1941 RICHARD STRAUSS CONDUCT ALPINE SYMPHONY Alpensymphonie Bavarian State Orc78

$

40

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A series of great  classical orchestral and instrumental performances by major conductors, composers and instrumentalists.

Ultra rare WARTIME issue of Richard Strausses last major recording of his 1915 Alpensymphonie with the Bavarian State Orchestra recorded in the early war in 1941 in the famous Munich State Opera house, shortly before that venerable temple of the arts went up in flames in the allied bombing of Munich.

This is the first recording using the full complement of the massive orchestra Strauss prescribed.

Eine Alpensinfonie (An Alpine Symphony), Op. 64, is a large symphonic poem[1] composed by Richard Strauss between 1911 and 1915. A typical performance entails upwards of forty-five minutes of continuous music. It depicts a full-day excursion on a mountain in the Bavarian Alps, recalling in vivid orchestral expression the composer's own experiences hiking at age fourteen. Strauss dedicated the work to Count Nicolaus Seebach and the Royal Kapelle (Orchestra) in Dresden, the ensemble which gave the premiere in 1915.

Oskar Fried recorded the work in 1925 with the Berlin Philharmonic. Strauss himself conducted the Munich Radio Symphony Orchestra in the work's next recording, in 1936. His more ambitious 1941 recording, with the Bavarian State Orchestra, utilized the full orchestral forces called for by the score.

6x 12" original ITALIAN HMV Laminated 78 rpm records, 11 sides. In generic album

Condition:

EXCELLENT minus, unworn but scuffed, 2 cm scratch on 1, 6 has scuffs and a light  lam crack in the middle Oaffecting about 9 mm of grooves , same on 8.  Markings in wax crayon on dead wax.

On the blank final side comment written: Excellent Recording, superb surfaces highly melodic Makes you feel like going places

Album sleeves solid, front cover detached, spine rough

A short critical appraisal of this recording:

One of the more interesting of Strauss' recordings was perhaps the first complete performance of his An Alpine Symphony, made in 1941 and released on Electrola, because Strauss used the full complement of percussion instruments required in this spectacular symphony. The intensity of the performance rivaled that of the digital recording Herbert von Karajan made many years later with the Berlin Philharmonic Orchestra.

Oskar Fried recorded the work in 1925 with the Berlin Philharmonic. Strauss himself conducted the Munich Radio Symphony Orchestra in the work's next recording, in 1936. His more ambitious 1941 recording, with the Bavarian State Orchestra, utilized the full orchestral forces called for by the score (see below) and was later issued on LP and CD. Due to the wide dynamic range of the music, the symphony became very popular for high fidelity and stereophonic recordings, beginning with Karl Böhm's 1957 recording. The first test pressing of a compact disc was of An Alpine Symphony.[21]
Instrumentation

Strauss scored An Alpine Symphony for the large orchestra:

    Woodwinds: 4 flutes (flutes 3 and 4 double piccolos), 3 oboes (oboe 3 doubles English horn), heckelphone, clarinet in E-flat, 2 clarinets in B-flat, bass clarinet (doubles clarinet in C), 4 bassoons (bassoon 4 doubles contrabassoon)
    Brass: 8 French horns (horns 5–8 double Wagner tubas), 4 trumpets, 4 trombones, 2 tubas, 12 offstage horns, 2 offstage trumpets, 2 offstage trombones
    Percussion: timpani (2 players), snare drum, bass drum, cymbals, triangle, tam-tam, cowbells, wind machine, thunder machine, glockenspiel
    Keyboards: celesta, organ
    Strings: 2 harps, 18 violins I, 16 violins II, 12 violas, 10 cellos, 8 double basses.

Strauss further suggested that the harps and some woodwind instruments should be doubled if possible, and indicated that the stated number of string players should be regarded as a minimum.

The use of "Samuel's Aerophon" is suggested in the instrumentation listing. (Strauss probably misunderstood the name – it was originally called the Aerophor.) This long-extinct device, invented by Dutch flautist Bernard Samuels in 1911 to assist wind players in sustaining long notes without interruption, was a foot-pump with an air-hose stretching to the player's mouth.[22] However, modern wind players make use of the technique of circular breathing, whereby it is possible to inhale through the nose while still sustaining the sound by matching the blowing pressure in the mouth. This technique is in fact centuries old and its ubiquity is probably the reason why the Aerophor never caught on – it really wasn't needed.
Program
The Aletsch Glacier in the Swiss Alps

Although performed as one continuous movement, An Alpine Symphony has a distinct program which describes each phase of the Alpine journey in chronological order. The score includes the following section titles (not numbered in the score):

    Nacht (Night)
    Sonnenaufgang (Sunrise)
    Der Anstieg (The Ascent)
    Eintritt in den Wald (Entry into the Forest)
    Wanderung neben dem Bach (Wandering by the Brook)
    Am Wasserfall (At the Waterfall)
    Erscheinung (Apparition)
    Auf blumigen Wiesen (On Flowering Meadows)
    Auf der Alm (On the Alpine Pasture)
    Durch Dickicht und Gestrüpp auf Irrwegen (Through Thickets and Undergrowth on the Wrong Path)
    Auf dem Gletscher (On the Glacier)
    Gefahrvolle Augenblicke (Dangerous Moments)
    Auf dem Gipfel (On the Summit)
    Vision (Vision)
    Nebel steigen auf (Mists Rise)
    Die Sonne verdüstert sich allmählich (The Sun Gradually Becomes Obscured)
    Elegie (Elegy)
    Stille vor dem Sturm (Calm Before the Storm)
    Gewitter und Sturm, Abstieg (Thunder and Tempest, Descent)
    Sonnenuntergang (Sunset)
    Ausklang (Quiet Settles)[23]
    Nacht (Night)

In terms of formal analysis, attempts have been made to group these sections together to form a "gigantic Lisztian symphonic form, with elements of an introduction, opening allegro, scherzo, slow movement, finale, and epilogue."[14] In general, however, it is believed that comparisons to any kind of traditional symphonic form are secondary to the strong sense of structure created by the piece's musical pictorialism and detailed narrative.[14]

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