C1624. SIR JOHN BARBIROLLI Cond. Helsinki Phil.: Symphony #7 in C; Symphony #1 in e; w.HENRYK SZERYNG: Violin Concerto in d - Live Performance, 13 Sept., 1965, Royal Festival Hall, London; SIR JOHN BARBIROLLI Cond. Saarbrücken Rundfunk S.O., w.HENRYK SZERYNG: Violin Concerto in d - Live Performance, 28 Oct., 1984, Saarbrücken (all Sibelius). (Canada) 2-St Laurent Studio YSL T-656. Transfers by Yves St Laurent.
"Henryk Szeryng, one of the more elegant representatives of a now fading school of Romantic violin playing, was known for the purity of his playing - exact intonation, well-organized phrasing and a broad, sweet, vibrato-filled tone that nevertheless did not sound oppressive. In the Romantic tradition Mr. Szeryng applied his long, lyrical style to Mozart, Bach and Vivaldi as well as to Brahms and Tchaikovsky. The various schools of interpretation, in other words, were filtered through the single 19th-century Central European tradition that was his heritage. Among his teachers were Carl Flesch in Berlin and Jacques Thibaud and Nadia Boulanger in Paris.
Mr. Szeryng began his concert career in 1933 and spent World War II as liaison officer to the exiled Polish Premier. His musical life continued its close contact with politics and diplomacy when the Mexican Government invited him in 1943 to teach at the National University in Mexico City. He became a Mexican citizen and later traveled on a diplomatic passport as the country's Culture and Good Will Ambassador. After 10 relatively quiet years of teaching and occasional concerts, Mr. Szeryng met Arthur Rubinstein after a recital in Mexico City. With the help of his fellow pianist and Polish compatriot, Mr. Szerying developed an international career that was still flourishing at his death. While retaining his home and teaching responsibilities in Mexico City, he also kept apartments in Paris and Monte Carlo.
Mr. Szeryng also became a busy recording artist, with a discography of about 250 works. Mr. Szeryng's tastes ran to the standard literature. He was especially fond of Paganini, yet 20th-century composers like Carlos Chavez, Benjamin Lees and Michael Ponce wrote music for him. Mr. Szeryng also liked to play music by the contemporary Polish composer Karol Szymanowski. He exercised his diplomatic responsibilities in part by championing the music of Mexican composers, and he expressed his belief in the humanistic powers of music as an adviser to Unesco. He was also said to donate large portions of his income to charities. From Mr. Szeryng's collection of violins, 12 have been given away since 1975 - one, a Stradivarius presented to the city of Jerusalem, another a gift to the young violinist Shlomo Mintz. Mr. Szeryng retained for himself the 1743 Guarnerius named 'Le Duc'."
- Bernard Holland, THE NEW YORK TIMES, 4 March, 1988
“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