C1675. ARTUR RODZINSKI Cond. NYPO: Suite for String Orchestra [the final movement repeated due to audience's enthusiasm] (Corelli); Scenario for Orchestra on Themes from Showboat (Jerome Kern); w. RUDOLF SERKIN: Piano Concerto #1 in d (Brahms). (Canada) St Laurent Studio YSL 78-587, Live Performance, 10 Feb., 1946, Carnegie Hall. Transfers by Yves St Laurent.
"Rudolf Serkin joined the international elite while still a teen-ager and by incessant, tireless practice held ranking for more than half a century as an artist of the highest type. He was an eminent 20th-century representative of a Viennese tradition that mingled the classical and romantic styles of pianism.
Among the dozens of recordings he made, those in which he teamed as a chamber-music partner with Adolf Busch, the German violinist, are especially prized by collectors. It was Mr. Busch who promoted the young pianist's European career, presenting him as a soloist in Bach's Brandenburg Concerto #5 at Mr. Serkin's Berlin debut in 1921. Mr. Serkin regarded Busch as one of the three musicians who most deeply influenced him. The others were his onetime composition teacher, Arnold Schonberg, and the conductor Arturo Toscanini. Mr. Serkin studied composition, first with Joseph Marx and later with Schonberg, and published a string quartet. He made his concert debut with the Vienna Symphony at 12, playing the Mendelssohn g minor Concerto. At 17, Mr. Serkin met Busch, who was looking for a pianist to accompany him in a concert. They struck up a friendship and Busch took the younger musician along with him to Berlin on tour. Busch was then 30 years old and internationally established as a violinist. Soon Mr. Serkin was appearing in the great cities of Europe both as accompanist and as chamber-music performer with the Busch Chamber Players.
In April 1933, with the Nazis in the ascendancy in Germany, Busch stirred a controversy by refusing to appear at a Brahms centennial celebration in Hamburg. Although not Jewish himself, he was offended because a young Jewish pianist had been denied permission to play. The pianist was Rudolf Serkin.
Mr. Serkin had moved with the Busch family to Darmstadt in 1922. In 1927 they all left Germany and settled near Basel, Switzerland. After Hitler's rise to power, they applied for Swiss citizenship, which they held until all became American citizens in 1950.
Mr. Serkin first played in the United States in 1933 with Busch at a Coolidge Festival concert in the Library of Congress in Washington. He did not perform here again until his formal debut in New York on 20 Feb., 1936, when he appeared as soloist with the New York Philharmonic under Toscanini. His recital debut came on 11 Jan., 1937, at Carnegie Hall. The next year Mr. Serkin and Busch performed the complete cycle of Beethoven sonatas at Town Hall. In 1939, Mr. Serkin joined the piano faculty of the Curtis Institute in Philadelphia, where he taught for 36 years. From 1968 to 1975 he was director of the Institute.
Great though Mr. Serkin's success was as a concert pianist, perhaps his most lasting impact on musical life was as a teacher and inspirational force. In 1949, he helped found the Marlboro Festival in Vermont. Living in the same area at the time were Adolf and Herman Busch, Blanche Honegger Moyse, Louis Moyse and Marcel Moyse, all renowned musicians who had also left Europe. They merged their talents and quickly turned Marlboro into an American chamber-music mecca and a magnet for talent. The word 'Marlboro' came to stand for musicianship of a special, ardent type. Each summer, Mr. Serkin and his circle were joined by like-minded artists, including Pablo Casals, Alexander Schneider, Felix Galimir, Mieczyslaw Horszowski, Jaime and Ruth Laredo, Eugene Istomin, Pina Carmirelli and Peter Serkin (Mr. Serkin's son, himself a world-class pianist). At Marlboro, Mr. Serkin made a point of being a musician among colleagues, as ready to turn pages for other players as to perform. Friends of Mr. Serkin - and he seemed to have no enemies - spoke with incredulity of his unfailing good humor, his shy and sweet-tempered manner with everyone, the unknown as well as the famous. A longtime colleague, after giving the phenomenon some thought, remarked: 'It's impossible to talk about anybody's being saintly in this age, but Serkin is'."
- Donal Henahan, THE NEW YORK TIMES, 10 May, 1991
"Although Rodzinski conducted most of the Country's major orchestras, his tenure often ended in a huff. In 1947 he had quit the coveted job of boss of the New York Philharmonic because, he said, he felt hemmed in and hampered by the Philharmonic's businesslike manager.
Rodzinski was known as a great builder of orchestras. Time and again he took over run-down orchestras and in a few years, by cajolery, psychology and almost ruthless dedication, built them into the finest of artistic groups."
- LOS ANGELES TIMES, 28 Nov., 1958
“Artur Rodzinski, a conductor of incandescent talent and an equally brilliant gift for self-destruction, cut a scandalous path through American music a generation ago. A long with Toscanini and Stokowski, the bushyhaired Polish musician summed up in the public's eyes all that a real maestro was supposed to be: preening, arbitrary, dictatorial, unpredictable, driven by ambition. Rodzinski was all these, as his widow Halina freely documents in her fascinating memoirs. And more: Rodzinski during significant portions of his career was mentally ill, dependent on drugs and in thrall to all sorts of spiritual fads and fancies. That a man as disturbed as Rodzinski could operate, often dazzlingly well, during his relatively untroubled moments is perhaps a tribute to the stability of the domestic life he had built around himself. Mrs. Rodzinski, in the way wives of great men once were expected to act, put her life entirely at the disposal of her master.
Both Rodzinski and his wife came from a culture and a time (Poland before World War II) when such an arrangement was accepted as normal. 'I come before everything and everyone else', Rodzinski told Halina before their wedding, and he left her in no doubt of it by thereupon spending his wedding night without her, on the town. His wife, with less outward resentment than one would expect, depicts herself as hardly more than a servant. She sharpened his pencils, changed his shirts and brushed his hair at intermissions. Oh, yes, and it was her duty, too, to lay out the loaded revolver along with the maestro's tails before a concert. This bizarre story, which has long been talked about in disbelief In the orchestra world, can now be certified as true. Rodzinski carried the weapon - loaded - in a hip pocket whenever he faced an orchestra, even during rehearsals. Learning of this later, many a player who had displeased Rodzinski at one time or another must have experienced a slight frisson.”
- Donal Henahan, THE NEW YORK TIMES, 23 May, 1976
"Each of these disks, from Canadian engineer Yves St Laurent [feature] St Laurent's natural transfer - made without filtering, like all his dubbings - it is easy to listen to, despite the surface noise."
- Tully Potter, CLASSICAL RECORD QUARTERLY, Summer, 2011