Відео

This from the 1992 NY Times obit for James Aliferis: "Mr. Aliferis was a student in 1941, with Leonard Bernstein and Lukas Foss, in Serge Koussevitsky's first conducting class at the Berkshire Music Center. From 1946 to 1958 he taught at the University of Minnesota, was the permanent guest conductor of the Minneapolis Symphony Orchestra, served as Paul Hindemith's assistant at Tanglewood and was the conductor of the International Society of Contemporary Music. His First Symphony received its premiere with Dimitri Mitropoulos conducting the Minneapolis orchestra. He was the president of the New England Conservatory of Music in Boston from 1958 to 1962. He was the author of the Aliferis Music Achievement Tests, the country's only standardized college-level musicianship examinations. In the late 1960's, he served as director of choral music for the city of Philadelphia and led his own professional chorus, the James Aliferis Singers." The New England Conservatory's website adds this earlier background info: "James Aliferis was born in Oshkosh, Wisconsin. As a child, he studied piano and violin at the Cleveland Institute of Music. Aliferis received both his bachelor’s degree (B.S., 1936) and master’s degree (M.A., 1939) from Western Reserve University. At Western Reserve, Aliferis studied theory, counterpoint, and fugue with Melville Smith, and composition and music history with Arthur Shepherd. In 1939, he received a Ranney Fellowship for further study in Europe."

Mitropoulos and the Minneapolis Symphony did performed this Rabaud piece on their Friday night subscription concert at Northrop Auditorium on January 14, 1949, but there is no record of that concert being broadcast on the radio in Minneapolis. While it's possible that for some reason Marchant recorded this live at Northrop using KUOM's microphones, it seems more likely this tape might be instead his off-air recording of the December 11, 1949, Sunday afternoon broadcast of the New York Philharmonic since Mitropoulos conducted the same work on that date at Carnegie Hall. Just a guess.

Mitropoulos was away conducting the New York Philharmonic for four weeks in late November/early December that year, and so, as Carlo Fisher says, it is Chardon conducting. Yves Chardon was the orchestra's French-born principal cellist and assistant conductor of the orchestra back then. The "Mr. Fitch" mentioned by Fisher was Ray Fitch, a double-bassist with the orchestra who also played the alto saxophone for a performance of Debussy's "Rhapsody" on the same program.

In 1944 NBC began a series of national broadcasts highlighting American orchestras. The program was called “The Orchestra of the Nation” and by 1948 had showcased forty-two different ensembles. These were specially-arranged radio concerts with no audience present. The Minneapolis Symphony and Dimitri Mitropoulos were heard on “Orchestra of the Nation” three times: twice in 1947, and then on this Saturday, December 18, 1948, broadcast that included Dvorak's "Carnival" Overture and Beethoven's "Eroica" Symphony.

One of the unusual things about the Minneapolis Symphony's Young People's Concerts back then was that sometimes they included solo or chamber music performances by the soloists the Symphony brought in to appear on their Friday evening subscriptions concerts. In this case, it was Claudio Arrau performing four solo piano selections for school kids on Thursday afternoon, and then the Chopin Piano Concerto No. 1 for adults on the following Friday evening. That March 20, 1949 Friday night subscription concert was, indeed, Mitropoulos's very last Northrop Auditorium subscription concert with the Minneapolis Symphony. The Chopin Piano Concerto on the program was preceded by Mozart's "Marriage of Figaro" Overture and followed by Mahler's Symphony No. 1. But the March 20, 1949, concert at Northrop wasn't Mitropoulos's VERY last appearance with the Minneapolis Symphony, however: the next day he and the orchestra's musicians set off for their annual spring tour, a grueling marathon of 38 concerts in South Dakota, Montana, Washington, Oregon, Idaho, Utah, Colorado, Nebraska, South Dakota (again), and finally Wisconsin, before returning home to Minnesota on April 24, 1949. Musicians were worked hard in those days!

This is pretty amazing, thank you for taking the time to share all these performances. Is there any more live Elman in the collection? He performed a ton of concerti in this period that he never otherwise recorded, it would be awesome to hear them if they exist. Thank you!

P.S. Mr. Grimm's voice on this tape sounds a bit too high-pitched (compare it to his voice in the Britten selection posted elsewhere on this UA-cam channel). Maybe this tape needs to be pitch adjusted down a bit?

This Marchant recording was made during the January 20, 1949 KUOM broadcast of a Thursday afternoon Minneapolis Symphony "Young People's Concert." The narrator voice is that of Paul Brissey, a violinist with the orchestra who also served as the host of MSO Young People's concerts under Dorati the following season (Dorati gave up trying to be both the host and conductor of these Young People's Concerts after a few valiant, but not always successful, attempts that are documented on your UA-cam channel). Brissey also had a side career as a radio announcer and host of summertime classical pops broadcasts on WTCN in the early 1950s.

This Marchant recording was made during the March 17, 1949 KUOM broadcast of a Thursday afternoon Minneapolis Symphony "Young People's Concert." Also on the program that afternoon was the Mendelssohn "Finga'ls Cave" and solo piano Mozart Rondo (with Claudio Arrau) also recorded by Mr. Marchant and posted on your UA-cam channel. Thank you!

Actually, this recording made during the October 27, 1948 KUOM live broadcast from the Saint Paul Municipal Auditorium of a Wednesday afternoon "Young People's Concert" was conducted by Yves Chardon, not Dimitri Mitropoulos. The French horn soloist mentioned was Waldemar C. Linder, the principal horn of the Symphony for many years. Mitropoulos was at Carnegie Hall conducting the New York Philharmonic in October of 1948. Fritz Reiner was the guest conductor of that week's Friday night Minneapolis Symphony subscription concert. Yves Chardon was the principal cellist of the Minneapolis Symphony then, and also its assistant conductor. He was, like Mitropoulos, also a composer. Chardon was born in France, but came to the U.S. in 1929, joined the Boston Symphony under Koussevitzky, occasionally conducted the Boston Pops, and left Boston for Minneapolis because he was offered both the first chair position with the Minneapolis Symphony and the tempting offer of an assistant conductor position as well. When Mitropoulos left in 1949, Chardon returned to France for a time to become the full-time conductor of an orchestra there, before returning to the U.S. where formed the Florida Symphony in Orlando, and finally moved on to play as the principal cellist for the Metropolitan Opera in New York City for 25 years. He then retired to New Hampshire and died at the age of 97 in 2002. I doubt the mystery announcer heard here is Chardon himself, however, since, according to a 2001 NY Times article, Chardon was "the prototype of a typical Parisian (perpetual Gauloise [cigarette] and an accent like Charles Boyer."

Actually, this recording made during the October 27, 1948 KUOM live broadcast from the old St. Paul Auditorium of a Wednesday afternoon "Young People's Concert" was conducted by Yves Chardon, not Dimitri Mitropoulos. Yves Chardon was the principal cellist of the Minneapolis Symphony then, and also its assistant conductor. He was, like Mitropoulos, also a composer. Chardon was born in France, but came to the U.S. in 1929, joined the Boston Symphony under Koussevitzky, occasionally conducted the Boston Pops, and left Boston for Minneapolis because he was offered both the first chair position with the Minneapolis Symphony and the tempting offer of an assistant conductor position as well. When Mitropoulos left in 1949, Chardon returned to France for a time to become the full-time conductor of an orchestra there for a time, before returning to the U.S. where formed the Florida Symphony in Orlando, and finally moved on to play as the principal cellist for the Metropolitan Opera in New York City for 25 years. He then retired to New Hampshire and died at the age of 97 in 2002. I doubt the voice heard here is Chardon himself, however, since, according to a 2001 NY Times article, Chardon was "the prototype of a typical Parisian (perpetual Gauloise [cigarette] and an accent like Charles Boyer."

Absolutely magnificent - thank you!

Notice the VU meter is performing healthily on this one! Wonder why the difference -- as mentioned before, some of your postings show the VU meter barely moving. Could it be due to different tape formulations? Or was the tape machine used to record some of them showing an inaccurate signal strength? I remember my first tape recorder had a very primitive indicator, like a blinking eye. --- And again, thank you for this incandescent performance!!!

Wonderful job ! Thanks for all the dedication and job you do to publish in the most acurate way these historic documents.

Fascinating, indeed. Thank you.

Fabulous. Thank you, again.

Beyond words, speechless.

Mitropoulos loved romantic Brahms! Thank you. ua-cam.com/video/0kFp0-dvYBs/v-deo.html

Thank you very much. A treasure.

It's hard to believe, but four years in a row the University of Minnesota radio station KUOM offered live broadcasts of Minneapolis Symphony dress rehearsal performances of some of the "difficult" new repertory that Dimitri Mitropoulos programmed with the orchestra. The idea was these Thursday afternoon broadcasts would offer a preview hearing for those attending the Friday night subscription concert performances of these new works the following day, so they actually would be hearing these works for the SECOND time when they were performed at Northrop Auditorium before a live audience. In 1945, KUOM broadcast the Thursday afternoon dress rehearsal of the Schoenberg Violin Concerto (also with Krasner as soloist); in 1946, it was the world premiere of Arthur Schnabel's Symphony (Schnabel was in attendance and played a Beethoven Piano Concerto on the second half of that concert); and in 1947, it was the world premiere performance of the Roger Sessions Violin Concerto. These three Thursday afternoon dress rehearsal performances were broadcast without interruption, and in the case of the 1947 broadcast, Sessions himself offered some comments to the radio audience about his new work. A recording of the 1946 Schnabel Symphony dress rehearsal broadcast exists, and has been posted on another UA-cam channel (but it survives in only so-so sound, as it was recorded on disc, not tape), but I am thrilled beyond belief that this Marchant tape recording of the 1947 Sessions rehearsal preview performance has surfaced. I have been trying to hunt this recording down for several years now, but since it did not exist in the official Sessions or Krasner archives, I assumed it was lost (or never made). I am thrilled you have uncovered this and posted it here. Thank you! P.S. the 1948 KUOM live rehearsal broadcast with Mitropoulos was a rehearsal of the Symphony No. 1 of James Aliferis, including cues from Mitropoulos -- and that one (also recorded by Mr. Marchant and posted on this UA-cam channel) took place on the same Friday morning as the evening subscription concert!

Minneapolis newspapers from November 1947 confirm this performance took place on November 18, 1947, at Northrop Auditorium as part of the University of Minnesota's new "Master Piano" series. KUOM, the University's radio station normally signed off back then at 6 p.m., and contemporary newspaper radio listings show they did, indeed "sign off" at 6 p.m., but then signed back on at 8:30 p.m. just for this live broadcast! The Mozart Fantasy in C Minor was the opening work on the first half of program, followed by Beethoven's "Eroica" Variations, then Beethoven's Piano Sonata No. 32; on the second half Mozart's D Major Sonata and Beethoven's Piano Sonata No, 26 ("Les Adieux").

Minneapolis newspapers from November 1947 confirm this performance took place on November 18, 1947, at Northrop Auditorium as part of the University of Minnesota's new "Master Piano" series. KUOM, the University's radio station, normally signed off back then at 6 p.m., and contemporary newspaper radio listings show they did, indeed "sign off" at 6 p.m., but then signed back on at 8:30 p.m. just for this live broadcast! The Mozart Fantasy in C Minor was the opening work on the first half of program, followed by Beethoven's "Eroica" Variations, then Beethoven's Piano Sonata No. 32; on the second half Mozart's D Major Sonata and Beethoven's Piano Sonata No, 26 ("Les Adieux").

Minneapolis newspapers from November 1947 confirm this performance took place on November 18, 1947, at Northrop Auditorium as part of the University of Minnesota's new "Master Piano" series. KUOM, the University's radio station, normally signed off back then at 6 p.m., and contemporary newspaper radio listings show they did, indeed "sign off" at 6 p.m., but then signed back on at 8:30 p.m. just for this live broadcast! The Mozart Fantasy in C Minor was the opening work on the first half of program, followed by Beethoven's "Eroica" Variations, then Beethoven's Piano Sonata No. 32; on the second half Mozart's D Major Sonata and Beethoven's Piano Sonata No, 26 ("Les Adieux").

Minneapolis newspapers from November 1947 confirm this performance took place on November 18, 1947, at Northrop Auditorium as part of the University of Minnesota's new "Master Piano" series. KUOM, the University's radio station, normally signed off back then at 6 p.m., and contemporary newspaper radio listings show they did, indeed "sign off" at 6 p.m., but then signed back on at 8:30 p.m. just for this live broadcast! The Mozart Fantasy in C Minor was the opening work on the first half of program, followed by Beethoven's "Eroica" Variations, then Beethoven's Piano Sonata No. 32; on the second half Mozart's D Major Sonata and Beethoven's Piano Sonata No, 26 ("Les Adieux").

This performance is from the live March 16, 1950, KUOM (the UOM stands for "University of Minnesota") broadcast of the Thursday afternoon Minneapolis Symphony "Young People's Concert" from Northrop Auditorium on the University of Minnesota campus. The program also included the "Merry Wives of Winsor" Overture by Nicolai -- a selection also recorded by Mr. Marchant and posted as well (thank you! thank you!) on this Marchant Project UA-cam channel. FYI the 1949/50 season was Antal Dorati's first as the new conductor/music director of the Minneapolis Symphony, following the departure of Dimitri Mitropoulos, who had been with the orchestra since their 1937/38 season, but in 1949 left the Minneapolis Symphony for the New York Philharmonic.

This performance is from the live March 16, 1950, KUOM (the UOM stands for "University of Minnesota") broadcast of the Thursday afternoon Minneapolis Symphony "Young People's Concert" from Northrop Auditorium on the University of Minnesota campus. The program also included the "Forest Murmurs" from Wagner's opera "Siegfried" -- a selection also recorded by Mr. Marchant and posted as well (thank you! thank you!) on this Marchant Project UA-cam channel. FYI the 1949/50 season was Antal Dorati's first as the new conductor/music director of the Minneapolis Symphony, following the departure of Dimitri Mitropoulos, who had been with the orchestra since their 1937/38 season, but in 1949 left the Minneapolis Symphony for the New York Philharmonic.

This recording was made during KUOM's live broadcast of the Minneapolis Symphony's Tuesday afternoon Young People's Concert on March 13, 1951. Mendelssohn's "Fingal's Cave" was the opening work on the program, followed by the finale of Schubert's Fifth Symphony; then three French dances by Gretry were followed by the three Spanish dances of de Falla; and the concert closed with these two orchestral excerpts from the Rimsky-Korsakov opera "The Golden Cockerel." Mr. Marchant apparently recorded the whole concert -- and (thank you! thank you!) all the selections are posted on this Marchant Project UA-cam channel.

This recording was made during KUOM's live broadcast of the Minneapolis Symphony's Tuesday afternoon Young People's Concert on March 13, 1951. Mendelssohn's "Fingal's Cave" was the opening work on the program, followed by the finale of Schubert's Fifth Symphony; then the three French dances by Gretry were followed by three Spanish dances of de Falla; and the concert closed with two orchestral excerpts from the Rimsky-Kosakov opera "The Golden Cockerel." Mr. Marchant apparently recorded the whole concert -- and (thank you! thank you!) all the selections are posted on this Marchant Project UA-cam channel.

This recording was made during KUOM's live broadcast of the Minneapolis Symphony's Tuesday afternoon Young People's Concert on March 13, 1951. Mendelssohn's "Fingal's Cave" was the opening work on the program, followed by the finale of Schubert's Fifth Symphony; then three French dances by Gretry were followed by these three Spanish dances of de Falla; and the concert closed with two orchestral excerpts from the Rimsky-Korsakov opera "The Golden Cockerel." Mr. Marchant apparently recorded the whole concert -- and (thank you! thank you!) all the selections are posted on this Marchant Project UA-cam channel.

This recording was made during KUOM's live broadcast of the Minneapolis Symphony's Tuesday afternoon Young People's Concert on March 13, 1951. Mendelssohn's "Fingal's Cave" was the opening work on the program, followed by the finale of Schubert's Fifth Symphony; then three French dances by Gretry were followed by the three Spanish dances of de Falla; and the concert closed with two orchestral excerpts from the Rimsky-Korsakov opera "The Golden Cockerel." Mr. Marchant apparently recorded the whole concert -- and (thank you! thank you!) all the selections are posted on this Marchant Project UA-cam channel.

This recording was made during KUOM's live broadcast of the Minneapolis Symphony's Tuesday afternoon Young People's Concert on March 13, 1951. The Mendelssohn was the opening work on the program, followed by the finale of Schubert's Fifth Symphony; then three French dances by Gretry were followed by the three Spanish dances of de Falla; and the concert closed with two orchestral excerpts from the Rimsky-Korsakov opera "The Golden Cockerel." Mr. Marchant apparently recorded the whole concert -- and (thank you! thank you!) all the selections are posted on this Marchant Project UA-cam channel.

This Marchant recording is very unusual for several reasons: first, the University of Minnesota radio station KUOM usually signed off at 6 p.m. which it did on Friday, October 24, 1947 -- but then signed back on at 8:30 p.m. in order to broadcast live the opening concert of the Minneapolis Symphony's 1947/48 season; second, the complete concert was recorded (obviously on 3M tape and probably by Mr. Marchant himself) and then the copies of the tapes were sent by airplane from the Minneapolis airport to Paris, France for a delayed broadcast on the French radio system (!!!); third the newspapers reported the symphony and KUOM received special permission from James Petrillo, the powerful national head of the American Musicians Union to do all this; and, finally rather amusingly, the local Minneapolis newspapers noted extra police would be directing traffic at the University of Minnesota on October 24, 1947, since the same time the Minneapolis Symphony was playing at Northrop Auditorium, elsewhere on the University's campus the Minnesota Gopher "B" football team was playing a visiting team from the Duluth Junior College. FYI in the 1940s KUOM broadcast live a few Minneapolis Symphony c. 80-minute "Twilight" Concerts which took place at 4 p.m. on Sunday afternoons (and so before KUOM usually signed off), but otherwise KUOM only broadcast the Minneapolis Symphony's Young People's Concerts (which took place weekday afternoons) and a handful of Thursday afternoon symphony dress rehearsal performances -- complete and uninterrupted-- of "difficult" new works by composers like Arnold Schoenberg, Arthur Schnabel, and Roger Sessions to "prepare" audiences for hearing these pieces on the Friday evening concerts at Northrop. Several Marchant recordings of both KUOM broadcasts of Young People's Concerts and two of their dress rehearsals broadcasts are posted (thank you! thank you!) on this UA-cam site.

Yes, it's always good to have more Arrau.

Very interesting. We hear masterly piano playing, but we also hear that Arrau was not THAT GREAT Beethoven interpreter he later became . Already the Columbia recordings from the fifties showed a very different Arrau .

I've updated the date on this reel based on some sleuthing by @jagareco - seems like the same concert as ua-cam.com/video/tJquevLzS8k/v-deo.html and ua-cam.com/video/i6fbccVf4Hc/v-deo.html

One of the greatest performances of this overture I ever heard. I think, this recording gave Mitropoulos promotion for the New York Philharmonic Music Director position.

The only Eroica by Mitropoulos known to date, was with the New York Philharmonic live in Athens on October 2. 1955. An invaluable treasure. Please make more Mitropoulos broadcasts available. Thank you a million times .

Notable,muchas gracias

Thank you very much.

This is known as the Overture to Tannhauser (Dresden version), not the Pilgrims Chorus.

Gracias 🙏

They did this in the newspapers in the 1920s. Example: Ed Swans of 19355 1st Rd, Portland, California struck a pedestrian and didn't stop to check on the victim according to reports.

Maravilloso,gracias por compartirlo con nosotros

Incredible find

WOW~!

These were done in well-known orchestrations by Felix Mottl, nicely expanded for a 19th century orchestra.

Basil Rathbone was a great actor who perfectly manage on screen any character he created.

Astonishingly, it appears for four years in a row, starting in 1945, the University of Minnesota’s "educational" radio station KUOM negotiated the rights to broadcast portions of the MSO’s afternoon final dress rehearsals which preceded their normal Friday evening subscription concerts, focusing on especially challenging scores programmed by Mitropoulos. These broadcasts were intended to offer those attending the Friday night concerts a “preview” audition of the complex new scores: Thursday, 29 November 1945: Schoenberg Violin Concerto (with Louis Krasner) Thursday, 12 December 1946: Arthur Schnabel Symphony Thursday, 13 November 1947: Roger Sessions Violin Concerto (with Louis Krasner) Friday, 19 March 1948: the James Aliferis Symphony heard here. The Schoenberg, Schnabel, and Sessions broadcasts were complete and uninterrupted, full "dress rehearsal" broadcasts, unlike the Aliferis rehearsal. Also, for some reason this live KUOM rehearsal broadcast occurred on the morning of the Friday night premiere performance of the new symphony, not the day before.

Hi. I reply to you on Instagram. I don't use that platform regularly, so i can't know if you can read it. Regards