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Tchaikovsky - Francesca Da Rimini / Hamlet, Leopold Stokowski

1 Francesca Da Rimini: Fantasia for Orchestra (after Dante) 23.23

2 Hamlet: Overture and Fantasy 19.24

Stadium Symphony Orchestra (New York Philharmonic)

Taken from 2-track Everest tape, Leopold Stokowski’s famous 1958 inscription of Tchaikovsky’s tone-poem Francesca da Rimini with members of the New York Philharmonic (playing at Lewisohn Stadium).

This remastering gives us extremely pointed definition just where we want to hear it, in the blazing brass and creamy strings, invoking the torments of Hell and the agonized nostalgia of passions tender and criminal. The balletic elements of the score--oboe, harp, piping flutes, and echoes in the strings, both arco and plucked--gain in sonic texture but also in the sterling presence of the admixture of instrumental choirs. Stokowski’s cello line alone makes us not “abandon all hope” for further repetitions of this richly layered listening experience. The remembrance of good times in the presence of misery, as recounted by Francesca as she witnesses her lover Paolo forever blown by the insatiable winds of passion, carries power and pathos, at once. By the end of the mighty tone portrait, the howling winds leave us bereft and fascinated to return, even if it means our own confrontation with sacred pain.

The Hamlet Fantasy substitutes a solo oboe to introduce the love-theme, where a clarinet served in Francesca. An emotional reaction to Shakespeare’s “tragedy of thought,” the piece alternates a martial “call to action”--that might stand for either Hamlet or young Fortinbras--with introspective, lyrical episodes that suggest Hamlet‘s interchanges with the hapless Ophelia. Despite my having heard the Boston Symphony under Stokowski in this same piece, this inscription from New York sets an irreproachable standard for tempos and phrasing. As remastered by HDTT, the surging middle section, its pathetic voicings in strings and brass that weep for Hamlet’s murdered father and fallen mother, achieve a firm resolve as Hamlet’s hot blood awakens. The lower brass section, tuba and contra-bassoon, thunder imperiously, swirling as if Hamlet, too, could be found among the dismal shades of Inferno. The final section of martial stretti, trumpets ablaze, has the Stokowski Sound in full fettle, the snare drum the least aspect of a volatile, pointed reading that has been an archetype of its kind for fifty years.

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