American Rarities - Morton Gould, Julius Schulman, Thomas Scherman    (St Laurent Studio YSL T-320)
Item# P1213
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Product Description

American Rarities - Morton Gould, Julius Schulman, Thomas Scherman    (St Laurent Studio YSL T-320)
P1213. AMERICAN RARITIES: MORTON GOULD: Dialogues for Piano and String Orchestra; Interplay for Piano & Orchestra (both Played by the Composer); JULIUS SCHULMAN: Hungarian Concerto, Op.11 (Joachim), all w. Thomas Scherman Cond. Little Orchestra Society, Live Performance, 3 Nov., 1958, Town Hall, New York. (Canada) St Laurent Studio YSL T-320. Transfers by Yves St Laurent.


“Gould's early music consisted of classical 'takes' on jazz and pop influences, but really he could do anything….He wrote a healthy number of more ambitious works: three symphonies, concerti for violin, piano, viola, Interplay (1945), Fall River Legend (1947), two concerti for tap dancer, Dance Variations for two pianos and orchestra (1953), Derivations for clarinet and band (one of the great classical idiomatic reconstructions of jazz, 1956), Jekyll and Hyde Variations (1957), and Spirituals for Strings (1961). Most of these use a neoclassical aesthetic. Gould once joked, ‘That Stravinsky – he's always stealing from me’. However, Gould luckily possessed a unique voice, a real rhythmic flair, and a happy ability to make tonal harmonies new again. At its most exuberant, his music gets the body to move….Like William Schuman, Gould is not nearly so well known as he should be. Part of this stemmed from the rancorous, implacable feud he had with Leonard Bernstein, probably the most influential advocate of American neoclassicism of his time. Gould's music lay a little too close to Bernstein's, and Gould was there first. Effectively, Bernstein denied Gould a New York venue. Gould accordingly recorded in London and Chicago, but he wasn't as effectual. Fortunately, he had a successful career and recording contracts as a conductor, so he disseminated his music in mainly that way. Nevertheless, his music may likely survive him. Other conductors took him up, both before and after his death. Music so attractive, lively, and original is hard to remain indifferent to and, therefore, to kill.”

- Steve Schwartz, Classical Net

“Julius Schulman, a widely traveled violinist who played in several major American orchestras, including the Philadelphia Orchestra, the Boston Symphony and the Metropolitan Opera Orchestra, was born in New York and began studying the violin at the Malkin Conservatory in Manhattan when he was 5. He continued his studies at the Juilliard School and later at the Curtis Institute of Music in Philadelphia, where his teacher was the violinist Efrem Zimbalist. While a student at Curtis, Mr. Schulman toured South America with the All-American Youth Orchestra, conducted by Leopold Stokowski. After his graduation in 1937, he joined Stokowski's Philadelphia Orchestra. In 1944 he became assistant concertmaster of the Pittsburgh Symphony Orchestra, under Fritz Reiner. He performed regularly as a soloist and gave several concerts at Town Hall in New York in the 1940's.

He spent two seasons as concertmaster of the New Orleans Symphony Orchestra before moving back to New York to become concertmaster of the Little Orchestra Society.

In 1960, after a tour of Europe, the Middle East and the Soviet Union with the New York Philharmonic, Mr. Schulman joined the Boston Symphony Orchestra, where he remained until 1970, except for a sabbatical spent with the Philadelphia Orchestra on a tour of Japan. When he left the Boston Symphony, Mr. Schulman joined the Metropolitan Opera Orchestra, where he was associate concertmaster from 1970 to 1975. From 1975 until he retired in 1990, he was concertmaster of the San Antonio Symphony Orchestra.”

- Allan Kozinn, THE NEW YORK TIMES, 15 Sept., 2000

“Founded in 1947 by Thomas K. Scherman, the Little Orchestra Society was conceived as a diminutive counterweight to the huge symphony orchestras that were then the norm in American concert halls. Its mission was twofold: to present early music with an ensemble of historically appropriate size, and to make contemporary music known to a wider public.

In 1947 Scherman became assistant conductor of the National Opera in Mexico City; the same year, he organized in New York the Little Orchestra Society for the purposes of presenting new works, some of them specially commissioned, and reviving forgotten music of the past. [A little-known fact is that Leonie Rysanek made her New York City début at the invitation of Scherman who presented her in Verdi’s MACBETH, 26 March, 1958, with William Chapman, Donald Gramm and John McCollum and The Little Orchestra Society in Carnegie Hall. She would then repeat the role a year later in her Met Opera début].”

- Margalit Fox, THE NEW YORK TIMES, 3 April, 2011

“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