Janigro recorded the two concerti commercially with I Solisti di Zagreb for RCA. Dunno if DoReMi gives the details, but the Keleman one is a 19th c. arrangement for 'cello and or. of Bach's arrangement for solo clavier of a (violin?) concerto by Johann Ernst von Sachsen-Weimar (but usually billed as "after Vivaldi"). How's that for a tangled pedigree? By the time Keleman gets done with it, it's about as Baroque as Hagen Dazs is Danish, but it's one my favorite "guilty pleasure" pieces, at least as Janigro played if for the RCA recording. Big, beautiful tone, lots of feeling, just a delight. It was issued in mono (and maybe stereo, too--not sure about that) on RCA Victor and in stereo on Victrola LPs. The "Boccherini Concerto" is the familiar Grutzmacher pastiche, cobbled together and rearranged from bits and pieces of several Boccherini cello concerti. Again, in no way, shape, or form authentic, but that's about only thing anybody knew of Boccherini for many years, and a lot of the world's greatest 'cellists played and recorded it. In more recent years, Boccherini's works, particularly the cello concerti, have shown up on record in performances of the music as Boccherini actually wrote it. The review refers to a prior issue of the Bach suites on a French label called Forgotten Records. A word of caution: I don't know that issue, but I bought a couple of others from that source (a Cluytens concert with Novaes in the Schumann pno. cto. and a b'cast recording of Friedrich Wuhrer in the Brahms 1st cto.), and both were transferred badly off pitch. As to DoReMi, I've found it wildly inconsistent in sound quality. I think it's a function that the label is quite happy to issue recordings whose source material is far, far below what anybody else would consider viable. Commendable from the "make historical material available" standpoint, but not always the easiest listening, even for ears as conditioned to non-fi as mine are. That said, I am grateful to the label at the least for making available Cor de Groot's cycle of the Beethoven pno. cti., Philips recordings originally issued in the United States on mono Epic LPs and as far as I know pretty much out of print ever since.
No, it refers to the Doremi edition. Though you find both transferred badly off pitch Mr. Woolf (the author) does note that the Doremi's version of the sonatas are" more forward" than the Forgotten Records disc. Interesting bit about the cobbled Boccherini. As for "authentic" anything history proves every reckoning false. And when it's delivered by a musician like Janigro it's best to just enjoy the telling. Thanks!
Sorry, wasn't clear--by "refers to" I meant "mentions," not "takes as its subject." As to pitch, I was pointing to the two Forgotten Records discs (of other works) that I bought; I have no idea whether any DoReMe issues have had any pitch issues, although I have no reason to think they would. After my experience with the Forgotten Records discs that I bought, however, I view all issues from that source with a bit of suspicion. In all events, enjoy your CD set!
Now listening to this CD from this box set. 1957 and 1967 Czech Radio recordings in excellent sound. The performances are extremely good. Czech Philharmonic and Leningrad Philharmonic respectively.
Just curious, what's your take on Gieseking's Mozart? I gather it's been somewhat polarizing, particularly in regard to his pedaling (or avoidance thereof).
This is a very well done violin concerto by Daniel Lozakovich along with some shorter pieces arranged for violin & orchestra or piano and violin. Tchaikovsky Violin Concerto, plus some orchestral and chamber pieces. Daniel Lozakovich, violin National Philharmonic Orchestra of Russia Vladimir Spivakov DG, 2019
I think my enjoyment of it ebbs and flows. I've read his Mozart is inconsistent. I prefer Kraus, Uchida or even Arrau's Mozart. Nice thing about the Gieseking set is all the shorter, non-sonata works that are included. And the sound on that EMI set is clearly better than the sound on his muuch newer complete Warner set.
The late, great Tom Deacon once said that of all the recordings in Arrau's 70 year recording career, his gorgeous tone was only fully captured near the end of it. In these 1988-1991 sessions, this can be truly be heard. This set was also issued previously as The Final Sessions on Philips. I am not sure if the mastering is the same. Tonight I am enjoying the Debussy CD from this set.
Honestly, it depends on my mood. If I'm feeling particularly cheerful and energetic, then it's the '55. If I'm in a more low key, reflective mood, the '81 is perfect. I would not want to be without either.
Cyrille Dubois So romantique Orchestre National De Lille Pierre Dumoussaud Alpha, 2023 This recital consists of mostly French opera from the 1830's to the 1900's using the light tenor or tenor de grace that was popular during that time. Cyrille Dubois is in fine voice.
Verdi: “Otello”. Toscanini and RCA S.O. 1947 recording with Vinay, Nelli, Valdengo, … Astonishing vocals are in my room. In mono, 44/16 MQA 44 via Tidal.
Impossible to choose! They get equal play at my house. Each is a unique, indispensable interpretation of the Goldberg Variations. If the '55 is seminal, the '81 is groundbreaking to the point that it, too, is essential. Having heard both and appreciating the differences, I could never just live with only one without sorely missing the special qualities of the other.
It's a really hard decision, I love each for totally different reasons, and the represent such different approaches. If you asked me 20 years ago, I'd say the 1955, but as I get older I like the 1981 more and more. Right now if I had to pick, I'd say the 1955 since that's what I started with, but I reserve the right to change my pick later
