Beecham conducts romantic overtures (RPO)

Beecham conducts Overtures
Berlioz: Le Corsaire; Mendelssohn: Midsummer Night's Dream, The Fair Melusina; Rossini: La gazza ladra, La scala di seta, Semiramide; Suppe: Poet and Peasant; *Wagner: Die Meistersinger von Nürnberg
Royal Philharmonic Orchestra/Sir Thomas Beecham
EMI Classics 7 63407 2 | Stereo, *Mono ADD

Here is another CD that for some reason or other EMI has failed to reissue. The Rossini overtures appeared in the early 2000's on a short lived fundraiser CD for UNESCO where it was paired with recordings by Sargent and Serafin. The Wagner was reissued on BBC Classics some years back. But the remainder rests comfortably in the EMI vaults gathering dust.

If you love Beecham's way with music and haven't heard this yet, you must hear this CD. If you're unfamiliar with Beecham's art, this and my earlier post of his "Lollipops" make for a great introduction to the man and his work. For me, this disc is worth hearing just for the pert, beautiful winds in Mendelssohn's The Fair Melusina alone. The lovely opening is as magical and lyrical as one could ever hope to hear. The gentle breeze of a clear spring day.

The sound is good and airy early stereo, except for the Wagner which was recorded for a BBC broadcast from Maida Vale. That work is recorded in mono.

This is one of the discs I reach for to listen when my life is feeling out of sorts.

Beecham's Lollipops

In an era where great conductors strode about the concert platforms of the world like colossi, Beecham stood out. To be sure he was, along with Leopold Stokowski and Willem Mengelberg, one of the most consistently phonogenic of conductors. Furtwangler, Klemperer, Walter, and others were certainly great, but often were not able to capture in the studio the fire they could summon in concert before an audience. But Beecham seemed to come to life the moment the microphones went on. Beecham, like Stokowski and Karajan, recognized the importance of recordings and understood that if he wished to communicate to the widest audience possible it would be through records. Nearly 50 years have passed since Sir Thomas' death and his recordings are still competitive today. Some, like his recordings of Bizet's music for L'Arlesienne or Sibelius' Pelleas and Melisande, arguably remain unsurpassed.

This CD, compiled from 2 posthumous LP's, is a treasure. He was outstanding in Beethoven, Brahms, Wagner, and the like--his recording of the Eroica is one of the very great ones--but if you want to hear what made the man so loved, you must listen to this CD. Many great conductors can breathe fire and life into a Beethoven symphony; it takes a very special musician to lavish the same amount of love and care on music that requires subtlety and a light touch as opposed to the grand gesture (though some of the music here, like Berlioz's march from Les Troyans roars out with great aplomb). Chabrier's March Joyeux trots by at a raucous, suspender flashing clip that is tres joyeux indeed. The flute solo in the Valse Triste has never sounded more dapper and wistful and the string tremolo coda is perfect. Just the right shading; not too dark or heavy. This is a waltz with death, yes, but that doesn't mean that death can't cut an elegant trail on the dance floor. And speaking of waltzes, his infectiously toe tapping take on the waltz from Eugene Onegin will have even the most crusty old frump twirling away in 3/4 time. I could spend days going on about this beautiful playing on this album. The silken strings, the characterful winds, and noble brass--what an orchestra the old RPO was! A half century has intervened since these recordings were made, but that sly Beecham charm still sounds verdant and fresh.

For whatever reason, EMI has kept this album out-of-print, though some of this material has reappeared on a pair of Great Recordings of the Century CD's. Well, it's here now so you know what to do. ;)