Beginner’s luck can start How does a young math teacher and further assisted by my natural inclination off a career. But in the long musical autodidact get to conduct the to reverie and contemplation, which are run, fortune favours the world premieres of Stravinsky’s Pulcinel- the sources of music.“

Christian Rintelen bold: The story of Ernest la and L’histoire du Soldat, Prokofi ev’s Despite growing up in a musical fami- Ansermet and the OSR. Buffoon, Falla’s Three Cornered Hat and ly, he studies mathematics and physics many others of the period’s most im- at the university of Lausanne. Barely 20 portant ballets? How is it possible that years old, Ansermet fi nishes his scholas- When your editor asked me to a provincial orchestra from Switzerland write about the OSR, I couldn’t tics with a diploma and starts to teach becomes one of the world’s most famo- math. In 1905 he moves to Paris with the help but ask back „you mean us despite being „second-rate in tone about Ansermet?“ I didn’t try to intent to do his doctorate at the Sorbon- and technique“ (James Reel)? And ne. In hindsight it must be considered be smart or funny. It’s just that right on topic for this magazine: great luck that he discovers and explo- the stories of the OSR and An- Why are some of the most highly res Paris’ thriving musical life instead of sermet are closely linked. Very praised and best sounding LPs closely even—which is hardly of all times performances of An- pushing his PhD. He meets a lot of in- surprising as Ansermet was not sermet and the OSR recorded by teresting people, among them a fellow only the founder, but also the Decca in Geneva’s Victoria Hall? by the name of Francisco de Lacerda, orchestra’s principal conductor Intriguing, to say the least… whom we’ll meet again soon. He enjoys for half a century. (A smart-aleck Paris for one year and returns to Vevey answer would have been to ask without academic merits. He marries Reverie and contemplation your editor which OSR I was to Marguerite Jacottet and resumes his write about — the Orchèstre Ernest Ansermet was born on Novem- job as math teacher in Lausanne. But his Symphonique Romand or the ber 11, 1883 in Vevey, Switzerland—a soul was lost – or sold? –, and in 1909 he Orchèstre de la Suisse Roman- small town on the shores of Lake Gene- decides to fully devote himself to music. de. But I chose not to nit-pick. va and now known as Néstlé’s home turf. He travels to Germany and studies some After all, Ernest Ansermet foun- His father was a geometer, his mother a of the greatest Kapellmeister of his time ded both of these OSRs. First teacher. She also played the piano and — Richard Strauss, Arthur Nikisch and the Romand, then the Roman- gave little Ernest his fi rst piano lessons. Felix Mottl — rehearsing with their or- de.) Ansermet remembers: „Music has been chestras. Watching other conductors at my fi rst vocation. My mother’s piano work was more or less his only educati- Neither did I ask the really inte- playing and my father’s singing helped on as a conductor, he was pretty much resting questions. Because they me fi nd an easy access to music already an autodidact who taught himself the art surfaced only later. For instance: in my childhood—and the access was of the baton.

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Beginner’s luck Marne battle. Number three: The Swiss vinsky for advice — and Back home he studies Cari Ehrenberg’s Army declares Ansermet unfi t for servi- Stravinsky recommends rehearsals with the Orchèstre Sympho- ce. his friend Ansermet, who nique de Lausanne — and it is with this Ansermet can’t live without conduc- was available because orchestra that he will give his debut on ting and forms his fi rst OSR (Orchèstre of WW1 incident number March 15, 1911, conducting works by Symphonique Romand). Against all odds 3. Ansermet toured all Beethoven, Debussy, Bach and Ja- and despite massive problems — it was over the world with the ques-Dalcroze. He is 26 years old and probably not the best of all times for highly regarded ballet; the critics are very encouraging. Later new orchestras… — the OSR plays 12 the Ballets Russes US- in the same year, the conductor of the concerts in 1914. But Ansermet has to tour in 1916 was a tour Orchèstre du Kursaal de Montreux falls teach math again to survive. But not for de force with no less ill. His name is Lacerda — remember Pa- long: On Christmas day 1914, Bernhard than 105 performances ris? Ansermet substitutes for three con- Stavenhagen dies, the conductor of the in as many days. Touring certs and receives rave reviews. When Société des concerts abonnement de South America, Anser- Lacerda resigns in 1912, Ansermet is ap- Genève (subscription concerts). Anser- met was offered the task pointed as his successor. In the same met is asked to substitute for one con- of forming Argentina’s year and by coincidence he cert scheduled less than a month later. national orchestra literally meets a young Russian compo- He accepts and again receives rave re- from scratch. He couldn’t ser backstage after one of his views. And like in Montreux, Ansermet is resist, the challenge was concerts. His name is Igor Stra- offered the job for which he substituted. too tempting… vinsky, and their meeting will not Ansermet, the super sub? First he pro- On his travels with the only be the beginning of a lasting fi ts from Lacerda’s illness, then from Ballets Russes Ansermet friendship but probably also the Stavenhagen’s death… But he declines got to know the world, single most important moment and the world got to know for Ansermet’s career. the offer. An actof reverence? Hardly — he quite simply had a much better offer. him. He became fami- Two years later in 1914 a devastating liar with the music of the war begins that will envelope nearly all of contemporary Russian Europe. And even though Switzerland is Stravinsky’s recommendation composers and premie- spared, WWI nevertheless triggers three Remember Pierre Monteux, number 2 red many of their works. incidents that will have a major impact on of the three WW1 incidences? Before Performing in Paris, he our young conductor’s future. Number being sent to the trenches, we was the befriended Debussy and one: the Montreux Kursaal Orchestra is conductor of Serge Daghilev’s famous Ravel and consulted with disbanded and Ansermet is without a Ballets Russes, who now needs a new them on how to perform job. Number two: the French army drafts conductor for his company’s upcoming their music. Pierre Monteux and sends him to the tours. Daghilev asks his compatriot Stra- innerWORLD 20 nro 3/2007 innerWORLD 21 suisse suisse

A man on a mission mances notable for their clear textures The stubborn diplomat festival. Butwhere? Lucerne comes He could have committed himself permanently and delicate timbral balances“—per- Ansermet has been described as ar- to his mind; the city that he considers to Daghilev’s company. But Ansermet wanted formances „that cut right to the heart Montreux’s equivalent in the German- more than just to tour the world with the Ballets dent and vehemently arguing his opi- of the music“. nions. But he was also a highly intelli- speaking part of Switzerland. He pre- Russes. He was a man on a mission, his vision sented his concept to the mayor, who was to establish a strong musical tradition in the A Swiss conductor—and former gent person with impressive marketing math teacher! — being praised for qua- and diplomatic talents. When the rivalry realised the potential and supported Suisse Romande (the French-speaking part of the idea. Bingo: the Lucerne Festival Switzerland, approx. 30% of the population). lities like accuracy and precision? Talk between the cities and cantons of the about clichés! But Ansermet achieved Romandie began to threaten his OSR, was born (initially called Internationale He wanted to have his OSR again. „You must Musikfestwochen). The festival’s fi rst be mad to return to Geneva and start your own these attributes under circumstances he conceived a plan that was just plain that were nothing short of amazing; brilliant: He formed chapters of the ever concert in July 1938 was perfor- orchestra! Be warned that cities with a popula- de in Geneva’s Victoria Hall. The program of med by Ansermet conducting an or- tion of less than 500 000 are too small to keep the fi rst half consisted of works from Händel, and despite Geneva being the city of Association des Amis de l’OSR in Lau- Rolex and Patek Philippe, Ansermet’s sanne and Geneva, the two cities that chestra with a considerable number a high class orchestra alive!“, he was told by Mozart, Brenner and Jaques-Dalcroze. The se- of musicians from the OSR. (It certainly Coope, an experienced Russian conductor. But cond half was devoted to Rimsky-Korsakov’s days must have had much more than enjoyed most of the OSR’s live per- 24 hours. Or is there another explana- formances. He then invited the public helped the festival’s meteoric rise that Ansermet had done his math and replied that Sheherazade (which Ansermet also performed Arturo Toscanini accepted the invitati- the Suisse Romande was more than the equi- on the OSR’s golden jubilee concert 50 years tion for how he successfully performed and businesses to join the associati- the tasks of three demanding fulltime on and contribute fi nancial support to on and left his exile in the US just to per- valent of a city with half a million inhabitants. He later). The following concerts were a musical form in Lucerne. The second festival in was, in his own words, „decided to devote my tribute to Debussy who had recently died. jobs at the same time? the OSR. Ansermet also realised very early how important radio 1939 took place in an extremely tense musical work to his country“. His strategy—one Job number one was being the would become to make his OSR political situation. Ansermet and Tos- orchestra for the whole region—was very bold. musical and administrative director of known, and convinced the RSR canini participated again; this time Tos- Not only had Lausanne and Geneva their own Praise for precision his OSR. As if this wasn’t responsibili- (Radio de la Suisse Romande) canini opened the festival. His concert orchestras, there was also a long-standing and Right from the start Ansermet and the ORS ty enough, he fi lled the same positions to enter in a partnership with was broadcast by more than 80 radio deep rivalry and animosity between the two big performed a lot of modern French and Russi- also for job number two, Argentina’s the OSR. It was thanks to these stations in Europe and America. Lucer- cities of the Romandie. an music, thus establishing themselves as out- national orchestra. Job number three clever moves that OSR started ne also attracted artists that for various But Ansermet managed to convince standing interpreters of contemporary music. was his work with the Ballets Russes to live up to his name and ac- reasons could or would no longer play several sponsors of his concept. With Very soon the OSR started touring and they — at least until he quit in 1923. Ten tually became the orchestra of at the Nazi’s festivals in Salzburg and the Suisse Romande. Mission their fi nancial support, he started rec- became famous for „accurate performances years, from 1918 to 1928, he spent the Bayreuth — among them Bruno Walter accomplished! ruiting the musicians for his orchest- of diffi cult modern music“ (Wikipedia). Other winters in Geneva performing with the and Vittorio de Sabata. ra: strings from Italy, woodwinds from sources attest Ansermet to be „a scholarly and OSR and the summers in Buenos Aires Another episode shows Ansermet’s Paris and horns from Vienna were progressive musician capable of fi ne interpre- with the Argentine National Orchestra. marketing talents: In 1937 he starts to supplemented by selected musicians tations of both classical and modern works“ His reputation grew and grew and he think about ways to provide his musi- Getting famous by making of the existing Geneva ensemble. (Nicholas Slonimsky). James Reel writes: „Alt- received invitations or offers from all cians with work in the summer months famous recordings WW1 was barely over when on November hough the OSR (…) could be criticised for its the world’s big orchestras. But he was during which he is not able to employ If it were only for his concerts and 30, 1918 Ansermet and his 62 musicians de- wiry strings and sour woodwinds, the group faithful to his OSR and declined most of them for the OSR. He comes up with for founding the Orchèstre de la Suisse buted as the Orchèstre de la Suisse Roman- delivered to Ansermet highly accurate perfor- them. Initially at least. a very clever idea — a summer music Romande, Ansermet would most like- innerWORLD 22 nro 3/2007 innerWORLD 23 suisse suisse

ly be forgotten by now, 38 years Europe’s fi rst commercial stereophonic recor- all the 672 tapes in the vaults. The – now Honegger, Martin and similar compo- Ironically his recordings were criticised after his death. But he made him- dings that were made by Decca in May 1954 defunct — Société Ernest Ansermet is- sers are sui generis. They still and una- for being cold and not poetic in France self immortal with his recordings. featuring Ansermet and the OSR performing sued a selection of these recordings on nimously count as the reference that and other Latin countries—whereas in And while Ansermet’s and the Tchaikovsky’s complete Nutcracker. One sec- eight LPs and restricted the sale of the- all conductors should use to measure all English and German speaking count- OSR’s reputation is mostly — and ret behind the OSR’s legendary sound on Dec- se to members only. These records by up their recordings of these artists. The ries, they received high praise for their justly — based on the many su- ca recordings begs to be revealed: the won- now are extremely rare and expensive perennial quality should not come as a warmth, balance, precision and beauty perb recordings for Decca in the derful acoustics of Victoria Hall in Geneva. The collector’s items. And what, if not the- surprise – after all, Ansermet had perso- of style… The public’s and critic’s lack of 1950s and 1960s, these are just a hall sounds so outstandingly good that Decca se astronomical sums, could tempt the nal contact with all of these composers understanding towards his approach to small fraction of his œuvre! went all the way and constructed a permanent RSR to delve into its vaults and put tho- and was friends with many. And he tal- the classics made him suffer. He made his fi rst recordings in New York recording studio into the venerable building. se tapes to better use than just let them ked at length with each of them about But the growing appreciation the vi- when he toured the US with the Ballets Russes It’s also not surprising that all Decca recordings rot and collect dust? What about broad- their music to determine how it is to be vacity of his interpretations has received in 1916. It shouldn’t be surprising that one of the with the OSR were made in the OSR’s home. casting them again? Or put them on a interpreted. in recent years proves that Ansermet works he recorded was Rimsky-Korsakoff’s Talking about legendary: this goes also for the server for public download? There’s still But surprisingly, it’s not his wasn’t wrong. He was just ahead of his Sheherazade… These in every aspect histo- partnership between the OSR and Decca. It hope… (Especially because the RSR is recordings of the contemporary time. He died at age 85 on February 20, rical recordings were later transferred from started back in the 1940s and is still going st- still a partner of the OSR and continues composers that make Ansermet 1969 in Geneva. Shellack to CD and reissued on the Lys label. rong! to broadcast from Victoria Hall!) so outstanding, timeless and However, the co-operation between the unique. Quite the contrary — his His last recording was made in 1968 interpretations of the classic The legacy lives on. when he was 85 years old: Ansermet and OSR and the Radio de la Suisse Romande da- Committed to the truth. German composers like Bach, The Orchèstre de la Suisse Roman- the New Philharmonia Orchestra performing tes back even longer than the one with Decca. It is obvious that Ansermet had a lot of Beethoven, Brahms or Haydn de still enjoys an excellent reputation, Stravinsky’s Firebird. His last record is also one And most likely was also more important for luck in the early stages of his career. He are the reason why he was truly still tours internationally and still premie- of his best—and in any respect one of the ulti- the orchestra’s success. And this for quite ob- was at the right places at the right time, one of the greatest conductors res works of contemporary composers. mate interpretations of Stravinsky’s Firebird. vious reasons: because more people had ra- and he knew the right people. Meeting of the 20th century. dios than record players, and because records It still gives subscription concerts in Ge- The quantity and the quality of re- Stravinsky may have been a lucky coin- were expensive whereas listening to a radio Ansermet played their music bare of neva and Lausanne and plays for opera cordings he has made in the 52 yea- cidence – but it was no coincidence that all the subjective romantic passion that performances at the Grand Théatre of rs between 1916 and 1968 merits the broadcast was free. The „mercredis sympho- Stravinsky recommended him to Daghi- was so predominant those days. Unable Geneva. The current musical director hyperbole „gigantic“: Decca alone niques“ broadcasted by the RSR added con- lev. („Nobody plays my music better than to consult with the (long dead) compo- is Marek Janowski from Germany who issued 314 performances by Anser- siderably to the OSR’s fame and reputation Ansermet. Not even I myself“, Stravinsky was appointed in 2005. The Orchestra’s met. But he has also recorded hun- all over the world. By the way: Often enough sers, he based his interpretations on the once said.) And his success with the Bal- scores alone and treated them with the website (www.osr.ch) offers a sear- dreds of records for other labels and these RSR broadcasts were live rehearsals for lets Russes has nothing to do with luck— with other orchestras. Some of his utmost respect. He analysed the scores chable database with information on Decca’s next recording with the OSR… but very much with talent, devotion and records are unanimously reckoned to meticulously and with great precision un- cast and programs of all the OSR’s determination. be among the best recordings of mu- All in all no less than 672 concerts of Anser- til he found what he called „the music’s concerts since the beginning in 1918. A sic ever made, in terms of interpreta- met conducting the OSR were broadcasted by Ansermet’s reputation as an out- authentic emotion“. This approach made complete and searchable discography tion as well as in terms of the sound the RSR. Just in case you wonder where the standing conductor for contemporary his 1960s recordings of the great classic of Ernest Ansermet and a list of his most quality. And some of his records are milesto- exact number comes from: the RSR archived composers is justifi ed. His recordings German composers sound unusual, dif- recommended records can be found nes in the history of recorded music—such as every single broadcast on tape. And it still has of Stravinsky, Debussy, Ravel, Britten, ferent and defi nitely not at all „Germanic“. on www.scona.ch ■ innerWORLD 24 nro 3/2007 innerWORLD 25