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Topic: Hermann Scherchen

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	Great Conductors: Scherchen 5 75956 2 [CH]: Classical CD Reviews- March 2004 MusicWeb(UK) (Site not responding. Last check: 2007-10-09)
		Scherchen was essentially a modernist but he also had a profoundly enquiring mind and never ceased to call into question the correct style in which the basic classics were to be interpreted.
		A point where Scherchen scores is in his ability to give more lyrical subjects their just phrasing while maintaining his tempo; it is by this means (and helped by the virtuosity of the RPO of the time) that he achieves the shortest timing of all in the finale.
		Scherchen encourages his players to give full rein to their Viennese instincts with results that would be schmaltzy were it not for the evidence of a fine intellect governing the proceedings, continually probing into the inner parts and the harmonies.
	www.musicweb-international.com /classrev/2004/Mar04/Scherchen.htm (1721 words)

	Hermann Scherchen (Conductor) - Short Biography
		In 1914 Hermann Scherchen became conductor of the Riga Symphony Orchestra.
		Scherchen is certainly one of the most important figures in the world of music in the twentieth century.
		Scherchen was one of the few conductors who conducted without a baton.
	www.bach-cantatas.com /Bio/Scherchen-Hermann.htm (464 words)

	Scherchen Hermann - Search Results - MSN Encarta
		Scherchen, Hermann (1891-1966), German conductor, who played a leading role in promoting the work of many 20th-century composers.
		Hermann's Tortoise, terrestrial Mediterranean tortoise inhabiting southern Europe.
		Weyl, Hermann (1885-1955), German mathematician, who made important contributions to quantum theory and the theory of relativity.
	uk.encarta.msn.com /Scherchen_Hermann.html (101 words)

	Westminster - Prokofiev: Scythian Suite, Etc; Khachaturian \| ArkivMusic
		Scherchen fans of a certain age will fondly recall the Prokofiev in its original incarnation as Westminster LP WL 5091, its murky brown cover depicting a fierce, fleeing horseman pursued by turquoise-colored flying beasties.
		Scherchen launches into the opening orchestral splash like a wild man, gives the horn whoops of the final movement the piquant flavor they need, and is deliciously atmospheric in the aforementioned "Night".
		Scherchen obviously relishes the forward momentum of the opening "Sabre Dance", the gently rocking rhythms of the "Lullaby", and the percussion arrays of the "Dance of the Young Kurds".
	www.arkivmusic.com /classical/album.jsp?site_id=CTRV&album_id=52910 (591 words)

	Mass in B minor by Hermann Scherchen at jsbach.org
		This is a reissue of a 1959 recording that was released on the Westminter label.
		Moreover, he imparts the right amount of energy to the "faster" parts, such as "Et ressurexit" and "in gloria dei Patris." Scherchen found the right balance of tempos for the work overall, which gives his recording a unity that is lacking in Karajan's.
		Scherchen is at his best in making clear the architecture of the larger movements, such as the opening chorus.
	www.jsbach.org /scherchenmassinbminor.html (339 words)

	Amazon.com: Tribute to Hermann Scherchen "The Best-Known Unknown": Music: Johann Sebastian Bach,Bela Bartok,Ludwig van ... (Site not responding. Last check: 2007-10-09)
		Hermann Scherchen (1891-1966) was one of the greatest conductors of the last century, and he has long been one of my "top ten" favorites.
		Scherchen began playing the violin at age 7 and was one of music's great auto-didacts: he was entirely self-taught and never attended any music schools.
		Scherchen's approach is the diametric opposite of Knappertsbusch, whose live readings are VERY slow and attempt to make the 8th a true precursor to the 9th.
	www.amazon.com /exec/obidos/tg/detail/-/B000003O76?v=glance (1340 words)

	Hermann Sherchen GC20thC [PSh]: Classical CD Reviews- Jan 2004 MusicWeb(UK) (Site not responding. Last check: 2007-10-09)
		Scherchen, like Leopold Stokowski, was very knowledgeable in the technical area of the recording process, but, unlike Stokowski, was primarily concerned with clarity, detail and realism in his recordings.
		We are deeply in debt to Scherchen’s daughter, Dr. Myriam Scherchen, for establishing TAHRA records and searching out and publishing radio transcriptions and tapes from minor labels and sharing with us her family photograph album and many fascinating recollections.
		Scherchen was as admiring of — and as well acquainted with — Mahler as Bruno Walter was, and his interpretations, while quite different, must be regarded as equally authoritative.
	www.musicweb-international.com /classrev/2004/Jan04/scherchen.htm (1163 words)

	Classical Net Review - Great Conductors - Scherchen & Rodzinski
		The connection between Hermann Scherchen and Artur Rodzinski is that both made LPs for the Westminster label in the 1950s, and these LPs still are prized by collectors of used vinyl.
		Scherchen's support of new music was matched by his interest in radio and technology in general, and also by his interest in stripping away the Romantic excess that had encrusted the music of Baroque and Classical composers.
		Scherchen's work with modern music is represented by the Schoenberg (a live studio recording from 1959) and the Orff.
	www.classical.net /~music/recs/reviews/e/emi75959a.html (888 words)

	The Mono Maven Begins A Survey Of Significant Early Westminster LPs Review By Leonard Norwitz
		Hermann Scherchen has something of a cult following; Erica Morini's stereo recording of the Tchaikovsky Violin Concerto is an audiophile collector's item; while the likes of The Curtis String Quartet and Edith Farnadi still await their renaissance.
		Hermann Scherchen is one of the more neglected conducting genii of his time: never pedestrian, always able to get committed performances in riveting, fascinating interpretations, even from second-tier orchestras.
		Scherchen is a wonder here in what may have been the first LP recording of this masterpiece.
	www.enjoythemusic.com /magazine/music/1004/classical/mono.htm (1585 words)

	Hermann Scherchen - Bach Cantatas & Other Vocal Works - General Discussions
		Hermann Scherchen conducts the Vienna State Opera Orchestra and Akademiechor on 6 early Westminster LP mono records.
		Hermann Scherchen was born in Berlin in 1891 and played as a violist under Nikisch, Mottl, Strauss, Oskar Fried and Weingartner and died in 1966.
		The contralto is R-M and the conductor is Scherchen.
	www.bach-cantatas.com /Performers/Scherchen-Gen.htm (7275 words)

	HERMANN SCHERCHEN
		Here are three important releases in the recorded legacy of Hermann Scherchen, the first two beautifully remastered Westminster recordings from the early '50s, and a special group identified as "The Nixa Recordings" dating from September 15 - 28, 1953, recorded in London's Walthamstow Assembly Hall.
		In 1953, forty-five years later, Scherchen made this recording which was my introduction to the music (a photo of the original Westminster 2-LP release is included in the booklet).
		Scherchen's imaginative interpretation is hindered by a smallish-sounding orchestra and some tentative playing.
	classicalcdreview.com /hsnixa.htm (686 words)

	Hermann Scherchen Discography (Site not responding. Last check: 2007-10-09)
		Edited by Ernest Wan, expanding, and rendering in HTML, an unpublished discography by Frank Forman, 1993.
		Hermann Scherchen's recorded legacy by no means reflects his immense repertoire.
		Lists Scherchen live recordings held in German archives (plus a good number of records).
	members.shaw.ca /esw (439 words)

	Hermann Scherchen - Free Music Downloads, Videos, CDs, MP3s, Bio, Merchandise and Links (Site not responding. Last check: 2007-10-09)
		Scherchen was one of the leading conductors in the middle part of the 20th Century, especially valued for his pioneering performances of the contemporary music of his time.
		Following its Berlin premiere, the piece was taken on a tour in which Scherchen conducted.
		Scherchen resumed his continent-wide activities after World War II ended.
	www.artistdirect.com /nad/music/artist/bio/0,,971268,00.html (632 words)

	Classical Net Review - Hermann Scherchen Conducts
		Hermann Scherchen's debut as a conductor came in 1912, with a performance of Schoenberg's Pierrot lunaire.
		Scherchen, true to form, pushes them to their limits in the overture to The Bartered Bride, yet the Orchestra hangs on tight.
		Scherchen includes a jaunty fanfare between two of the sections, which was new to me but very effective.
	www.classical.net /music/recs/reviews/r/red00058a.html (650 words)

	Scherchen, Hermann. The Columbia Encyclopedia, Sixth Edition. 2001-05
		He played viola in the Berlin Philharmonic (1907–10) and made his debut there as a conductor in 1911.
		Scherchen conducted and taught throughout Europe and gained a reputation as an outstanding exponent of modern music.
		Scherchen made his American debut in 1964 with the Philadelphia Orchestra.
	www.bartleby.com /65/sc/Scherche.html (114 words)

	iClassics (Site not responding. Last check: 2007-10-09)
		Hermann Scherchen was exclusively contracted to Westminster for many years.
		Scherchen made a mono recording of the same six Hungarian Rhapsodies in the early 1950s.
		Scherchen's daughter, Myriam, is deeply involved in preserving her father's legacy and describes his passion for his art: "My father preached music like a priest; he saw in music one of the greater means leading to personal freedom and to human maturity."
	www.iclassics.com /featureArticle?contentId=394 (770 words)

	ITG News: News Briefs April 2002
		In 1931 Hartmann became a private student of Hermann Scherchen (1891-1966).
		Scherchen, a trained viola player who was self taught in composing and conducting, was very interested in the new music of those times.
		After the performance Hartmann took the score with him and tried to find other brass players who could be interested in his composition, but he could not find anyone with the technical skills demanded by the piece.
	www.trumpetguild.org /news/news02/hartman.htm (660 words)

	Westminster - Honegger: Pacific 231; Stravinsky / Scherchen \| ArkivMusic
		Although his available discography is quite patchy, Hermann Scherchen's reputation as a passionate and able advocate for twentieth-century music is well deserved.
		So, too, is Scherchen's own, particularly post-war sensibility; perhaps "brutal" is too strong a word, but he commands all these works with a burly muscularity.
		While Scherchen's interpretations most likely won't abrogate your reference recordings, you're sure to learn a lot from him about this music, as not the slightest detail escapes his scrutiny.
	www.arkivmusic.com /classical/album.jsp?site_id=CTRV&album_id=7319 (307 words)

	Reissue CDs, JUNE02, Pt. 1 - AUDIOPHILE AUDITION (Site not responding. Last check: 2007-10-09)
		Recorded 1957-59, we hear Hermann Scherchen (1891-1966) in the music of Liszt, to which Scherchen was temperamentally attracted.
		Scherchen's way with the selected tone-poems and the Mephisto Waltz is pointedly designed to rescue this repertory from kitsch status, especially as he had seen Les Preludes degenerate under the Nazi's aegis to commend the Wehrmacht.
		Scherchen's Hunnenschlacht is a classic of its kind, alternating between the savage, golden horde and the conquering, Christian hymnody.
	www.audaud.com /audaud/JUN02/REISSUES/recds1JUN02.html (2588 words)

	Classical CD Reissues, Pt. 1 - DEC03 - AUDIOPHILE AUDITION (Site not responding. Last check: 2007-10-09)
		Self-taught in music and philosophy, Scherchen had allied himself to the Second Viennese School by the time he was twenty-one; after 1918, with his founding of the Society for New Music, he premiered some 200 works, including the Schoenberg Violin Concerto.
		In one of recent letters to Scherchen's daughter Myriam (founder of Tahra Records), I expressed my desire to hear Scherchen's wonderful evocation (1960) of Orff's Entrata after William Byrd: and here it is! Its layered sonorities appeal tothe polyphonic in Scherchen's character, a soul that found in Bach's The Art of Fugue its spiritual kinship.
		Along with Hans Rosbaud and Dimitri Mitropoulos, Scherchen remains an explorer of the new spirit of music in the 20th Century, and that is what more than justifies his presence among the other worthies.
	www.audaud.com /audaud/DEC03/reissues/recds1.html (3636 words)

	Tahra Classical Recordings
		Tahra Recordings are an historical series of once-unavailable recordings edited by the late conductor Hermann Scherchen's daughter, Dr. Myriam Scherchen.
		HERMANN ABENDROTH CONDUCTS BEETHOVEN Symphony 9, with the Czech Philharmonic, 1951; Romance for Violin No. 1 and Violin Concerto, with David Oistrakh and the Berlin Rundfunk Sinfonieorchester, 1952; Coriolan Overture, with Rundfunk-Sinfonieorchester Leipzig, 1949; and Egmont Overture and Symphony 3, with the Berlin Rundfunk-Sinfonieorchester, 1954.
		HERMANN SCHERCHEN - MOZART Symphonies 40 and 41, and Concerto for flute and harp, with Lily Laskine and Roger Bourdin; Orchestra of the Théâtre des Champs Elysées (Paris, 1953).
	www.musicandarts.com /Tahra.html (1287 words)

	INKPOT#71 CLASSICAL MUSIC REVIEWS: MAHLER Symphony No.5 - Recordings Survey Part 2
		Scherchen often does his own thing, but manages to get away with it.
		This is a grieviously cut recording of the Fifth, cut mainly in the Scherzo, which is reduced to the ridiculous length of 5'35".
		Nevertheless in this radio broadcast Scherchen tests the limits of his scrappy French orchestra to very very interesting results.
	inkpot.com /classical/mahsym5r2.html (526 words)

	Art of Fugue by Hermann Scherchen at jsbach.org (Site not responding. Last check: 2007-10-09)
		That said, we can be grateful to Scherchen for his labors (for it was a labor of love, despite the heavy handed results), because his version introduced large audiences to the Art of Fugue, which had hitherto been more or less ignored by the average classical music afficianado.
		The music is so well-structured, it can survive almost any rendering on any instrumental combinations imaginable (hence my affection for the chamber orchestral versions by Heribert Breuer and Max Pommer, to name two of the best); however, Scherchen has inflated the work to the hysterical proportions of Busonni's transciptions, and it expires in the process.
		In brief: this recording is heartily not recommended, except for historical interest, whatever that may be in this case.
	www.jsbach.org /scherchenartoffugue.html (256 words)

	PROFESSIONAL STUDIO DESIGNER (Site not responding. Last check: 2007-10-09)
		David Scherchen was born in London, 1952 into a legacy of music and artistry.
		His father Hermann Scherchen, who was a successful orchestral conductor throughout the world during 20th century, passed on his knowledge of contemporary and forward thinking studio design.
		It was soon evident David caught the studio bug and throughout his 20's began to work alongside Dave Hawkins and Tom Hidley for world reknowned Eastlake Audio.
	dspace.dial.pipex.com /town/estate/ahg96/history.htm (310 words)

	classical 91.5 fm KUSC - CD Reviews (Site not responding. Last check: 2007-10-09)
		When Anton Webern backed out at the last minute from leading the world premiere of his friend Alban Berg's Violin Concerto, pleading ridiculously insufficient rehearsal time, it was that pater familias of modern music Hermann Scherchen who stepped in to save the day.
		Scherchen's early-`50s cycle of the Haydn "London" Symphonies marked the first time that all twelve were recorded by a single conductor and they still make for invigorating listening today.
		In spite of the grainy, hissy sound, these vintage performances crackle with imagination and life; while the orchestra is a large one and the slow movements tend to be very slow by modern standards, a commanding musical intelligence is obvious in every bar.
	www.kusc.org /reviews/02-05-cdreviews.shtml (195 words)

	Iannis Xenakis
		March 8 : Pithoprakta is premièred at the Festival Musica Viva in Munich by the Bavarian Radio Orchestra, conducted by Hermann Scherchen.
		July 20 : Achorripsis is premièred in Buenos Aires by the Teatro Colon Orchestra, conducted by Hermann Scherchen.
		This is the last work by Xenakis that Scherchen premières before his death.
	www.iannis-xenakis.org /english/bio.html (9316 words)

	Classics Today.com - Your Online Guide to Classical Music (Site not responding. Last check: 2007-10-09)
		Despite the frequent tonal rawness, lousy intonation, and lack of executional finesse (exaggerated, in part, by Westminster's characteristically close miking), the Vienna State Opera Orchestra plunges with riveting intensity into Scherchen's eccentrically fast and unyielding tempos for the second movement and the opening movement's Plötzlich schneller.
		The musicians seem to want to move the Scherzo's outer sections a shade brisker than Scherchen requests, but at least the conductor plays the movement complete (his published live versions of the Scherzo are marred by massive and quite unnecessary cuts).
		In contrast to Scherchen's unbearably protracted 16-minute account of the Adagietto with the Philadelphia Orchestra, the present reading clocks in at a (relatively) normal 9:15.
	www.classicstoday.com /review.asp?ReviewNum=5362 (323 words)

	AllRefer.com - Hermann Scherchen (Music: History, Composers, And Performers, Biography) - Encyclopedia
		AllRefer.com - Hermann Scherchen (Music: History, Composers, And Performers, Biography) - Encyclopedia
		Hermann Scherchen, Music: History, Composers, And Performers, Biographies
		Hermann Scherchen[her´mAn sher´khen] Pronunciation Key, 1891–1966, German conductor.
	reference.allrefer.com /encyclopedia/S/Scherche.html (202 words)

	Scherchen, Hermann on Encyclopedia.com (Site not responding. Last check: 2007-10-09)
		He played viola in the Berlin Philharmonic (1907-10) and made his debut there as a conductor in 1911.
		Magazines and Newspapers for: Scherchen, Hermann or search in Pictures and Maps for Scherchen, Hermann
		The writings of Iannis Xenakis (starting with Formalized Music).
	www.encyclopedia.com /html/S/Scherche.asp (193 words)

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