When I started collecting records four years ago (I'm only 20 now), one of the first recordings I found in a local charity shop was Dorati's recording of the Nutcracker - his third with the Concertgebouw. When I played it, I instantly fell in love with his way of conducting, and have since continued to accrue his many wonderful recordings.
A good overview of Dorati's recording career. I'd add his advocacy of Allan Pettersson as another example of his willingness to explore unusual repertoire. He recorded Symphonies 7 and 10 and also orchestrated several of Pettersson's Barefoot Songs. The 1968 recording of Symphony 7 really first brought Pettersson to the attention of many classical listeners of that era. His recordings (and those of Comissiona) represented the first wave of Petterson proselitizing. Now, of course, we enjoy symphony cycles on both BIS and CPO.
David, thanks to your insight I have bought the Dorati Haydn cycle on eBay last year and it's become one of my most precious CD assets. Previously I had had some doubts because everywhere you hear "it's a courageous effort, but..." - it's not period-y enough, here and there it's not played very cleanly, the Minuets are too slow and so on. If anyone is considering buying the cycle: please don't take these opinions into account too much. Dorati's and Phil-Hung's Haydn is truly a big Haydn love-fest and a tribute to the musicality of everyone involved. Just like Mr. Hurwitz I particularly enjoy the richness of the string sound (with wonderful wind playing at the same time) and the present but discreetly handled continuo Cembalo in the early works. Granted, some performances have been bettered since then, but it remains the standard in so many of these marvelous works, and to find the right sound for symphony no. 1 as well as for symphony no. 104: that achievement alone says a lot about Dorati's ability as a musician and conductor. I also love Dorati's late Detroit recordings as well as his Concertgebouw Ma Vlast. But his very high standard shines through in just about every recording.
Hooray for the Mercury Cubes! IIRC Dorati's Brahms symphonies and Eroica are in Box 3. Splendid stuff, especially the low brass and woodwind in Brahms 1.
Antal Dorati was the first major conductor I got to hear live: the concert ended with music not usually associated with him: the Mahler 5th. His Beethoven cycle with Detroit was one of the best things PBS ever did (why can't they put on substantial things like that nowadays?). Every Dorati recording is marked by his marvelous rhythmic sense. He knew how to make music come alive and dance - his long years in the ballet pit paid off.
The Dorati Society in the UK sells copies of that Detroit Beethoven cycle, complete with the interviews with EG Marshall. And some Mahler (1 in Detroit) and 6 in Detroit, Cleveland, and Philadelphia.). Pretty cool stuff.
DORATI: one of the heroes of my youth (worked for two brief sessions with him in Detroit, when he was holding auditions for ass't conductor; I was maybe a bit too awed by him). His 1959 complete FIREBIRD with the London Symphony remains, IMO,, the most thrilling and visceral account of that score. His second (Minneapolis-`1960) RITE of SPRING is also phenomenal. I appreciate your overview of his (and Mercury Records') landmark contributions to the history of recorded music. LR
Dorati was a true orchestra-builder. No, he didn't end up at Philadelphia, New York, et al., but he could take orchestras that had been not-so-hot and, well, heat them up. A real gift.
Dorati is one of my fave conductors. I have two of his Haydn Opera Cycle box sets (Il mondo de la luna and Orlando Paladino), "Eine Faust-Symphonie," "Appalachian Spring" and "Petrouchka" with the Detroit Symphony Orchestra, and his "Roumanian Rhapsodies" on Mercury Golden Imports - all on vinyl.
Dorati was indeed outstanding. His recordings of Haydn piano concertos with his talented pianist wife Ilse von Alpenheim are thoroughly delightful listening.
Thank for this one, Dave. Dorati was one of the greats! So many fantastic records. I was in college when CDs came out and remember well collecting Classical LPs with some difficulty in rural Alabama where I grew up. Dorati was always an excellent choice (and usually in great sound!). I treasure those three Mercury Living Presence cubes (resistance was futile!) and many of his Decca recordings. IMO it is a WONDERFUL time to be a Classical record collector!
The Dorati Society in the UK has issued a series of his recordings. Pretty neat stuff. Includes a number of Mahler 6th’s (Cleveland, Detroit, and Philadelphia). The coolest may be Detroit’s 1977 Beethoven cycle, which was originally shown on PBS. It even includes his conversations with EG Marshall.
A lot for me to explore! I'm fond of a MLP CD with Dorati conducting Rachmaninoff's 2 nd and 3rd piano concertos in Minneapolis & London respectively. I picked it up used for about $3. Fine performance by Byron Janis as soloist. But the real treat is just how well the music is recorded. Very pleasing sonics from the 1950s.
I think too that Dorati liked working with provincial orchestras. I had his Slavonic Dances with the Bamberg Symphony. I can see how there is something meaningful about that.
I'm sorry the National Symphony Orchestra didn't rate a mention at the beginning of your spiel. We Washingtonians knew they weren't great (thank you, Paul Hume) but we loved them. When I was a sixteen-year-old high school senior I was selected to join the fledgling Paul Hill Chorale. I was in that number at the opening of the Kennedy Center Concert Hall with Dick Nixon (boo!) in the audience. I had the privilege of singing under his baton several times. He was a god to me. The highlight was Haydn's Creation with Carol Neblett and Tom Krause. Heady stuff for a young bass.
I love his recording of Wagner Ring highlights with Washington, with a wonderful opening of Das Rheingold and a Wotan Farewell that has never been bettered in my opinion.
@@stradivariouspaul1232 Absolutely! As a teenager I heard the excerpts for the first time by listening the NSO's recording. It's great that our hometown orchestra is still going strong!
@@jeandidierbrice1596 All of the Mercury Chicago/Kubelik recordings are in the Eloquence box, but only a subset of them are in the Mercury cubes. Brahms 1, Tchaikovsky 4 and 6 are among those that are NOT in the cubes.
At this point, it may be finding work for the Moscow Philharmonic and all of the musicians in the Novosibirsk and Ural Philharmonic, as well as St. Petersburg. I heard that they had to resort to violins made in North Korea.
It's a wonderful discography of great breadth. I love the Beethoven & Brahms. They're right up there with the more obvious recommendations. Personally, I find the Minneapolis recordings are let down a little by the rather "thin" sound of the orchestra in that period, as captured by Mercury. Another great Hungarian! The contribution of the Liszt Academy is truly to be marvelled at, not just for conductors but also for pianists. Perhaps an incomparable rostrum over a century or more...
His recording of the complete Haydn Symphonies will forever remain one of the great landmarks in Classical Music. A fine conductor.
When I started collecting records four years ago (I'm only 20 now), one of the first recordings I found in a local charity shop was Dorati's recording of the Nutcracker - his third with the Concertgebouw. When I played it, I instantly fell in love with his way of conducting, and have since continued to accrue his many wonderful recordings.
A good overview of Dorati's recording career. I'd add his advocacy of Allan Pettersson as another example of his willingness to explore unusual repertoire. He recorded Symphonies 7 and 10 and also orchestrated several of Pettersson's Barefoot Songs. The 1968 recording of Symphony 7 really first brought Pettersson to the attention of many classical listeners of that era. His recordings (and those of Comissiona) represented the first wave of Petterson proselitizing. Now, of course, we enjoy symphony cycles on both BIS and CPO.
David, thanks to your insight I have bought the Dorati Haydn cycle on eBay last year and it's become one of my most precious CD assets. Previously I had had some doubts because everywhere you hear "it's a courageous effort, but..." - it's not period-y enough, here and there it's not played very cleanly, the Minuets are too slow and so on. If anyone is considering buying the cycle: please don't take these opinions into account too much. Dorati's and Phil-Hung's Haydn is truly a big Haydn love-fest and a tribute to the musicality of everyone involved. Just like Mr. Hurwitz I particularly enjoy the richness of the string sound (with wonderful wind playing at the same time) and the present but discreetly handled continuo Cembalo in the early works. Granted, some performances have been bettered since then, but it remains the standard in so many of these marvelous works, and to find the right sound for symphony no. 1 as well as for symphony no. 104: that achievement alone says a lot about Dorati's ability as a musician and conductor.
I also love Dorati's late Detroit recordings as well as his Concertgebouw Ma Vlast. But his very high standard shines through in just about every recording.
Hooray for the Mercury Cubes! IIRC Dorati's Brahms symphonies and Eroica are in Box 3. Splendid stuff, especially the low brass and woodwind in Brahms 1.
Antal Dorati was the first major conductor I got to hear live: the concert ended with music not usually associated with him: the Mahler 5th. His Beethoven cycle with Detroit was one of the best things PBS ever did (why can't they put on substantial things like that nowadays?). Every Dorati recording is marked by his marvelous rhythmic sense. He knew how to make music come alive and dance - his long years in the ballet pit paid off.
The Dorati Society in the UK sells copies of that Detroit Beethoven cycle, complete with the interviews with EG Marshall. And some Mahler (1 in Detroit) and 6 in Detroit, Cleveland, and Philadelphia.). Pretty cool stuff.
DORATI: one of the heroes of my youth (worked for two brief sessions with him in Detroit, when he was holding auditions for ass't conductor; I was maybe a bit too awed by him). His 1959 complete FIREBIRD with the London Symphony remains, IMO,, the most thrilling and visceral account of that score. His second (Minneapolis-`1960) RITE of SPRING is also phenomenal. I appreciate your overview of his (and Mercury Records') landmark contributions to the history of recorded music. LR
Feel free to tell anecdotes !
Dorati was a true orchestra-builder. No, he didn't end up at Philadelphia, New York, et al., but he could take orchestras that had been not-so-hot and, well, heat them up. A real gift.
Dorati is one of my fave conductors. I have two of his Haydn Opera Cycle box sets (Il mondo de la luna and Orlando Paladino), "Eine Faust-Symphonie," "Appalachian Spring" and "Petrouchka" with the Detroit Symphony Orchestra, and his "Roumanian Rhapsodies" on Mercury Golden Imports - all on vinyl.
Dorati was indeed outstanding. His recordings of Haydn piano concertos with his talented pianist wife Ilse von Alpenheim are thoroughly delightful listening.
Thank for this one, Dave. Dorati was one of the greats! So many fantastic records. I was in college when CDs came out and remember well collecting Classical LPs with some difficulty in rural Alabama where I grew up.
Dorati was always an excellent choice (and usually in great sound!). I treasure those three Mercury Living Presence cubes (resistance was futile!) and many of his Decca recordings. IMO it is a WONDERFUL time to be a Classical record collector!
The Dorati Society in the UK has issued a series of his recordings. Pretty neat stuff. Includes a number of Mahler 6th’s (Cleveland, Detroit, and Philadelphia). The coolest may be Detroit’s 1977 Beethoven cycle, which was originally shown on PBS. It even includes his conversations with EG Marshall.
Nifty!
I definitely think we need an Antal Dorati box or two. We at least need one of his complete Mercury Living Presence recordings!
His Prokofiev recording of the Scythian Suite and The Love for Three Oranges with the LSO is terrific.
Great video Dave!!!
There are plans for a mono Mercury Dorati box for sometime in 2022.
My first thought by Dorati are always ,that he first recorded all the Haydn symphonies.
Actually he was second, but he was the first that mattered.
Dorati has always been one of those conductors that can do no wrong in my book.
A lot for me to explore! I'm fond of a MLP CD with Dorati conducting Rachmaninoff's 2 nd and 3rd piano concertos in Minneapolis & London respectively. I picked it up used for about $3. Fine performance by Byron Janis as soloist. But the real treat is just how well the music is recorded. Very pleasing sonics from the 1950s.
The crown jewel in my collection is Dorati's complete Haydn symphonies. Best money I ever spent.
I think too that Dorati liked working with provincial orchestras. I had his Slavonic Dances with the Bamberg Symphony. I can see how there is something meaningful about that.
In 1985 he came to Bern to do a Mahler 4. He did get around.
I'm sorry the National Symphony Orchestra didn't rate a mention at the beginning of your spiel. We Washingtonians knew they weren't great (thank you, Paul Hume) but we loved them. When I was a sixteen-year-old high school senior I was selected to join the fledgling Paul Hill Chorale. I was in that number at the opening of the Kennedy Center Concert Hall with Dick Nixon (boo!) in the audience. I had the privilege of singing under his baton several times. He was a god to me. The highlight was Haydn's Creation with Carol Neblett and Tom Krause. Heady stuff for a young bass.
I love his recording of Wagner Ring highlights with Washington, with a wonderful opening of Das Rheingold and a Wotan Farewell that has never been bettered in my opinion.
@@stradivariouspaul1232 Thanks! I was not aware of that.
@@stradivariouspaul1232 Absolutely! As a teenager I heard the excerpts for the first time by listening the NSO's recording. It's great that our hometown orchestra is still going strong!
On Kubelik, are the Mercury Chicago/Kubelik recordings included in those Mercury Cubes, or only in that Eloquence box?
Yes they are included. But the sonics are better in the Eloquence box (remastered)
@@jeandidierbrice1596 All of the Mercury Chicago/Kubelik recordings are in the Eloquence box, but only a subset of them are in the Mercury cubes. Brahms 1, Tchaikovsky 4 and 6 are among those that are NOT in the cubes.
Cappriccio Italian and the 1812 with real bronze canon is my favorite cd!! Better than most of the other's "best" versions.....😆😆😉😉
At this point, it may be finding work for the Moscow Philharmonic and all of the musicians in the Novosibirsk and Ural Philharmonic, as well as St. Petersburg. I heard that they had to resort to violins made in North Korea.
It's a wonderful discography of great breadth. I love the Beethoven & Brahms. They're right up there with the more obvious recommendations. Personally, I find the Minneapolis recordings are let down a little by the rather "thin" sound of the orchestra in that period, as captured by Mercury. Another great Hungarian! The contribution of the Liszt Academy is truly to be marvelled at, not just for conductors but also for pianists. Perhaps an incomparable rostrum over a century or more...
These box sets are at ridiculously high prices on Amazon UK. Hopefully might be something on EBay, or other source.