.S. debut as guest conductor of the St. Louis Symphony in 1930, and in 1937 he was appointed conductor of the Scottish Orchestra in Glasgow, while maintaining a steady relationship with the Residentie Orkest in The Hague. Szell was in America in 1939 when war broke out in Europe; he remained in the U.S. through the war, first depending on guest engagements and then, in 1942, becoming a regular conductor at the Metropolitan Opera, where he was especially praised for his Wagner performances. In 1946 Szell took American citizenship and became music director of the Cleveland Orchestra, a post he held for 24 years. He was also the New York Philharmonic's music advisor and senior guest conductor during the last two years of his life.
Although Szell made recordings in Europe in the 1950s and 1960s for Decca, and in Cleveland at the end of his life for EMI, the bulk of his substantial discography was the result of his long collaboration with Columbia Records in Cleveland. There, Szell had inherited an able but ordinary orchestra and, through sheer determination, molded it into one of America's finest. A Szell performance was remarkable for its textural clarity, chamber-like balances, and precision of attack and release. He drilled his orchestra mercilessly, even in works it had performed with him not long before. Szell was particularly admired for his performances of Austro-Germanic classics from Haydn to Richard Strauss, his sharp renderings of works by a select group of twentieth century composers including Bartok, Prokofiev, Janacek, and Walton, and his idiomatic way with Dvorak. Indeed, some collectors maintain that Szell's monaural, early 1950s recording of Dvorak's Eighth Symphony with the Concertgebouw Orchestra has never been equaled. His treatment of French composers, on the other hand, was criticized for its lack of atmosphere, and detractors maintained that he achieved precision at the expense of emotional expression. To those who demanded a warmer approach to his beloved Mozart, however, Szell is said to have retorted: 'One does not pour chocolate sauce over asparagus'."
- James Reel, allmusic.com