Just got the Ekaterina Derzhavina/Haydn set from Amazon Germany, along with the Sviatoslav Richter/Beethoven set on the same label (Profil). Maybe it's my aging hearing, but I didn't hear any clicking, and I played several discs quite loudly (I hope my neighbour didn't mind). Mine could be a new pressing.
Who did the transfers in that release? I haven't seen it before. I happen to love the transfers of those performances by Opus Kura, more than the Pearl or Naxos transfers.
The only info on the CD is the label. ZYX Music/Austromechana. (2012) It sounds very nice though. Having played it quite a few times over the last year, I’ve not been disappointed with it.
Names change and get around, but back when the CD was still a fairly new kid on the block ZYX was one of the super-budget lines that drew on the same licensing pool--Mediaphon, I think it was--as labels like Pilz Vienna Masters Series and Classics d'Oro (but not LaserLight, which as far as I know drew from other sources or did its own recording). The performance quality could be variable, but some nice things hid out in such unlikely garb, including most of the Chopin recordings known to me by Peter Schmalfuss. (Note: When we compared, uh, notes some years back, George wasn't as impressed with Herr Schmalfuss as I am. As they say, "YMMV.") If you can believe the attributions, not necessarily reliable, some of the orchestral issues were under a conductor named Anton Nanut, who evidently was much bigger beer than the dubious stable of origin for these recordings would lead you to believe.
Hi, George, Does the collection include Schubert's 2d pno. trio by the same forces? It's a perfectly sublime performance, the one that for me sets the bar for all others. Hermann Busch's cello will tear your heart out. Originally on 78s; I assume it must have been issued on Columbia LP at some point (it definitely was in a drab COLH issue).
Now enjoying the wonderful performances from this mono LP, via the new Serkin box set. An online buddy swears this is one of the very best recordings of this work:
After a long (but enjoyable!) search I finally found my preferred recording of Haydn's String Quartets. I've listened to a whole lot over the years and my go-to set is now the complete set by the Buchberger Quartet, recorded in the early 2000s. I quite like the Quatuor Mösaiques recordings as well but they didn't record the full set.
Well, there's a new 3CD-set by the Quatuor Mosaïques with Beethoven's late String Quartets, so hopefully they'll pick up their Haydn cycle where they left off as well.
Now enjoying some early Bach recordings (1947-1952) from the above set. Serkin is at his best in his early recordings, I think. Up to 1970 or so his playing was incredible. His unauthorized Beethoven sonata recordings are among the very best. In fact, his unauthorized 1960 recording of Op. 110 is as good as it gets for that work. Now that I have had some time with it, I have few more thoughts on this box. The CDs present the material in original jacket style, in order of release, which often is not the order of recording. I am finding the chamber work to be absolutely lovely. And his early solo Beethoven is direct and powerful. And an early recording of a Mendelssohn Song Without Words that is included is tenderly played. I am not as keen on the mono concerto recordings, as I find stereo to be far superior in conveying the complexities of an orchestra. Still, it is always a treat to hear the youthful Serkin, so I am enjoying these nonetheless. Another point I will make comes from the accompanying booklet. It seems Sviatoslav Richter was an admirer of Serkin's playing. I hadn't heard that before, so I thought I would share it. Also, the booklet includes a discography complete with a list of the disc where each performance occurs, just as they did for Rubinstein. This is useful, as many works were recorded multiple times by the pianist. In fact, some, like Beethoven's PC4, were recorded as much as four times.
...not counting a broadcast recording that exists of Serkin's US debut concert, which included the Beethoven 4th, with Toscanini and the PSONY on 2-23-1936. (Unusually, that concert included two concerti, the other being the Mozart 27th. I don't remember which came first on the program.) I have that one in a Guild issue. Pretty bad sound, as I recall it, but a real historical document nonetheless. Now that I think about it, I guess a collection of the "Columbia albums" would also omit the "official" Toscanini/Serkin account of that work, with the NBCSO this time, another broadcast recording but from 1944 line checks and hence in much better sound. That one is in the big Toscanini RCA box, of course. So with the four in your box plus those two, I guess we're up to six accounts of that concerto with Serkin as soloist.
I once read a quotation of Rudolf Serkin that I think sums the man's humility up perfectly. Regarding a proposed biography, he supposedly said, "Why would anyone want to read about me? All I ever did was practice."
Now enjoying the CD release of the above performances from the big Rudolf Serkin box set. His Bach is lovely, lively and cleanly played.
Now enjoying Serkin/Ormandy play 1951 performances of Mozart's 20th and 21st piano concerto from the big Complete Columbia Box. In the liner notes they refer to the pianist as being "The Fiery Angel," and Serkin's performance in the 20th sure lives up to this moniker.
I'm about to listen to these two concertos after reading your post. The recording I have is by Friedrich Gulda with Abbado and Vienna Philharmonic from 1975 on DG. Not sure how they compare.
Hey Bruce, I can't say either, as I haven't heard your recordings, though I think Gulda was a great pianist.
Now enjoying Serkin's 1947 and 1951 recordings of Beethoven sonatas from the above box set. The sonatas include Moonlight, Les Adieux and Appassionata. In each case, the performances on these mono recordings are better than their stereo remakes. The pianist sounds alert, focused and driven. This is some superb, no-nonsense Beethoven!
Not that it is of any note or importance. I thought I would share a newbies view approaching Wagner for the first time, with a basic level of knowledge regarding the mans personal views. I would like to think I am pretty well read on the events of WWII and I am fully aware regarding the association Wagner’s music has with said times. Beyond the, shall we say ‘greatest hits.’ I am unfamiliar with his work. Side A of this album has ‘Siegfried’s Death and Funeral Music’ and Lohengrin, Act 1: Prelude. Two pieces of music I never heard. It took a few minutes to grab me, but by the end of ‘Lohengrin’ I could swear my ears have never heard strings sound so beautiful. Side B plays ‘Lohengrin, Act III: Prelude’ and ‘Die Meistersinger Von Nuremburg, Act 1: Prelude.’ In fact, I’ll stop there, because that’s when I couldn’t stomach anymore of the up tempo marching stuff that starts side B and continues with the second piece. With my knowledge of those times and how they are intrinsically linked to that Wagner marching style. I simply could not listen to any more. There are just to many awful images and words that music brings to mind. I found it unlistenable if truth be told. As I say. I’m a newbie to the classical world. Just a few basic thoughts, as I fine tune what I do and do not like. I don’t think I’ll be delving further into Wagner’s work. I’m not sure I want to hear those beautiful strings on side one again if I’m honest.
Thanks for sharing that. Luckily there are many other composer's to try. Hope that you find some that you truly enjoy!