During the 1970s, when I was growing up, not least musically, I was very fortunate to be introduced to much of the repertoire from Ernest Ansermet’s recordings. Not that he was the draw – I hadn’t a clue who he was – it was more the inexpensive price (99p) attached to Decca’s “The World of the Great Classics” LP series (prefix SPA) that just happened to include numerous Ansermet titles in its reissue schedule. When listening, instinct suggested that I was on to a good thing.
Swiss-born Ansermet (1883-1969) formed L’Orchestre de la Suisse Romande in 1918, conducting it for fifty years – it’s current music director is Jonathan Nott – along the road making many highly-prized LPs (SXLs that continue to change hands with wallet-busting prices) and to this day do sterling service on CD, not least on the Eloquence label.
Ansermet is rightly revered for his conducting of Debussy, Ravel and Stravinsky, and associated composers (Fauré and Honegger, say); but let’s remember him also as a distinguished advocate of Beethoven, Berlioz, Brahms, Mendelssohn, Mozart, Schumann and Wagner, and other ‘core’ composers.
Haydn, too, as his superb set of the Austrian’s miraculous ‘Paris’ Symphonies (Nos.82-87) demonstrates, documented in April 1962 in the excellent acoustic of the SRO’s home, Geneva’s Victoria Hall (produced by Michael Bremner, engineered by Roy Wallace) and still sounding handsome on a pair of Decca CDs, 470 062-2, issued in 2001.
With his notably musical and dedicated Suisse Romande Orchestra, the perspicacious Ansermet judges Haydn’s great music to a nicety. I wouldn’t want to be without Roger Norrington and Kurt Sanderling (as just two examples) in these choice scores, and Ansermet is just as indispensible; indeed, in returning to his versions after some time, I had forgotten just how marvellous they are.
Illustrated is the cover of STS 15213-5 (3 LPs) for the US release of this set on London Recordings.
What about the beefy, life-affirming Bernstein set Col, which even Haydn scholar Robbins-Landon prized? Best. Rob
Hi Rob, if I have them (!), I’ll listen with keen anticipation. Thanks for the pointer. Col
Hop aboard Spotify and listen to the finale of ‘The Bear’!
No need to Spotify, for I have found the Bernstein set, in its “Royal Edition” imprint.
Refreshed by a cup of tea, a couple of chocolate biscuits, and watching an episode of The Chase, I went straight to the Finale of The Bear (S82); very impressive in big-band style, and the better for it, good articulate tempo, too, as elsewhere from Bernstein (e.g. Finale of 83, first movement of 84), fully convincing, as is Ansermet (one of any musician’s secret weapons is to persuade a listener that his/her way with the music is the right or even the only way). Bernstein does so, but I knew he was a terrific Haydn conductor – his Vienna Phil S88 for DG is ample proof – but I am/will be delighted to reacquaint with his 82-87 (New York Phil; CBS/Sony). Cheers Rob. I’ll now find something for the Archive featuring Lenny B.
In my book when it comes to the finale of No 82, its drones and Balkan dancing bears are the test for any conductor. Too many whitewash this element. Ansermet is strong, Bernstein (better recorded) fiercely characterful, adrenalin high – his Haydn never lets you down. Adam Fischer, like his compatriot Dorati (who knew how to drive a point home thrillingly), judges the mood with somewhat greater rawness and flame, palpably at one with the Eastern European/Ottoman heartlands of this music. My preferred choice, I’d have to say. https://www.youtube.com/watch?v=86LTPVnsJXg For a recent concert account Francois Leleux and the Norwegian Chamber Orchestra (April 2017) let go with abandon, drones and drums to the fore (as per the score) with all the bravado of an untamed folk fest. https://www.youtube.com/watch?v=PhSuXWpNmo4