Barber and Copland in Improved Sound

Continuing our series of favorite recordings from the first year of this blog in enhanced sound, we have here two first recordings of important American works - Samuel Barber's Violin Concerto and Aaron Copland's Piano Concerto, 1926.

The audible improvements this time out are not dramatic, but worthwhile nonetheless - reduced rumble and a lossless transfer. [Note (September 2023): this has been greatly improved and is now in ambient stereo.]

Aaron Copland and Samuel Barber

Here is what I wrote about this recording when it was first posted:

Here we have two superb works in what I think are their first recordings, and distinctive ones at that.

Louis Kaufman

Louis Kaufman was a stalwart of the film music orchestras and made quite a few records for budget labels. He takes a very personal and romantic view of the gorgeous Barber concerto - much different from the poker-faced approach that's normal in most music these days. He, the indefatigable conductor Walter Goehr, and their pseudonymous orchestra also do a great job with the finale, which usually sounds like an afterthought. The recording is from 1950.

Leo Smit

Aaron Copland makes an appearance to conduct his early Piano Concerto, which is from the Jazz Age and sounds it. It's great fun and very enjoyable in this performance by the talented Leo Smit, a friend of Copland and a superb interpreter of his piano music. The 1951 sound from Rome can be a trifle raucous in the tuttis, but the piano comes across well.

The Musical Masterpiece Society and its sibling labels made many interesting records. We've seen several already on this blog, and more are to come.

First Recordings of Barber and Copland

Here we have two superb works in what I think are their first recordings, and distinctive ones at that.

Louis Kaufman was a stalwart of the film music orchestras and made quite a few records for budget labels. He takes a very personal and romantic view of the gorgeous Barber concerto - much different from the poker-faced approach that's normal in most music these days. He, the indefatigable conductor Walter Goehr, and their pseudonymous orchestra also do a great job with the finale, which usually sounds like an afterthought.

Aaron Copland makes an appearance to conduct his early Piano Concerto, which is from the Jazz Age and sounds it. It's great fun and very enjoyable in this performance by the talented Leo Smit, a friend of Copland and a superb interpreter of his piano music. The sound isn't too bad.

The Musical Masterpiece Society and its sibling labels made many interesting records. We've seen several already on this blog, and more are to come.

Copland by Copland

Aaron Copland is better known today for his records as a conductor than as a pianist. On this early effort - dating from 1946-47 - he participates only in "Danzon Cubano." The leading player throughout is Leo Smit, something of a Copland specialist.

The selections from "Our Town" are familiar from the orchestral score. These piano versions are superb. The real find (to me) is the set of "Three Blues." In their simplicity and tone, they are reminiscent of Gershwin's "Three Preludes." Copland's debt to Satie is apparent in these pieces.

This was an early 10-inch LP on the Concert Hall label. I've never seen a reissue of it - strange considering Copland's popularity.

I met Copland once a long time ago at a master class. I remember he was mildly critical of one of the student's compositions. I heard later that the young composer (who later became well known) was devastated.