The
Treasure Trove is a page which features rare, exceptional, not
so exceptional and
sometimes
forgotten Lp recordings or just lists performances to enjoy
or
to remember, even if they had a short life.
Many may be known to, and have already been evaluated by, die
hards,
but to point out their existence can be of use to music lovers
and collectors.
If you have comments, additional information or questions, just
send an E-mail.
On this
page:
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A
sultry night with Curzon and Jorda in the Spanish Gardens
Talking
in the past sense there are three important conductors when it
comes to performing works of Spanish (and not so Spanish)
composers: Ataulfo Argenta, Raphael Frübeck de Burgos and
Enrique Jorda. All three have made recordings of De Falla's "Noches
en los jardines de España", the three symphonic impressions
for piano and orchestra: Nights in the Gardens of Spain. For many
a favorite recording always has been the one on DECCA SXL 2091
from 1959 with pianist Gonzalo Soriano and conductor Ataulfo Argenta
coupled with Rodrigo's Guitar Concerto performed by Narcisso Yepes.
Right from the first release it was a best selling one too! Decca
never reissued the original coupling of these performances in
the cheaper SDD, SPA or JB series. This was for copyright reasons.
The recordings had been made in cooperation with Spanish Columbia
who were the copyright owners. That is why Decca kept SXL2091
for more than 20 years in the catalogue. That was the only way
the continuity of the success was assured.
Four years after his DECCA recording, pianist Gonzalo Soriano
played the piano part in a somewhat more streamlined, straightforward
performance with Raphael Frübeck de Burgos which was recorded
by HMV. Also in beautiful sound.
There is however an earlier recording made by DECCA with English
pianist Clifford Curzon and conductor Enrique Jorda from 1956,
released with Grieg's concerto on LXT 5165, and also on the 2
sides of a 10" Lp with reference number LW 5216.
When Falla started working on this composition he gave it the
title "Nocturnes" which still indicates the atmosphere of the
three sections. Most pianists and conductors play the work in
a well structured manner and sometimes rather straightforward.
Curzon and Jorda however work together in a fine tuned atmospheric
recording. Jorda is a conductor from the old school and he takes
time for phrasing and subtle dynamic variations and so achieves
a sense of sultry and mysteriousness, the air bearing with heavy
scents. This rendition has a quality which was hardly experienced
before (and after, I must say). This performance shows once more
all too clear how crucial the cooperation is of all the musicians
involved. In this case the synergy between Jorda and Curzon is
intense, yet intuitive. A true treasure that was well recorded
with the piano well embedded in the orchestra.
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The
liner notes on Westminster XWN 18417: "Kurt Appelbaum
began to play piano at the age of four. One of the most
outstanding pupils of Arthur Schnabel, he made his debut
in Berlin at the age of twenty-four, meeting with immediuate
success. He concertized extensively in Europe and made
his American debut in New York's Town Hall in 1938.
He has lived in the United States since 1938, and has
made annual concert tours. His programs for the most
part have been devoted to the music of Beethoven, for
whom Mr. Appelbaum feels a deep affinity. He has devoted
many years to intensive study of the Beethoven piano
sonatas." The New York Times reported on February
1, 1990 that Kurt Appelbaum had died at the age of 84.
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High
Fidelity Beethoven
The liner notes of Westminster WL 5075 deal extensively with the
structure and the nature of Beethoven's Op. 111 and Op.
2 No. 2. There are however no data about the pianist, Kurt Appelbaum,
with whom Westminster started a complete cycle of Beethoven Sonatas
in 1950. The first disc - with Sonatas Nos. 7 and 21 (WL 50-44)
- was released in December 1950. From six records produced, only
the one containing Sonatas Nos. 9 and 24 was well received (WL
5090). Westminster apparently abandoned the project and substituted
Appelbaum for Paul Badura-Skoda but Warren
Demotte says that the wisdom of this choice was to be
questioned as Badura-Skoda was much too young.
However, in hindsight, WL 5075 (released in June 1951), gives
a remarkable example of what was feasible as far as High Fidelity
is concerned. It is amazing how clear and clean and well defined,
and also how natural the sound of the grand piano is, captured
and engraved in this disc. The sleeve says "Copyright 1951" and
at the time the extremely high sound quality was recognized by
engineers, critics and record collectors alike. If the standard
of technique was already that high in 1951, one wonders why not
more records were produced in the same technical vein in the early
years of the monaural record, and in the years thereafter?
Westminster's
recording quality in later years never reached the same height
and as far as dynamics were concerned lost its superiority. In
those years there were not many other labels which could challenge
the Westminster/Appelbaum sound. Specifically the cycle with Wilhelm
Kempff on Deutsche Grammophon (in the USA released on American
Decca) could not be recommended at all because of low recording
quality. Notwithstanding the fact that the Decca equivalent of
a Deutsche Grammophon disc generally had a much clearer and defined
sound and had better dynamics than the DGG disc pressed in Germany.
Even if Appelbaum sometimes lacks the necessary lightness, seriousness,
playfulness and humor (as many pianists do) to explore Beethoven's
realm, the recording and the interpretation are nevertheless very
pleasing to the ear. Later the Sonatas Op. 110 (No. 31)
and Op. 111 (No. 32) were rereleased on XWN 18417. And on second
hearing, I must conclude that : these are individualistic and
interesting performances. And there is more information about
Kurt Appelbaum available on the later XWN 18417 edition.
Louis
Alexander, an amateur pianist who studied with Kurt Appelbaum
from 1979-1981 in New York, with whom I corresponded for a short
while, wrote to me:
"Appelbaum (...) was from Berlin, studied with Artur Schnabel,
and his first wife was Anna Cassirer (daughter of Ernst Cassirer).
(...) Off and on, I have tried to write about the years I spent
as his student as he was without doubt one of the most profound
teachers and pianists I have come across. That you find his
recording of Op2 #2 without such things as lightness, seriousness
and so on I do find surprising. I will have to revisit this
recording. Actually, this is a work we spent a great deal of
time on and I found his insights and playing to be most insightful.
As you pointed out, only one of his recordings was well received
and this seems to have been the curse of his life. He was so
frustrated with audiences not understanding his interpretations
that he walked away from the stage in the early 1950's. As I
recall, he felt that it was this move that led Westminster to
drop his contract, but I am not certain if I am remembering
this correctly. (...) Perhaps Appelbaum would have agreed with
your criticism that there were times when his interpretation
was a little less of Beethoven and more of him. But, I believe
he would have said something to the effect that B would have
understood this and indeed would have expected this from an
interpreter. Actually, I am not sure how A would have answered
this. One thing I do remember from my study of the Op 2 #2 with
him was the tremendous difficulty I had with the runs in the
first movement. Appelbaum had an uncanny ability to use language
as a way of reaching an understanding of how to approach such
difficulties. He said that in order to understand such passages
one had to become a tiger and run up the keyboard as it would.
This visual image had such physical power for me that I learned
from it how to play these rather difficult runs. In fact, A
had me practice them by playing the notes in bunches and to
pounce my way up the keyboard as if I were a tiger running after
its prey. Gradually, he had me play the notes in succession
rather than in bunches. It worked! This (...) does show you
something of his teaching style. About Appelbaum, I am afraid
there is painfully little information as he led a rather hermetic
life (...) when I knew him in the late 1970s. Your mentioning
of Badura-Skoda taking over the recording contract did remind
me of his mentioning this. I do not remember him as having any
ill feelings towards Badura-Skoda. Appelbaum's life as a performer
seems to have had a tragic quality to it in that public opinion
seemed to go against him."
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Mindru
Katz's eloquent interpretations of Khachaturian's Concerto and
Prokofiev's No. 1.
You
may have stumbled on Khachaturian's Concerto performed by pianist
Leonard Pennario and conductor Felix Slatkin (father of Leonard)
on Capitol P8349, a noteworthy performance at the time of its
release in 1957. Pennario's clear and chiseled technique and
impetus are very appropriate for this extrovert score recorded
in mono only. He fully does justice to Aram Khatchaturian's
style and melodies based on Armenian folk music. A performance
to really enjoy.
A few years later Everest had recorded Peter Katin in the same,
released on SDBR 3055 (1960). Although there had been remarkable
recordings by other famous pianists like Moura Lympany, Oscar
Levant, Youri Boukoff and William Kapell, in 1966 High Fidelity
Magazine reviewed another recording of this work (which is as
loud and as easy to access as the captivating Second Symphony,
"The Bell" - get the performance conducted by the
composer himself on Decca/London label). But now the pianist
was Mindru Katz and the label was Vanguard. Appealing is Katz's
pianism as well as the extremely brilliant recording technique
which, even in a later pressing in the Vanguard Everyman Classics
Series, is as dynamic as it is thrilling. Defenitely a must
have item.
P.S. Not long a go I acquired Philippe Entremont's recording
with Seiji Oszawa conducting. Interesting is that Entremont's
is a many facetted and very personal interpretation (CBS 72981
from 1971 = M-31075, coupled with Liszt's Hungarian Fantasia)
and also very well recorded.
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Prokofiev,
Gershwin and Ravel in adventurous interpretations.
Prokofiev's 3rd Piano Concerto by Byron
Janis and Kondrashin? By Argerich and Abbado? Yes! Janis because
of his composed playing, the "cool" cooperation with
Kondrashin, the excellent microphone placement and the practically
perfect recording and mastering of Mercury SR-90300 (if you have
a top quality copy). Argerich not
so much because of the recorded sound of SLPM 139 349,
but because of the lyricism and intensity she and Claudio Abbado
achieve.
Both may be among your favorites. Argerich's is coupled with Ravel's
Concerto and Janis with his beautiful reading of Rachmaninoff's
1st. But it is time you added a third and blasting performance
in transparent and dynamic sound to your collection (if you did
not already). It is the recording by Julius Katchen made around
the same time as Argerich's Deutsche Grammophon in 1969. It is
DECCA's SXL 6411 which was still in the second Wide Silver Band
series of recordings. The conductor is Istvan Kertesz, who leads
the orchestra in a frenzy rendering of the work with drama and
drive and suppleness at the same time. The scenario of the performance
must have been written by both pianist and conductor well before
the clarinetist calmly pressed the air, vibrating the reed, after
which the sound is building up its structure to a first climax.
The whole affair takes you aback by amazement and sheer joy. The
strong dynamics add to this firing furnace. The dynamics are followed
by well executed diminuendos and the remarkable athletic piano
playing of Katchen which cools down the atmosphere when necessary.
All these moves are obviously well planned, yet never seem losing
their make up of being propelled on the spur of the moment. Katchen
is a master pianist, a wizzard, and Kertesz is a king in his own
realm of symphonic sound making who's lead is well followed by
the members of the London Symphony.
You may miss the calm and precise climaxes of Byron and Kyril
which sound probably more Prokofievian than the effective rendition
of Julius and Istvan. You may miss the flow of Argerich's playing
and Abbado's conducting. But you will not easily forget the splendor
of this SXL which contains on Side 2 Gershwin's Rhapsody in a
very satisfying performance with good understanding of the Gershwin
idiom, and an even captivating Concerto for the Left hand of Ravel
which does not pale when placed next to the reading of Samson
François.
On top of that, the grand piano and the orchestral score are captured
in all the detailed glory from the lowest register to the strong
top, which of course adds to the thrilling experience. Both the
Ravel and Gershwin make the cockles of your heart jump and you
will be nailed to the edge of your chair.
I always like to sit very close to the orchestra. Row 6 in the
Concertgebouw in Amsterdam is perfect for me. There you hear the
clarity and the loudness and softness of the grand piano and the
Cinerama-like display of strings, percussion, wood, brass and
bass. And that is what the disc delivers if you have a lively
audio set and have not dimmed down all the fine details by too
much damping. That is, if you play it with a very good cartridge
with a van den Hul tip which provides the score in all aspects
with clean dynamics and the loudest tutti, which can be grasped
by the ear completely in all their complexity.
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George
Szell's breathtaking Beethoven's Fifth and Mozart's KV 338.
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Walter
Gieseking playing Mozart's KV 488 with Herbert von Karajan conducting
the Philharmonia Orchestra on Columbia 33C1012.
This
performance is not easily surpassed. A perfect synergy between
Gieseking and Von Karajan in a technically well recorded concerto.
It is important however to acquire the original English Columbia
pressing as other pressings - like the one on the Eterna label
- do not convey that same quality.
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Technically
most authentic sounding recording of a great treasure.
This performance, recorded in Berlin in the midst of World War
II, has been pressed on various labels: Deutsche Grammophon, Melodiya,
Unicorn and Ariston. All technicians involved have been cleaning
up the old Reichsrundfunk Gesellschaft's tapes. To my knowledge
the full impact of the performance in those dark days has only
been cut into the lacquer with a lot of atmosphere by the Italian
Ariston label. Ariston covers two full sides of a 12 inch record
instead of just one side as Unicorn does. The impact is also heightened
because they simulated stereo. Although simulated stereo is not
always preferred, in this case the application gives extra impact.
Thus this Ariston pressing of Beethoven's 4th Piano Concerto in
the dramatic performance by Conrad
Hansen and the Berlin Philharmonic conducted by Wilhelm
Furtwängler has become an even more compelling Furtwängler
recording. It
is one of my ten desert island
discs.
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Pianist
Frieda
Valenzi and conductor Jean Morel play César Franck.
This performance
of César Franck's 'Variations Symphoniques' on Remington
with conductor Jean Moreau (Morel?) is - to my knowledge - the
only interpretation of this work which does justice to its concept
of variations.
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Ingrid
Haebler plays Mozart: Fantasia and Sonata KV 475 and 457, Sonata
KV 533 and 494, and Fantasia KV 397. Philips 802 749 LY.
Although
it is advised to play Chopin as if you would play Mozart, and
Mozart like you would play Chopin, Ingrid Haebler has her own,
convincing and integer ideas when playing Mozart's Fantasy K
475 and Sonata KV 475 with great intensity.
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Mario
Castelnuovo Tedesco: Romancero gitano, Sylvano Bussotti: ultima
rara, Heinz friedrich Hartig: Perché.
Siegfried Behrend, guitar; Sylvano Bussotti, voice; NCRV
Vocaal Ensemble, Marinus Voorberg, conductor. Deutsche Grammophon
2530 037.
Extraordinary music, extremely well performed.
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Partsongs
of Delius and Elgar on Argo.
These are performed by the Louis Halsey Singers released on
one of those collectible, early Argo stereo recordings with
the oval label. These are wonderful compositions on poems by
Tennyson, Longfellow, Shelley, Arthur Symons, Andrew Lang, Henry
Vaughan, Rosa Newmarch, and Byron, and an anonymous poet. There
is even a text attributed to Delius himself as the insert tells.
The choral sound is excellent and the singing is of the highest
order with beautiful phrasing and perfect timing. Listen to
the beautiful 'My love dwelt in a northern land' composed by
Edward Elgar, and 'The splendor falls on castle walls' by Frederick
Delius, and get carried away on the intimate sounds of the human
voice into the wide and spacious countryside. The program contains
all in all 14 songs.
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Szegedi
Ernö (Erno) a.o. play Liszt's Hungarian Rhapsodies.
Recently I acquired a boxed set of 3 LPs, all in mono, with the
19 Hungarian Rhapsodies by Franz Liszt performed by various pianists.
I have not played them all, but I will do in due time and I may
be in for more surprises.
The Hungarian Rhapsodies are favorites of mine. I have a few recordings
on the shelves: Misha (Mischa) Dichter on Philips, Alexander Brailowsky
on RCA, Michele Campanella on Philips. Roberto Szidon on Deutsche
Grammophon. Misha Dichter is dynamic, Brailowsky is idiosyncratic,
Campanella is honest and less sophisticated, but is recorded in
beautiful sound, and Szidon is dynamic as well and fully understands
the score.
In Hungary the Christian name is always placed after the family
name. So when you come across the name Szegedi Ernö (Erno),
it means that Ernö is the given name and Szegedi is the family
name (maybe the family originally came from Szeged, who knows).
Ernö Szegedi is one of the six pianists Hungaroton put together
on LPX 1079-80-81. The other five are: Harnádi Lajos, Katona
Agnes, Antal István, Gabos Gábor, and Wehner Tibor
(who also gives us a very personal, intimate Liszt).
After the records were cleaned I put on one of my favorites which
is the 5th Hungarian Rhapsody. In this Hungaroton collection performed
by Ernö Szegedi. I was in for a shock. There was no bravura,
no slick piano playing, no superficiality. Ernö Szegedi performed
the Liszt we all know from 'Funerailles' and also from the Sonata
(so well played by Simon
Barere). Szegedi's Fifth Rhapsody is the core of what
could be called the Hungarian soul, it is the essence of Liszt's
deeper creativity. He also plays No. 1 in his own manner, and
No. 14 (from which the Hungarian Fantasy is derived, very well
played by Shura Sherkassky with Herbert von Karajan on Deutsche
Grammophon and by Sondra Bianca with Carl Bamberger on Musial
Masterpieces Society). Szegedi sheds a different light on all
these compositions.
So if you come across this Hungaroton set or just recordings of
Szegedi Ernö check them out. He also played compositions
of Dohnanyi
Ernö, and on HLPX 1044-45 (a two record set) and
Bela Bartok's "For the Children" (Gyermekeknek, Series
I and II) on Hungaroton. Maybe you can confirm the quality of
playing and agree with my suggestion, and you are happy that I
have talked you into buying them.
Do not confuse this set with the later Hungaroton LPX 11488-90
set recorded in stereo from the nineteen seventies with Gabor
Gabos, Erika Lux, Gabriella Torma, Erszébeth Tusa and Kornel
Zempléni. There you can hear that Gabriella Torma in No.
5 is somewhat emulating Ernö Szegedi, but she lacks that
perfect timing and concept.
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Olivier
Messiaen: Complete Works for Organ. Almut Rössler. Schwann
AMS Studio 351.
"Gesamtausgabe" (Complete Edition) is printed on box
and book of this 7 Lp set of recordings made in the years 1969
till 1972 of the complete works for organ played Almut Rössler
plays on the Riegel organ of the Neander church in Düsseldorf
and on the Beckerath organ of the "Johanneskirche",
also in Düsseldorf. These are modern instruments with all
the possibilities, voices and registers, for performing works
from Clérambault to Messiaen (as is said about another
Beckerath organ). Olivier Messiaen himself took part in the
preparation of these performances.
Years ago I owned a Ducretet Lp with "L'ascension"
and "Le banquet celéste", music which transports you
to far away spheres. These two compositions get however their
full meaning in the context of the many other works in this
fascinating set. The recording engineers and technicians were
Heinz Klein, Ingo Engelsmann, Richard Hauk, Günther Half
and H.N. Matthes. They all did a wonderful job.
Messiaen's music is based on a strong religious believe. But
even if you do not accept his convictions, the inspiration can
be felt in each and every work. Messiaen explores the possibilities
of the organ to new levels and while creating so many different
sounds and combinations of sounds, he compiles as it were an
entire catalog of creativity and beauty, sometimes curious and
sometimes exploring strange worlds, but it seems always a blueprint
of the soul.
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Walter
Goehr with Rimsky-Korsakov on Musical Masterpieces Society MMS
2004 / Guilde Internationale du disque M-126 and with Mewton
Wood in Tchaikovsky Op. 44 (CHS 1125).
Every other
month the postman would deliver a parcel with a few MMS records.
Sender was "Muzikale Meesterwerken Serie" (Musical
Masterworks Society, a.k.a. Musical Masterpieces Society), Paulus
Potterstraat 12, Amsterdam. As the collector was not pressed
to buy one or more records, the membership was a perfect and
agreeable way for collector and music lover alike to get acquainted
with works from the classical catalog performed by interesting
artists: Beethoven's 4th Concerto with pianist Mewton Wood;
Liszt's "Les Preludes" and "Hungarian Fantasia"
with pianist Sondra Bianca and conductor Carl Bamberger (who
studied with Heinrich Schenker); violinist Ricardo Odnoposof
playing Mendelssohn, Paganini and Bach; Walter Goehr conducting
Tchaikovsky's 4th and 5th Symphonies, and many more. They not
only pressed 33 rpm 12 and 10 inch discs, but 7" records
as well which were also cut at 33 1/3 and never at 45 rpm.
Some time ago I acquired Rimsky-Korsakoff's "Scheherazade" conducted
by Walter Goehr on the early MMS label, number four in the 2000-series
of 12 inch pressings.
No listing as a Concert Hall Society release can be found in
editions of the Schwann Long Playing Record Catalog, nor in
the Gramophone, but it is assumed that the recording was made
in 1957, at the end of a fruitful period of making recordings
in the Netherlands and when plans were developed to change the
modus operandi of the enterprise. By 1958 the Concert Hall label
as such ceased to exist. Now several MMS recordings were released
in the US on the Urania label.
I have always liked and often admired Walter Goehr's uncomplicated
style of conducting. There is no pretense, but he has good insight
in the musical score. And, what is more important, he has extremely
good timing and treats a movement as a well thought over concept,
not as a fragmented, rhapsodic cluster of themes. Proof of this
is in the wonderful recording of Tchaikovsky's Piano Concerto
Bo. 2 with pianist Mewton Wood on Concert Hall CHS-1125. Just
listen to the exquisitely played second movement with the Winterthur
Symphony Orchestra. To my knowledge hardly no other recording
equals the perfect cooperation Goehr and Wood accomplish in
this movement. Sure, Shura Cherkasky with the Berlin Philharmonic
is very well performed, but many "modern" recordings
seem to be manipulated or fabricated, like the Postnikova/Roshdestvensky
on Philips. Mewton Wood's Schumann Op. 54 in A is also a remarkable
performance released on a 10" disc MMS 43. There the mood
of the Second Symphony and even Träumerai shines through,
although the Third Movement (allegro vivace) is a bit too German
for my taste.
Walter Goehr always knows how to get good playing from the musicians
and he knows how to put the orchestra and the performance on
the rail. This was especially important if only a short recording
time was available, and if one or more movements had to be recorded
the next day or even several days later, he accepted that fact.
It is said that one work could have been recorded by the same
orchestra but several musicians would have been replaced as
they were on another assignment. It just depended on who was
available for a side job. It is also said that rather often
in the middle of playing a movement, the recording was stopped
because the orchestra - which was actually the Radio Philharmonic
Orchestra (Netherlands) - had a busy schedule and was to perform
for the Dutch Radio Union that same day. In the score the bar
was marked were to begin the following day or whatever day the
next session was scheduled for.
Could well be that "Scheherazada" was recorded in
such a manner, and at least during two sessions (if not more).
Generally a break can be heard if the ambiance changes due to
a slight difference in microphone placement. A clear example
of this phenomenon can be heard in the recording of Rachmaninoff's
Third Concerto with Lazar Berman and Claudio Abado where the
cadenza was recorded under different circumstances (CBS).
In the MMS Scheherazade it seems that the first recording session
included the first movement and half of the second. So far the
performance is rather uninteresting and the sound recording
is somewhat dull. But from halfway the second movement up to
and including the fourth movement, the performance has a lively
character. The sound engineers have been more careful and the
orchestra is more alert. The result is quite good. Even the
violinist seems to be in a better mood or must have been replaced
as the violin solo has more spirit and soul now. The Netherlands
Philharmonic, as the group of musicians is called, play correctly.
The performance does not reach the intensity of "The young
prince and the princess" of Bernard Haitink's Scheherazade
(Philips), but Goehr and his musicians play very well and typically
the last movement has about that same vigor and drive as the
much admired, perfect recording of conductor Kyrill Kondrashin
with the Royal Concertgebouw Orchestra has (Philips).
The interesting question concerning this Musical Masterworks
Society recording is: "Who is the violinist?"
Maybe Piet Hartvelt, or Jacob van der Woude, who were concert
masters / leaders of the Radio Philharmonic Orchestra in the
nineteen fifties. Or it could have been Theo Olof, who also
recorded for MMS? Or maybe it is the concert master of the Broadcasting
Orchestra (Omroep Orkest), Dutch violinist Willy Busch (not
a member of the famous Busch family), who also plays the solos
in the MMS recording of Bach's St. Matthew Passion conducted
by Piet van Egmond? Or just any violinist who was available
at the time? Whoever he may be, it is remarkable that he plays
with understanding, in strong and beautiful lines, and with
passion. This is in strong contrast to violinist's Jan Damen
lesser solos in the Concertgebouw Orchestra performance under
Eduard van Beinum, recorded for the Philips label in the same
year. The sound of the MMS recording is also remarkably good,
and better -I should say- than the Philips.
The playing of the Netherlands Philharmonic Orchestra (at the
time Bernard Haitink was conductor of the Radio Philharmonic)
shows that it is a well trained orchestra.
The little money invested in this second hand, old and used
record was well spent.
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Armin
Schibler, Boris Mersson, Jean Perrin, Conrad Beck.
The title of this record is "Saxophone Musik Schweizer
Komponisten" (Saxophone Music of Swiss Composers). Iwan
Roth is the soloist who plays together with the Camarata Zürich
conducted by Raäto Tschupp, and with pianists Boris Mersson
and Gérard Wyss. The record is a pressing by Jacklin
disco, reference number 568.
Saxophone records are hard to find. And it is a real treat if
the find is expressive music in exquisite performances. This
one is not to be missed..
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Music
of Young Romanian Composers: Anatol Vieru, Stefan Niculesco,
Tiberiu Olah, Mihai Mitrea-Celerianu, and Costin Miereanu.
Exciting
music, amazing compositions, written in the nineteen sixties
during the reign of Nicolae Andruta Ceausescu.
Passionate and meticulous performances, conducted by Marius
Constant and his ensemble "Ars Nova".
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Conductor
Hans Wolf performs Symphony in D by César Franck on Remington
R-199-36.
From The
Remington Site: Despite the low quality of the recordings
and pressings, and despite the few recordings that were made of
this conductor, one can hear that Hans Wolf was a man who knew
about styles and had insight in whatever score he would bring
to his audience. A Symphony of Wolfgang Amadeus Mozart
is playful and detailed, yet serious. The build up and development
of themes in César Franck's Symphony in D creates
suspense and excitement, while the structure of every movement
comes to light. Themes are detailed and lyrical. It it is not
the heavy, slow and ponderous Franck, but a somewhat faster, no
less compelling rendering. The performances must be the result
of good communication and good instruction, no doubt, but they
also convey that the basis is talent. Timing and phrasing are
excellent. Dr. Wolf masters the score and is in full control throughout.
The recording greatly evokes his passion for music. This is a
remarkable performance full of nuances which never fails to captivate
the listener.
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Solo
Pieces of Joaquin
Rodrigo played by guitarist Pepe Romero.
You know how it is. There are recordings which you always can
play and never get tired of the music and the interpretation and
the beauty of it. And if you did not hear them for some time,
there suddenly can be a yearning to listen to one or more of them
because you want to reviset a wonderful place where you feel at
home. That is why I listened after a long time again to "Nun
seh' ich wohl, warum so dunkle Flammen" (Kindertotenlieder,
Gustav Mahler).
One of those recordings you always can listen to is Philips 9500
915. Pepe Romero plays: En Los Trigales, Sonata a la Espagñola,
Tientyo Antiguo, Junto al Generalife, Fandango, 3 Petites pièces,
Bajando de la Mesata, and Romance de Durandarte. The execution
has intimacy, conveys very well the different moods of the pieces,
and is extremely well recorded.
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