1931 Ettore Panizza M-49 Z SHELLAC MENDELSSOHN ITALIAN SYMPH La Scala Orch 78

$

25

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Argentinian-Italian conductor Ettore Panizza and the La Scala Orchestra Milan

When Toscanini conducted the premiere of Puccini’s Turandot he stopped at the point where Puccini ceased writing, thus allowing Panizza to be the first to conduct the opera as completed by Alfano.

Felix MENDELSSOHN (1809 – 1847)
Symphony No.4 in A, Italian, op.90 (1831/1833) [27:44]
Incidental Music: A Midsummer Night’s Dream - Wedding March, op.61/9 (1843) [4:14]

Recorded Milan 5 and 10 January 1931

The Italian Symphony really sparkles here. The first movement races along at a reasonable tempo, and despite a couple of moments of scrappiness in the strings, no doubt brought about by the tempo, this is good stuff. The pilgrims’ march of the second movement is nicely paced, and the third movement has a delightfully restrained swagger, making it perfect for dancing. The final saltarello is taken at a slower speed than is usual, but it is still full of Mediterranean fire, and after the side join the tempo increases slightly. I found his to be a most satisfying account of this wonderful Symphony, and it’s as good as any, historical or otherwise, because it has such a marvellously musical logic to it. The Wedding March from the incidental music to A Midsummer Night’s Dream receives a solid performance. There’s not much more you can do with this piece.

This is one Album of the Great VICTOR LIBRARY of MUSIC, a bookcase of over 270 records in matching albums sold in 1936 to potent customers.

All the Victor Library Records are Z SHELLAC with the Z mark under oval VE

4x 12" Victor78 rpm  records AM 119 (the slide automatic coupling) w orig Victor Library Album

Cond: Excellent minus, unworn and quiet, but light scuffs,  Album great,m light rubs, gold writing dark

Not being an opera-lover the name of Ettore Panizza was unknown to me until I received this CD. I imagine that I am not alone here so a little biographical information might be useful. Born in Buenos Aires in 1875, Panizza made his debut as assistant conductor at the Rome Opera when only 22. He was most closely associated with La Scala, Milan, the Royal Opera House in London, New York’s Met and the Teatro Colón in Buenos Aires. Interestingly, when Toscanini conducted the premiere of Puccini’s Turandot he stopped at the point where Puccini ceased writing, thus allowing Panizza to be the first to conduct the opera as completed by Alfano. Panizza was also a composer of four operas: Il fidanzato del mare (1897), Madioevo Latino (1900), Aurora (1908) reportedly his most successful work, and Bizanzio (1939). He published an autobiography (Medio Siglo de Vida Musical) in 1952 and died in his home town as recently as 1967.
 
It appears that Panizza made very few records, as was fairly typical at the time. His complete recorded output could be contained on less than three CDs. Almost all his recordings were made at La Scala and were of operatic music. 

So to the Mendelssohn. It is obvious from these few performances that Panizza was a fine conductor for here are well rehearsed and performed interpretations of two masterpieces of the concert repertoire and a delightful trifle.  The Italian Symphony really sparkles here. The first movement races along at a reasonable tempo, and despite a couple of moments of scrappiness in the strings, no doubt brought about by the tempo, this is good stuff. The pilgrims’ march of the second movement is nicely paced, and the third movement has a delightfully restrained swagger, making it perfect for dancing. The final saltarello is taken at a slower speed than is usual, but it is still full of Mediterranean fire, and after the side join the tempo increases slightly. I found his to be a most satisfying account of this wonderful Symphony, and it’s as good as any, historical or otherwise, because it has such a marvellously musical logic to it. The Wedding March from the incidental music to A Midsummer Night’s Dream receives a solid performance. There’s not much more you can do with this piece.
 
This is a fascinating disk and not just for the collector of historical re–issues or the opera fanatic. Here is the work of an almost forgotten conductor whose meagre catalogue has been overlooked for too long. I welcome this chance to celebrate the work of Ettore Panizza.

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