For five decades Wolfgang Sawallisch (1923-2013) held a central position in the musical world. That centrality was reflected in a series of top orchestral and operatic posts and in his interpretations, free of self-regarding eccentricities. His modest but highly effective conducting technique also made him the ideal recording artist. Sawallisch was a Bavarian born in Munich, city of orchestras and a great opera company, which he headed for 21 years. He started his career as an outstanding pianist and remained a sought-after accompanist to great Lieder singers and instrumentalists. Volume 1 of a complete conspectus of his Warner Classics recordings (made for Electrola and EMI Classics between 1954 to 1997) includes wonderful Lieder and song collaborations, as well as famous concerto accompaniments for eminent soloists and a heartwarming traversal of Schubert's secular vocal and sacred choral music with Bavarian Radio colleagues. But the main focus among the 65 discs is on his symphonic achievements: Beethoven, Schumann, Mendelssohn, Brahms, Bruckner and Dvor�k - the latter's Eighth Symphony was his first published recording, from 1954. Richard Strauss, an early influence, is strongly represented. This 65CD-box brings together all the non-operatic recordings that the German conductor and pianist Wolfgang Sawallisch (1923-2013) made in the years from 1954 to 1997 for EMI Classics and Electrola (now Warner Classics).

The superb heldentenor Bernd Aldenhoff (1908-59) is the focus of this release of the premiere performance in 1956 in Munich of the opera Don Juan de Manara by Henri Tomasi (1901-71), the only currently active and available complete recording of this work in the catalog, and certainly the most important. Sung in German, what it lacks in language authenticity it makes up for in idiomatic diction, as the fine, largely German cast, led by Andre Cluytens, includes Marianne Schech and Paul Kuen, among others. Re-mastered from the original tapes, this is it's first release in any format.

Henri Tomasi’s violin works are little known but they offer a compact insight into the direction of French 20th-century composition. The Violin Concerto ‘Périple d’Ulysse’ is a late work, by turns alluring, tragic and violent, conveyed through rhapsodic virtuosity and a rich sense of color. The Capriccio is full of elegance and refinement with emotional intensity in its slow movement and brilliance in its finale. Chant hébraïque conjures up Orientalist motifs while the sequence of early works for violin and piano reference Tomasi’s Corsican heritage and evoke quasi-cinematic exoticism.

REVIEW:

The most substantial work on the disc is 1962's Violin Concerto ‘Periple d’Ulysse’ (Ulysses’ Journey). Cast in four movements it’s a veritable tour-de-force for the soloist, demanding a virtuoso technique of the highest order. The work is brilliantly scored; Tomasi’s colorful orchestration is impressive by any standards. It’s highly rhapsodic, with moments of passionate intensity and drama.

The three-movement Capriccio (1931, rev. 1950) was, in effect, the composer’s first violin concerto. It conveys a distinctly Gallic tone. Once again, Tomasi proves himself a colorful and imaginative orchestrator. Two sprightly outer movements bookend a central Andante, described aptly in the booklet as “a moment of sheer beauty”. Moraly fully savors its glories with a beautiful, rich, ravishing tone. Although only a short piece, the Chant hébraïque, written two years before the Capriccio, is a well-crafted score. It’s gossamer orchestration and exotic flavour are enticing. Stéphanie Moraly is joined by pianist Romain David for the remaining four pieces. All are brief, the longest is just under six minutes.

I have really enjoyed this CD and recommend it wholeheartedly, simply because it ticks all the right boxes. Moraly and David perform these works with distinction. Their playing has precision and panache, and expressive warmth when called for. I admire their sublime musicianship. The recording is top notch.

-- MusicWeb International