Hans Schmitt-Isserstedt

[smittims]

Listening to his 1972 recording of 'Die Gartnerin aus Liebe' (K196) reminded me of something that's always puzzled me aboout this underrated conductor, and I wonder if anyone knows the answer.

In the late 1960s he recorded a complete Beethoven Symphonies with the Vienna Philharmonic on Decca, respectfully rather than rapturously received by the critics. At that time he wasn't highly-regarded internationally, and Beethoven series weren't as common as they were to become on CD.

Was he a second-choice? Or did someone in Decca press for him to be favoured with this job? I'd have exected Solti, who was then at the height of his fame, famous for his Vienna recordings, and a loyal Decca Artist, to have been first choice. He did, of course record them later in Chicago.

Sadly, Schmitt-Issserstedt didn't live to enjoy his triumph long, dying in 1973.

[ardcarp]

I was a friend of Erik Smith (the son of Hans) who has sadly died. (Erik was a record producer, firstly for Decca and then for Phillips.) However I'm still in touch occasionally with one of his daughters. When I speak to her next I will think of a tactful way of putting the question!

[cloughie]

Listening to his 1972 recording of 'Die Gartnerin aus Liebe' (K196) reminded me of something that's always puzzled me aboout this underrated conductor, and I wonder if anyone knows the answer.

In the late 1960s he recorded a complete Beethoven Symphonies with the Vienna Philharmonic on Decca, respectfully rather than rapturously received by the critics. At that time he wasn't highly-regarded internationally, and Beethoven series weren't as common as they were to become on CD.

Was he a second-choice? Or did someone in Decca press for him to be favoured with this job? I'd have exected Solti, who was then at the height of his fame, famous for his Vienna recordings, and a loyal Decca Artist, to have been first choice. He did, of course record them later in Chicago.

Sadly, Schmitt-Issserstedt didn't live to enjoy his triumph long, dying in 1973.

If you dig around there is a number of Sch-Iss recordings - On Eloquence his early Decca and DG Dvorak with NDRSO Sym 7 and 4 SDs and some BrahmsvHDs, also a very good performance of Tchaik 5. I also picked up a set of Brahms Syms with Haydn Vars and the Overtures also very good. I also have downloads of Tchaik 6 and Dvorak 9.

[Keraulophone]

.
HS-I conducted No.1 but Bernard Haitink conducted No.2 - Strange; but both great performances.

[Petrushka]

Listening to his 1972 recording of 'Die Gartnerin aus Liebe' (K196) reminded me of something that's always puzzled me aboout this underrated conductor, and I wonder if anyone knows the answer.

In the late 1960s he recorded a complete Beethoven Symphonies with the Vienna Philharmonic on Decca, respectfully rather than rapturously received by the critics. At that time he wasn't highly-regarded internationally, and Beethoven series weren't as common as they were to become on CD.

Was he a second-choice? Or did someone in Decca press for him to be favoured with this job? I'd have exected Solti, who was then at the height of his fame, famous for his Vienna recordings, and a loyal Decca Artist, to have been first choice. He did, of course record them later in Chicago.

Sadly, Schmitt-Issserstedt didn't live to enjoy his triumph long, dying in 1973.

On the face of it, it does seem a somewhat bewildering choice for Decca with all its contacts in the musical world, to settle for a fairly internationally unknown conductor such as Schmidt-Isserstedt to have recorded a Beethoven cycle with, of all orchestras, the Vienna Philharmonic.

My theory on this has always been that Decca intended the cycle for Herbert von Karajan and were contractually obliged to the VPO to record it. Once HvK decamped to DG, Decca had to find someone else who was available to do it. Solti did record Beethoven 3, 5 & 7 with the VPO but Culshaw didn't think he had much feeling for Beethoven at that time.

In a similar fashion, I also have the theory that the EMI BPO/Cluytens (another odd choice) Beethoven cycle was also destined for Karajan. As we all know, he recorded it for DG.

This is all my own guesswork so would be interested in any confirmation.

[Eine Alpensinfonie]

Hans S-I had already recorded the complete Beethoven Piano Concertos for Decca with Backhaus/VPO, so perhaps it wasn’t altogether surprising that he should tackle the symphonies. Whether or not the company had a complete cycle in mind is uncertain, but the reviews for the first two releases received excellent reviews, so perhaps Decca were encouraged by this.
I bought the box set on its release in 1970, and was very satisfied with it. However, I gave it away when I bought the DG Böhm set in 1972. Big mistake! I did so on the recommendation of Gramophone reviews, but came to regard the Böhm set as the dullest of all time.
I have the Schmidt-Isserstedt Beethoven Symphony/Concerto 8CD set, and will hang on to it until I die.

[BBMmk2]

I was thinking today, that I must have a theme, of listening to conductors of the post era.

[smittims]

Thanks for these, and for the reminder about the late Erik Smith, who brought joy to so many with his indefatigable work on behalf of Mozart; Dances and Marches, Serenades and Divertimenti, etc.

[ardcarp]

Erik actually discovered a previously unknown m/s fragment of a very simple and short keyboard piece written by Mozart (probably aged about 3!). I played it during Erik's Memorial service in the small chapel at Forde Abbey, the service being watched via closed-circuit TV to the bulk of the audience in the Great Hall above. I had asked for a page-turner for my opening music....it turned out to be Neville Marriner. No pressure there.......

[richardfinegold]

Listening to his 1972 recording of 'Die Gartnerin aus Liebe' (K196) reminded me of something that's always puzzled me aboout this underrated conductor, and I wonder if anyone knows the answer.

In the late 1960s he recorded a complete Beethoven Symphonies with the Vienna Philharmonic on Decca, respectfully rather than rapturously received by the critics. At that time he wasn't highly-regarded internationally, and Beethoven series weren't as common as they were to become on CD.

Was he a second-choice? Or did someone in Decca press for him to be favoured with this job? I'd have exected Solti, who was then at the height of his fame, famous for his Vienna recordings, and a loyal Decca Artist, to have been first choice. He did, of course record them later in Chicago.

Sadly, Schmitt-Issserstedt didn't live to enjoy his triumph long, dying in 1973.

I think the Pastorale from that set was my first recording of the piece, which I poached from my sister, who had bought it on a budget label. That would have been around 1974, so it didn't take long for that recording to hit the cut out bins

[smittims]

Thanks, ardcarp. I wish I'd been there. And many Erik Smith fans will have enjoyed his 'musical dice game' with Marriner , in the rarities box of the CME.

'How to compose without the least knowledge of music'. Oh, the irony. That could be the subtitile of many Radio 3 programmes.