What to listen for on this album? That’s easy: The all-too-common ’70s EMI harshness and shrillness. We could never understand why audiophiles revered EMI as a label the way they did back the day. I chalk it up — as I do most of the mistaken judgments audiophiles tend to make about the sound of records, my own included — to the limitations of the equipment, bad rooms and poor record cleaning.
If you had vintage tube equipment back in the ’70s — McIntosh, Marantz, etc. (I myself had an Audio Research SP3-A1 and a D-75a, later a D-76a) — the flaws heard on most copies of this record wouldn’t be nearly as offensive as they are to those of us playing them on the much more revealing systems that are possible today.
Working in unfathomably complicated and unpredictable combination, today’s modern systems, painstakingly set up and tweaked through trial and error, in heavily treated rooms, using only records that have been subjected to the most advanced cleaning technologies — these are what make it possible to know what your records really sound like.
These are what make it possible for us to do our job. You, of course, have the option of hearing our records any way you like on your system and in your room. The cleaning and evaluation of the sound has been done.
The record is now yours to enjoy for as long as you live.
Desert Island Discs
This pressing contains one of my favorite performances of the Classical Symphony. There is a recording by Previn and the LA Phil from 1986 with a performance To Die For. Unfortunately it comes with the kind of mid-’80s tear-your-head-off-digital shrillness that makes the CD medium the worn out joke we analog lovers have long known it to be.
The First Symphony happens to be one of my favorite classical works of all time, right up there with The Planets and Pictures at an Exhibition. I wouldn’t want to go to my desert island without all three.
This is truly a sublime recording that belongs in any music collection, whether you’re a fan of classical music or not. It’s a work of such joy that I’ve never failed to be uplifted by it — except when the performance is too slow, which it much too often is.
This is a difficult piece to pull off. Most of the time either the orchestra is not up to the task or the conductor misunderstands the work. Previn has a spritely take on the piece, which is precisely what it needs and, every bit as important, the London Symphony has the chops to bring his vision to life.
The Classical Symphony
Please click on The Classical Symphony tab above for a much more in-depth commentary.
It is difficult to determine whether it was in answer to his critics or in revolt against the romanticism and impressionism of the time that the ‘bad boy’ of modern music undertook to write a symphony such as Haydn would have written ‘had he been living today.’ He scored the work for a Haydn-size orchestra (using a pair each of flutes, oboes, clarinets, bassoons, horns and trumpets, with kettledrums and strings.)
But far from being a parody, it is rather a brilliant display of charm, gaiety and good humor as well as a delightful and respectful homage to the early masters whom Prokofieff had at one time so scornfully rejected.
— from the liner notes of RCA’s release with Sargent
Notes from The Kennedy Center
In the field of instrumental music, I am well content with the forms already perfected. I want nothing better, nothing more flexible or more complete than sonata form, which contains everything necessary to my structural purpose.
This statement, given to Olin Downes by Prokofiev during an interview in 1930 for The New York Times, seems a curious one for a composer who had gained a reputation as an ear-shattering iconoclast, the enfant terrible of 20th-century music, the master of modernity.
While it is certainly true that some of his early works (Scythian Suite, Sarcasms, the first two Piano Concertos) raised the hackles of musical traditionalists, it is also true that Prokofiev sought to preserve that same tradition by extending its boundaries to encompass his own distinctive style. A glance through the list of his works shows a preponderance of established Classical forms: sonatas, symphonies, concertos, operas, ballets, quartets, overtures and suites account for most of his output. This is certainly not to say that he merely mimicked the music of earlier generations, but he did accept it as the conceptual framework within which he built his own compositions.
Prokofiev’s penchant for using Classical musical idioms was instilled in him during the course of his thorough, excellent training: when he was a little tot, his mother played Beethoven sonatas to him while he sat under the piano; he studied with the greatest Russian musicians of the time — Gliére, Rimsky-Korsakov, Liadov, Glazunov; he began composing at the Mozartian age of six.
By the time he was 25, Prokofiev was composing prolifically, always brewing a variety of compositions simultaneously. The works of 1917, for example, represent widely divergent styles — The Gambler is a satirical opera; They Are Seven, a nearly atonal cantata; the Classical Symphony, a charming miniature. This last piece was a direct result of Prokofiev’s study with Alexander Tcherepnin, a good and wise teacher who allowed the young composer to forge ahead in his own manner while making sure that he had a thorough understanding of the great musical works of the past.
It was in 1916 that Prokofiev first had the idea for a symphony based directly on the Viennese models supplied by Tcherepnin, and at that time he sketched out a few themes for it. Most of the work, however, was done the following year, as Prokofiev recounted in his Autobiography:
I spent the summer of 1917 in complete solitude in the environs of Petrograd; I read Kant and I worked hard. I had purposely not had my piano moved to the country because I wanted to establish the fact that thematic material worked out without a piano is better…. The idea occurred to me to compose an entire symphonic work without the piano. Composed in this fashion, the orchestral colors would, of necessity, be clearer and cleaner.
Thus the plan of a symphony in Haydnesque style originated, since, as a result of my studies in Tcherepnin’s classes, Haydn’s technique had somehow become especially clear to me, and with such intimate understanding it was much easier to plunge into the dangerous flood without a piano. It seemed to me that, were he alive today, Haydn, while retaining his style of composition, would have appropriated something from the modern.
Such a symphony I now wanted to compose: a symphony in the classic manner. As it began to take actual form I named it Classical Symphony; first, because it was the simplest thing to call it; second, out of bravado, to stir up a hornet’s nest; and finally, in the hope that should the symphony prove itself in time to be truly ‘classic,’ it would benefit me considerably.”
Prokofiev’s closing wish has been granted — the Classical Symphony has been one of his most successful works ever since it was first heard.
The work is in the four movements customary in Haydn’s symphonies, though at only fifteen minutes it hardly runs to half their typical length. The dapper first movement is a miniature sonata design that follows the traditional form but adds some quirks that would have given old Haydn himself a chuckle — the recapitulation, for example, begins in the “wrong” key (but soon rights itself) and occasionally a beat is left out, as though the music had stubbed its toe.
The sleek main theme is followed by the enormous leaps, flashing grace notes and sparse texture of the second subject. A graceful melody floating high in the violins is used to open and close the Larghetto, with the pizzicato gentle middle section reaching a brilliant tutti before quickly subsiding. The third movement, a Gavotte, comes not from the Viennese symphony but rather from the tradition of French Baroque ballet. The finale is the most brilliant movement of the Symphony, and calls for remarkable feats of agility and precise ensemble from the performers.
There is a quite common pressing of this album on domestic Angel, but don’t waste your money: the sound is godawful, like most of what Angel pressed here in the states from British dub tapes.