Szell on Sony Essentials
Hannu Harkonen
I had, just a few hours ago, one of the greatest musical
experiences I've ever had: I listened George Szell's rendition
of Beethoven's Ninth symphony. The disc is produced (or whatever)
by Sony and it belongs to Sony Essentials collection. I would like
to know whether Szell got even close to the heights he reached here.
Thanks.
And those who are looking for The Recording of The Ninth know
my recommendation, now.
-Hannu
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|*| Hannu J. H{rk|nen |*| Student at Oulun Lyseon Lukio Senior High School |*|
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Paul Kintzele
: I had, just a few hours ago, one of the greatest musical
: experiences I've ever had: I listened George Szell's rendition
: of Beethoven's Ninth symphony. The disc is produced (or whatever)
: by Sony and it belongs to Sony Essentials collection. I would like
: to know whether Szell got even close to the heights he reached here.
This was the first version of the Ninth that I heard, and it remains one
of my favorites. In your last question you seem to be asking about
Szell's many other recordings, and whether they are of a similar high
quality. As for the rest of his Beethoven cycle, it is very fine, and
what's more, it is extremely cheap (approx. $30 - $35 for all nine
symphonies).
As for the rest of his work, I can't say that I know it all, but what I
have heard has always been of a consistently high caliber (for example his
Mozart and Schumann symphonies, the Strauss tone poems, etc.).
Regards,
PK
Adam W. Grasso
Yes, the Szell 9th on Essential Classics is a memorable
performance. However, I can't give it the stellar reviews which
you bestow upon it. To me, the recording is flawed by less-than-
impressive vocalists. And this is sad, because the symphony is
marvelously conducted, played, and chorus-ed! It's too bad Szell
didn't get some better solo singers for the 9th. Maybe then it
would be on the same plane with his Beethoven 3rd and 5th.
--
Adam W. Grasso---------> Dept. of Molecular Biology/Microbiology
Case Western Reserve University SOM---------> Cleveland, OH USA
Tobocman
These discs are normally $7.99 each and they benefit from a superior
mastering treatment. My faves include Beethoven's 3rd, Pictures at an
Exhibition and Brahms' symphonies.
David
Los Angeles
Paul Firnett
>
> Hi, all
>
> I had, just a few hours ago, one of the greatest musical
> experiences I've ever had: I listened George Szell's rendition
> of Beethoven's Ninth symphony. The disc is produced (or whatever)
> by Sony and it belongs to Sony Essentials collection. I would like
> to know whether Szell got even close to the heights he reached here.
>
> And those who are looking for The Recording of The Ninth know
> my recommendation, now.
>
> -Hannu
>
>
Hi,
this is also my favorite recording of Beethoven's 9th. I bought
the complete set of Beethoven Symphonies by Szell and have not
regretted it, but the 9th is by far the best.
Paul
James C Liu
> I had, just a few hours ago, one of the greatest musical
> experiences I've ever had: I listened George Szell's rendition
> of Beethoven's Ninth symphony. The disc is produced (or whatever)
> by Sony and it belongs to Sony Essentials collection. I would like
> to know whether Szell got even close to the heights he reached here.
Unfortunately, I don't recall having the same reaction to the Szell
9th that you seem to have had. (Wish I could remember what that reaction
was, but it certainly wasn't revelation.) If you're asking for other
fine Szell recordings, a general rule of thumb is that anything in the
Sony Essential Classics edition is at least worth hearing, and at that
price, offers very little risk. High points in the edition for me
include ultra-high value in the complete Beethoven symphonies and piano
concerti (the latter with Leon Fleisher), a stunning set of Dvorak
Symphonic Dances, Mussorgsky's Pictures, my favorite Mozart 40/41th
symphonies on disc, and some lovely Haydn, too. Oh, and a wonderfully
compelling Bruckner 3rd, though the Essential Classics reissue apparently
has an embarrassing edit in it. (I have it in the CBS Masterworks Portrait
series.) He did record for other labels at other points in his career;
try a Dvorak cello concerto with Pau Casals soloing on EMI and a Brahms
1st piano concerto with Clifford Curzon on London.
Have fun!
--
/James C.S. Liu "Nine times out of ten, in the arts as in life,
jl...@world.std.com there is actually no truth to be discovered;
Boston, Massachusetts there is only error to be exposed."
-- H.L. Mencken, _Prejudices, Third Series_
Sridhar Chandrasekharan
>David
>Los Angeles
There is also a "Legendary Interpretations" series on Sony Classical
featuring many of George Szell's recordings. They are a bit more
expensive, but are awesome. The only crib I had was the hiss in some
CD's. (like Piano concerto #20 with Rudolf Serkin)
sridhar
Richard Sauer
performances I recommend the following:
Dvorak: Slavonic Dances- Played with real affection. More importantly
Szell brings out Dvorak's rhythmic inventiveness.
Walton: Variations on a Theme by Hindemith/ Hindemith: Symphonic
metamorphoses on themes of Carl Maria von Weber
Bruckner: Symphony no.3 and 8
Mahler: 4th and 6th symphonies =well known and deservedly so.
R.Sauer
James C Liu
>There is also a "Legendary Interpretations" series on Sony Classical
>featuring many of George Szell's recordings. They are a bit more
>expensive, but are awesome. The only crib I had was the hiss in some
>CD's. (like Piano concerto #20 with Rudolf Serkin)
Oh, yes, forgot those. There are some utterly wonderful concerto recordings
that Szell did for CBS, including all the concerti between 20 and 27 with
Robert Casadesus except for #25 -- which he did in heroic, grand style
with Leon Fleisher. Not the worst way to get to know these concerti.
Steve Martin
Tobocman (tobo...@aol.com) wrote:
: The Szell Sony Essentials collection is one of the great bargains of life.
: These discs are normally $7.99 each and they benefit from a superior
: mastering treatment. My faves include Beethoven's 3rd, Pictures at an
: Exhibition and Brahms' symphonies.
And lest we not forget Szell's Magnificent Mahler #6 which is also a
complete deal at $7.99. I hear that the Mahler #4 by Szell is also
completely mind-blowing but I have yet to hear that disc.
What do you think Sirs?
Regis A. Smith
> Hi, all
>
> I had, just a few hours ago, one of the greatest musical
> experiences I've ever had: I listened George Szell's rendition
> of Beethoven's Ninth symphony. The disc is produced (or whatever)
> by Sony and it belongs to Sony Essentials collection. I would like
> to know whether Szell got even close to the heights he reached here.
>
> And those who are looking for The Recording of The Ninth know
> my recommendation, now.
>
> -Hannu
The recording of Dvorak's opus 46 & 72 slavonic dances should blow you
away, if you're into that type of stuff. If I recall correctly, it is
on essential classics. I can't image the opus 46 done better, except
for making it a little less "top-heavy" in parts. It sets the
standard. Enjoy!
When I was young and broke, I always bought the cheap CBS or Sony
(aren't they the same?) recordings, and I've never come across a
substandard one, although I am much more critical of stuff today.
Regis
Sridhar Chandrasekharan
>chan...@cs.umn.edu (Sridhar Chandrasekharan) writes:
>
>>There is also a "Legendary Interpretations" series on Sony Classical
>>featuring many of George Szell's recordings. They are a bit more
>>expensive, but are awesome. The only crib I had was the hiss in some
>>CD's. (like Piano concerto #20 with Rudolf Serkin)
>
>Oh, yes, forgot those. There are some utterly wonderful concerto recordings
>that Szell did for CBS, including all the concerti between 20 and 27 with
>Robert Casadesus except for #25 -- which he did in heroic, grand style
>with Leon Fleisher. Not the worst way to get to know these concerti.
bit "high definition" sound technology. I'm nervous that they will release a
parallel version of the same recordings with 20 bit high definition sound.
sridhar
Tse Ka Po
Hi,
Just wondering if anyone can give some comments on Szell's performance
as a pianist. In particular, I am interested in learning your opinion
of a Columbia recording of Mozart's piano quartet and violin sonatas
featuring Szell and the Budapest Qt. (Anyone knows if this is going
to be re-issued on the Essentials series ? )
Regards,
Paul Tse.
John Proffitt
A couple of random recommendations of Szell on Essential Classics:
Dvorak: Slavonic Dances
(IMO, one of the handful of the greatest recordings done by Szell)
Bruckner: Symphony No. 8
(Magnificent interpretation and recording. Alas, paired with a Symphony No.
3 with a severe editing defect in the third movement--but worth every penny
for the 8th.)
Mahler: Symphony No. 4
(Great Mahler with the incomparable singing of the late Judith Raskin.)
Brahms: Piano Concertos
(Both concerti with Leon Fleischer)
And, just released on SEC!!!:
Janacek: Sinfonietta
(Incredible brass playing that puts all other recordings in the shade)
John Proffitt
General Manager & CEO
KUHF-FM Radio
Houston, Texas
S. LaBonne
Szell was a very fine Mozart player; my old Odyssey LP of the piano
quartets remains my favorite recording of these works. The violin
sonata recordings must be the ones with his old Cleveland
concertmaster Raphael Druian; I haven't heard these for many years
but I recall them as being quite good. Don't know about reissue
plans.
--
Opinions are mine alone; I never met a university with opinions!
Steve LaBonne ********************* (labo...@cnsunix.albany.edu)
"It can never be satisfied, the mind, never." - Wallace Stevens
Jose Marques
sma...@mnsinc.com (Steve Martin) wrote:
>And lest we not forget Szell's Magnificent Mahler #6 which is also a
>complete deal at $7.99. I hear that the Mahler #4 by Szell is also
>completely mind-blowing but I have yet to hear that disc.
>
>What do you think Sirs?
The Mahler #4 by Szell is arguably the best version on record of that
symphony.
Szell's Mahler Sixth is also a splendid performance but definitely not a
first choice. It fits on a single CD, which is good, but lacks the
repeat of the exposition in the first movement. Being a live recording,
it has fire and urgency, but unfortunately there is a distressing moment
of confusion in the orchestra at the very beginning of the symphony,
when not all instruments arrive together at the first beat of bar 13.
--
Jose Marques
jmar...@super.zippo.com
Tony Movshon
>Re: the Sony Essential Classics series, none of the discs mention the use of 20
>bit "high definition" sound technology. I'm nervous that they will release a
>parallel version of the same recordings with 20 bit high definition sound.
I doubt that will make an audible difference. I just spent some time
cross-checking the 20-bit remastering of Boulez' Cleveland Rite of
Spring with the earlier fewer-bit version. There's no discernible
difference. And it's not really surprising. 20-bit mastering works by
using dithering to shuffle the spectrum of the noise around so that it
is lower in the middle (more audible) frequencies. But I doubt there's
an analog master in Sony's archives where the noise floor isn't set by
the original tapes, so what's the point?
Tony Movshon
Center for Neural Science
New York University
Mtconcape
I suspect Tony Movshon is right that Sony will not reissue any of the
Szell Essential Classics series in SBM and that prompts my suggestion
about the notorious Bruckner 3/8 issue. Specifically, I think all of us
who have it should continue to bug Sony about getting out a corrected disc
of the 3rd with the entire Scherzo. Dave Griegel notes that he has been
informed that Sony in Japan has done just that. Well if there's a Japan
that can say no (to Sony) maybe we can, too. For those interested, Sony
Classical in New York can be reached at 1-800-833-8200. What you'll
likely get is a recording with "Josh" indicating he'll get back to you.
Maybe if enough of us call he really will. Probably worth a try.
Mike Corgan
James C Liu
labo...@csc.albany.edu (S. LaBonne) writes:
>In article <4lq127$f...@bull.hkstar.net>, Tse Ka Po <po...@b1.hkstar.com> wrote:
>>Just wondering if anyone can give some comments on Szell's performance
>>as a pianist. In particular, I am interested in learning your opinion
>>of a Columbia recording of Mozart's piano quartet and violin sonatas
>>featuring Szell and the Budapest Qt. (Anyone knows if this is going
>>to be re-issued on the Essentials series ? )
>Szell was a very fine Mozart player; my old Odyssey LP of the piano
>quartets remains my favorite recording of these works. The violin
>sonata recordings must be the ones with his old Cleveland
>concertmaster Raphael Druian; I haven't heard these for many years
>but I recall them as being quite good. Don't know about reissue
>plans.
The old noggin' may be playing tricks with me again, but I thought
Szell might have also recorded some of the Mozart violin sonatas with
Josef Szigeti for Vanguard. Anyone care to clarify or correct?
Sten4PGD
I would refer posters to pg. 75 of the Spring 1996 issue of the ICRC (pub.
Gramophone). In the Letter from America, Arthur S. Pfeffer discusses the
upcoming "Masterworks Heritage" series from Sony which will consist of 4
categories: Acoustic (1900-25), Mono (electrical 78 & LP, 1925-57), Stereo
instrumental (afer 1958) and post-acoustic vocal )after 1925).
"Sony hopes to reorganize in this series all of its historical recordings
except those already issued in special editions such as Bernstein,
Horowitz. Other material by these artists will be included, as will - in
fresh transfers - recordings appearing in the Essential Classics and other
series...Sony will cram the CDs with previosly unissued goodies &
alternate takes..."
I understand from a Sony source that these discs will be FULL LINE issues.
Sony IS planning a Szell edition for the near future.
Mark Stenroos
William J. Karzas
> labo...@csc.albany.edu (S. LaBonne) writes:
>
> >In article <4lq127$f...@bull.hkstar.net>, Tse Ka Po
<po...@b1.hkstar.com> wrote:
> >>Just wondering if anyone can give some comments on Szell's performance
> >>as a pianist. In particular, I am interested in learning your opinion
> >>of a Columbia recording of Mozart's piano quartet and violin sonatas
> >>featuring Szell and the Budapest Qt. (Anyone knows if this is going
> >>to be re-issued on the Essentials series ? )
>
> >Szell was a very fine Mozart player; my old Odyssey LP of the piano
> >quartets remains my favorite recording of these works. The violin
> >sonata recordings must be the ones with his old Cleveland
> >concertmaster Raphael Druian; I haven't heard these for many years
> >but I recall them as being quite good. Don't know about reissue
> >plans.
>
> The old noggin' may be playing tricks with me again, but I thought
> Szell might have also recorded some of the Mozart violin sonatas with
> Josef Szigeti for Vanguard. Anyone care to clarify or correct?
You are right, James. Vanguard isued a 6-LP set [fake stereo] of Szigeti
Mozart violin sonatas. 13 of them were with Horzowski; K.481 & K .526 were
with Szell. The original release of the Szell/Szigeti was on Columbia LP
ML 5005 in 1955; the Szigeti/Horzowski "were made by Columbia in the
mid-Fifties, but languished in that company's vaults until Vanguard, with
Szigeti's urging, negotiated for rights to the tapes." [Harris Goldsmith
- original review in 'High Fidelity,' 1967/8.]
--
Bill Karzas wjk...@pacificnet.net
wjk...@alumni.caltech.edu
ah...@lafn.org
Bruce Frumker
In article <4lq127$f...@bull.hkstar.net>, po...@b1.hkstar.com (Tse Ka Po) wrote:
> Hi,
>
> Just wondering if anyone can give some comments on Szell's performance
> as a pianist. In particular, I am interested in learning your opinion
> of a Columbia recording of Mozart's piano quartet and violin sonatas
> featuring Szell and the Budapest Qt. (Anyone knows if this is going
> to be re-issued on the Essentials series ? )
>
> Regards,
> Paul Tse.
Stunning performances! The Mozart quartets were released on the Sony
Portrait series (I think that is right). The g minor is very wonderful,
and the Eb is so full of joy. Dutton has just issued a CD of Szell and
the Budapest in live Library of Congress concerts (1945), with the Brahms
Quintet and the Schubert Trout Quintet. Although actually faster (in the
Barhms) than the Budapest/Serkin recording, the Szell *sounds* slower.
Instead of the direct passion of the Serkin, it is more internal - very
moving - had me near tears.
Bill Palmer
In article <DqMnu...@world.std.com>, James C Liu <jl...@world.std.com> wrote:
> The old noggin' may be playing tricks with me again, but I thought
>Szell might have also recorded some of the Mozart violin sonatas with
>Josef Szigeti for Vanguard. Anyone care to clarify or correct?
Nope, no tricks. Szigeti recorded 15 Mozart violin sonatas with Szell
and Horszowski (mostly Horszowski, as I recall) on Vanguard 8036.
Unfortunately, no matter how promising an idea the Szell collaboration
seems at first blush, I found the performances abrasive and really not
in the class of the K. 481 Szigeti did with Schnabel for the Frick
recital. It's been a while since I've listened to them, but they
seemed overly fast and lacking in lyricism. I did not have this
reaction listening to some of the Druian/Szell Mozart a few weeks ago.
I haven't had a chance to listen to the Horszowski portion of the set
as anything other than background music, but I expect it may be an
improvement.
Of course, having said this, when I put them on tonight to reconfirm my
opinions, I'll immediately find the Szigeti/Szell performances to be a
revelation :-)
Bill
James C Liu
wh...@cisco.com (Bill Palmer) writes:
>Nope, no tricks. Szigeti recorded 15 Mozart violin sonatas with Szell
>and Horszowski (mostly Horszowski, as I recall) on Vanguard 8036.
>Unfortunately, no matter how promising an idea the Szell collaboration
>seems at first blush, I found the performances abrasive and really not
>in the class of the K. 481 Szigeti did with Schnabel for the Frick
>recital. It's been a while since I've listened to them, but they
>seemed overly fast and lacking in lyricism. I did not have this
Szigeti was a variable, tricky character; some of his performances
were sublime, others marred by highly fallible intonation and pedestrian
interpretations. Very little that I can think of surpasses that Szigeti/
Schnabel Frick Collection recital; on the other hand, my recollection of
the Vanguard Mozart sonatas set is not of an overwhelming set of performances.
>reaction listening to some of the Druian/Szell Mozart a few weeks ago.
>I haven't had a chance to listen to the Horszowski portion of the set
>as anything other than background music, but I expect it may be an
>improvement.
>Of course, having said this, when I put them on tonight to reconfirm my
>opinions, I'll immediately find the Szigeti/Szell performances to be a
>revelation :-)
The mind plays funny tricks ...
--
/James C.S. Liu
jl...@world.std.com "Don't look back. Something might be gaining."
Boston, Massachusetts -- Leroy "Satchel" Paige
S. LaBonne
> Szigeti was a variable, tricky character; some of his performances
>were sublime, others marred by highly fallible intonation and pedestrian
>interpretations. Very little that I can think of surpasses that Szigeti/
>Schnabel Frick Collection recital; on the other hand, my recollection of
>the Vanguard Mozart sonatas set is not of an overwhelming set of performances.
Actually I think he was quite consistent _while he was still in full
command of his instrument_, but the qualification is crucial. I would
say the basic rule of thumb is, that _any_ Szigeti performance from any
time up to the mid-1940s is likely to be sublime (though careful
listening reveals his playing becoming more and more effortful after
about the early 1930's), but after that his technical decline was
steep. I also haven't heard the Vanguard Mozart set for a long time,
but I too recall it as making largely unpleasant listening. And the
complete set of solo Bach, which some people rave about, I find just
unlistenable- it's tragic that he didn't record all six pieces in his
prime, because the two that he did record in the studio in the 1930's-
g minor and a minor sonatas- are truly magnificent. (I believe there
are some live performances from the 1940s, which I haven't heard.)
To hear Szigeti displaying the kind of virtuosity-to-burn that one
wouldn't suspect, from hearing the unfortunate late recordings, that
he had ever possessed, the astounding 1928 Szigeti/Harty recording of
the Brahms concerto (available on several labels) is urgently
recommended listening. And Vanguard of course has in its catalog an
essential Szigeti item that is my candidate for _the_ greatest set of
performances ever captured in a recording: the staggering 1940 Library
of Congress recital with Bartok at the piano. This includes the
greatest Kreutzer Sonata I ever expect to hear (Charles Rosen has said
of Bartok's playing in this performance that "the piano part _alone_
is one of the great experiences of Beethoven") _and_ also my favorite
performance of the Debussy Sonata (featuring some of the most _vocal_,
even Callas-like, violin playing that I have ever heard.) The Bartok
items- First Rhapsody, Second Sonata- are of course self-recommending.
James C Liu
>> Szigeti was a variable, tricky character; some of his performances
>>were sublime, others marred by highly fallible intonation and pedestrian
>>interpretations. Very little that I can think of surpasses that Szigeti/
>>Schnabel Frick Collection recital; on the other hand, my recollection of
>>the Vanguard Mozart sonatas set is not of an overwhelming set of performances.
and labo...@csc.albany.edu (S. LaBonne) replies:
>Actually I think he was quite consistent _while he was still in full
>command of his instrument_, but the qualification is crucial. I would
>say the basic rule of thumb is, that _any_ Szigeti performance from any
>time up to the mid-1940s is likely to be sublime (though careful
>listening reveals his playing becoming more and more effortful after
>about the early 1930's), but after that his technical decline was
>steep. I also haven't heard the Vanguard Mozart set for a long time,
>but I too recall it as making largely unpleasant listening. And the
>complete set of solo Bach, which some people rave about, I find just
>unlistenable- it's tragic that he didn't record all six pieces in his
>prime, because the two that he did record in the studio in the 1930's-
>g minor and a minor sonatas- are truly magnificent. (I believe there
>are some live performances from the 1940s, which I haven't heard.)
There's a Music & Arts CD which has recordings of the 1st two solo
violin sonatas *and* the 3rd partita (though the latter isn't staggering).
>To hear Szigeti displaying the kind of virtuosity-to-burn that one
>wouldn't suspect, from hearing the unfortunate late recordings, that
>he had ever possessed, the astounding 1928 Szigeti/Harty recording of
>the Brahms concerto (available on several labels) is urgently
>recommended listening. And Vanguard of course has in its catalog an
>essential Szigeti item that is my candidate for _the_ greatest set of
>performances ever captured in a recording: the staggering 1940 Library
>of Congress recital with Bartok at the piano. This includes the
>greatest Kreutzer Sonata I ever expect to hear (Charles Rosen has said
>of Bartok's playing in this performance that "the piano part _alone_
>is one of the great experiences of Beethoven") _and_ also my favorite
>performance of the Debussy Sonata (featuring some of the most _vocal_,
>even Callas-like, violin playing that I have ever heard.) The Bartok
>items- First Rhapsody, Second Sonata- are of course self-recommending.
I agree with much of the stuff that has been written above, but I must
point out that I, at least, had to do some rethinking about my early vs
late Szigeti when I realized that the Frick Collection recital happened
(watch me get in trouble again) in 1948, *after* his Beethoven set with
Arrau. There's also an utterly sublime "Spring" Sonata with Horszowski
on CBS which sounds like it must be early '50s. Perhaps the issue is that
once Szigeti's technique started to decline, he still had some moments of
brilliance (and brilliant they were), but that there were more clunkers
mixed in with the jewels.
Victor Khatutsky
S. LaBonne (labo...@csc.albany.edu) wrote:
: essential Szigeti item that is my candidate for _the_ greatest set of
: performances ever captured in a recording: the staggering 1940 Library
: of Congress recital with Bartok at the piano. This includes the
: greatest Kreutzer Sonata I ever expect to hear (Charles Rosen has said
: of Bartok's playing in this performance that "the piano part _alone_
: is one of the great experiences of Beethoven") _and_ also my favorite
: performance of the Debussy Sonata (featuring some of the most _vocal_,
: even Callas-like, violin playing that I have ever heard.) The Bartok
: items- First Rhapsody, Second Sonata- are of course self-recommending.
Where is that recital? Hungaraton?
Thanks, Victor.
--
James C Liu
and v...@netcom.com (Victor Khatutsky) asks:
>Where is that recital? Hungaraton?
Hungaroton *does* have a compilation titled "Bartok at the Piano,"
which has much of Bartok's recorded solo repertoire. However, the
Szigeti collaborations didn't make it to that disc. The performances
discussed above come from a Library of Congress recital. This was issued
on LP and CD by Vanguard, though I cannot speak to current availability
(and, alas, I pitched my copy in a fit of rashness years ago).
There are some other Szigeti/Bartok things out there, including a
disc of Bartok's "Contrasts" for clarinet, violin, and piano, with
Benny Goodman on clarinet.
S. LaBonne
> I agree with much of the stuff that has been written above, but I must
>point out that I, at least, had to do some rethinking about my early vs
>late Szigeti when I realized that the Frick Collection recital happened
>(watch me get in trouble again) in 1948, *after* his Beethoven set with
>Arrau. There's also an utterly sublime "Spring" Sonata with Horszowski
>on CBS which sounds like it must be early '50s. Perhaps the issue is that
>once Szigeti's technique started to decline, he still had some moments of
>brilliance (and brilliant they were), but that there were more clunkers
>mixed in with the jewels.
Oh, I'm sure I'd agree with your assessments (I haven't heard that
Frick recital yet but I'm salivating to! ;-) ); no doubt, even after
the problems were becoming serious, he had better days and worse days.
What's more striking to me as I continue to investigate his recordings
is the seeming complete _absence_ of clunkers, at least to my taste,
in the the earlier recordings. For years I was "off" Szigeti because
of being prejudiced by things like the late solo Bach recordings, and
now I could kick myself for this short-sightedness- or is it
short-hearingness? ;-)
S. LaBonne
In article <vekDrE...@netcom.com>, Victor Khatutsky <v...@netcom.com> wrote:
>S. LaBonne (labo...@csc.albany.edu) wrote:
>: essential Szigeti item that is my candidate for _the_ greatest set of
>: performances ever captured in a recording: the staggering 1940 Library
>: of Congress recital with Bartok at the piano. This includes the
>: greatest Kreutzer Sonata I ever expect to hear (Charles Rosen has said
>: of Bartok's playing in this performance that "the piano part _alone_
>: is one of the great experiences of Beethoven") _and_ also my favorite
>: performance of the Debussy Sonata (featuring some of the most _vocal_,
>: even Callas-like, violin playing that I have ever heard.) The Bartok
>: items- First Rhapsody, Second Sonata- are of course self-recommending.
>
Vanguard Classics. If you request, I could post or email the catalog
# tomorrow.
William J. Karzas
> >S. LaBonne (labo...@csc.albany.edu) wrote:
> >: essential Szigeti item that is my candidate for _the_ greatest set of
> >: performances ever captured in a recording: the staggering 1940 Library
> >: of Congress recital with Bartok at the piano. This includes the
> >: greatest Kreutzer Sonata I ever expect to hear (Charles Rosen has said
> >: of Bartok's playing in this performance that "the piano part _alone_
> >: is one of the great experiences of Beethoven") _and_ also my favorite
> >: performance of the Debussy Sonata (featuring some of the most _vocal_,
> >: even Callas-like, violin playing that I have ever heard.) The Bartok
> >: items- First Rhapsody, Second Sonata- are of course self-recommending.
>
> and v...@netcom.com (Victor Khatutsky) asks:
>
> >Where is that recital? Hungaraton?
>
> Hungaroton *does* have a compilation titled "Bartok at the Piano,"
> which has much of Bartok's recorded solo repertoire. However, the
> Szigeti collaborations didn't make it to that disc. The performances
> discussed above come from a Library of Congress recital. This was issued
> on LP and CD by Vanguard, though I cannot speak to current availability
> (and, alas, I pitched my copy in a fit of rashness years ago).
>
> There are some other Szigeti/Bartok things out there, including a
> disc of Bartok's "Contrasts" for clarinet, violin, and piano, with
> Benny Goodman on clarinet.
Vanguard CD OVC 8008 contains the Library of Congress
Szigeti/HorszowskiRecital: Bartok Rhapsodies 1 & 2 & Sonata; Beethoven
Kreutzer; Debussy Sonata.
This recital *is* also included in the 6-CD Hungaroton compilation
12326/31, which also has the [also on CBS/Sony] Contrasts, and lots of
Bartok solo piano, songs, etc.
On another matter touched on, the early 50's Szigeti/Horszowski Beethoven
Sonatas were issued as follows:
1: 1949
7: 1950
10: 1953
5 & 6: 1954
Regards,
--
Bill Karzas wjk...@pacificnet.net
Susan Murray
jl...@world.std.com (James C Liu) wrote:
> I agree with much of the stuff that has been written above, but I must
>point out that I, at least, had to do some rethinking about my early vs
>late Szigeti when I realized that the Frick Collection recital happened
>(watch me get in trouble again) in 1948, *after* his Beethoven set with
>Arrau. There's also an utterly sublime "Spring" Sonata with Horszowski
>on CBS which sounds like it must be early '50s. Perhaps the issue is that
>once Szigeti's technique started to decline, he still had some moments of
>brilliance (and brilliant they were), but that there were more clunkers
>mixed in with the jewels.
I have a 10" Columbia LP of Szigeti/Horszowski Beethoven Sonata
#7 pressed in 1950. I believe the "Spring" Sonata was recorded
roughly at the same time. It is a wonderful perfomance!
Susan Murray
cyt...@ix.netcom.com
Bill Palmer
In article <DrEr8...@world.std.com>, James C Liu <jl...@world.std.com> wrote:
>>S. LaBonne (labo...@csc.albany.edu) wrote:
>>: essential Szigeti item that is my candidate for _the_ greatest set of
>>: performances ever captured in a recording: the staggering 1940 Library
>>: of Congress recital with Bartok at the piano. This includes the
>>: greatest Kreutzer Sonata I ever expect to hear (Charles Rosen has said
>>: of Bartok's playing in this performance that "the piano part _alone_
>>: is one of the great experiences of Beethoven") _and_ also my favorite
>>: performance of the Debussy Sonata (featuring some of the most _vocal_,
>>: even Callas-like, violin playing that I have ever heard.) The Bartok
>>: items- First Rhapsody, Second Sonata- are of course self-recommending.
>
>and v...@netcom.com (Victor Khatutsky) asks:
>
>>Where is that recital? Hungaraton?
>
> Hungaroton *does* have a compilation titled "Bartok at the Piano,"
>which has much of Bartok's recorded solo repertoire. However, the
>Szigeti collaborations didn't make it to that disc. The performances
>discussed above come from a Library of Congress recital. This was issued
>on LP and CD by Vanguard, though I cannot speak to current availability
>(and, alas, I pitched my copy in a fit of rashness years ago).
>
> There are some other Szigeti/Bartok things out there, including a
>disc of Bartok's "Contrasts" for clarinet, violin, and piano, with
>Benny Goodman on clarinet.
>/James C.S. Liu
>jl...@world.std.com "Don't look back. Something might be gaining."
>Boston, Massachusetts -- Leroy "Satchel" Paige
Both of the aforementioned Szigeti goodies appear to still be
available (as well they should be).
SoN47676 BARTOK*B. CONTRASTS/MIKROKOSMOS-HLTS 9/1
$10.14 SONY 7/92 BARTOK/SZIGETI/GOODMAN
VAN8008 BARTOK*BELA LIVE RECITAL
$11.65 VANGUARD 9/93 BARTOK (PNO)/SZIGETI (VLN)
For that matter, so is the Frick Collection recital mentioned earlier
in the thread, in case anyone is joining us late.
PEA9026 MOZART/BEETHOVEN SON VLN K481/SON VLN 5/10
$15.87 PEARL 7/93 SZIGETI/SCHNABEL (VLNS)
On a slightly different topic, I recently saw an old LP of Szigeti
playing a Prokofiev violin sonata (don't remember which one), but the
asking price of >$100 was more than I was willing to pay. Anyone know
whether I passed up a dud or a gem?
Bill
Sten4PGD
Decca UK have just released the 1975 recording of this opera as a single,
full-priced CD. Comes with complete libretto. I have no idea if London
(USA) will be releasing this stateside. The CD reproduces the original LP
cover:
Leoni, L'Oracolo
Cim-Fee, Tito Gobbi
Uin-Sci, Richard van Allen
Hu-Tsin, Clifford Grant
Ah-Joe, Joan Sutherland
Uin-San-Lui, Ryland Davies
Hua-Qui, Hugette Tourangeau
John Alldis Choir
National Philharmonic Orchestra
Richard Bonynge, conductor
Decca 444 396-2
Mark Stenroos
Sten4PGD
Decca UK have just released the above opera as a single full-priced CD.
The recording includes a complete French/English libretto. Don't know if
it will be released stateside. This release also features the original LP
cover art.
Massenet, Therese
Therese, Huguette Tourangeau
Armand de Clerval, Ryland Davies
Andre Thorel, Louis Quilico
Morel, Neilson Taylor
The Linden Singers
New Philharmonia Orchestra
Richard Bonynge, conductor
Decca 448 173-2
Mark Stenroos
William J. Karzas
> On a slightly different topic, I recently saw an old LP of Szigeti
> playing a Prokofiev violin sonata (don't remember which one), but the
> asking price of >$100 was more than I was willing to pay. Anyone know
> whether I passed up a dud or a gem?
The Columbia LP contained both sonatas; No. 1 with Levine and No. 2 with
Hambro. The latter was a Szigeti specialty and was originally released in
1946 on 78s. The LP was out in 1950; the 1st was adversely compared to
Oistrakh's version.
Unless you are a Szigeti-completeness fanatic I think you exercised good
judgement in passing it up. It's my opinion that, by now, if they were
that exceptional they would have been included in the Biddulph or other
reissues. I would be tempted to go with Oistrakh [or even Isaac Stern] as
at least as authentic interpreters, although [outside the USSR] in the
early postwar years Szigeti was considered the prime exponent of the 2nd
[which was originally composed for flute & piano.]
--
Bill Karzas wjk...@pacificnet.net
frank forman
Joseph Szigeti is my favorite violinist and I have copies of everything
he recorded that I know about, except an Armed Forces Radio Service
transcription disc of a Bach PC 5, mvt. 2, arr. for vn. & orch. and some
possibly existing acoustics made in Russia. Some post-judices:
The Vanguard Bach S&P was actually made for Columbia in their studios in
1955. I consider it to be his greatest recording, along with the Brahms
VC with Harty and the Library of Congress recital with Bartok.
The Vanguard Mozart VS set was also recorded for Columbia, I think also
in 1955. Only the two with Szell were issued by Columbia. The Vanugard
set was issued in phony stereo, but the CD issue is in genuine mono and
sounds very good, though it does not have the *interpretive* excellences
the live sonatas with Andor Foldes (M&A) and Artur Schnabel (Pearl) have.
Add those to my greatest Szigeti list. Foldes was a superb pianist and
recorded for many labels. He's far, far better and more interesting than
nearly all the "mainstream" pianists, like Rubenstein. Snap up his LPs,
as little has been issued on CD. Snap up the Westminster LPs of Reine
Gianoli; she's the one for Bach and Mozart on the piano I want to hear
when I've gotten an overdose of Gould. (I depart from my general
libertarian principles, but I say playing Bach on the harpsichord should
be illegal.)
Szigeti recorded the two Prokofiev VSs twice, for Columbia on a mono LP
and for Mercury as one of the six he made for that company in stereo.
These are audiophile recordings and the early pressings of Szigetis can
go for up to $200. Interpretively, the Columbia is better. I've got in on
a Japanese Sony/CBS LP.
I'm qute hard of hearing, so it is quite possible that I am not hearing
the flawed intonation of his later recordings, but there is at least one
other person (Leslie Gerber, prop. of Parnassus Records, one of the big
used LP & CD dealer in the US) who agrees with me regards the Vanguard
Bach S&Ps.
Next time I have a couple dozen spare hours, I'll work up a formal
Szigeti discography that will go beyond any existing one. That the next
time will have to wait for my next reincarnation is a strong possibility.
But I can attend to very specific questions.
Frank
S. LaBonne
In article <formanDr...@netcom.com>,
frank forman <for...@netcom.com> wrote:
>I'm qute hard of hearing, so it is quite possible that I am not hearing
>the flawed intonation of his later recordings, but there is at least one
>other person (Leslie Gerber, prop. of Parnassus Records, one of the big
>used LP & CD dealer in the US) who agrees with me regards the Vanguard
>Bach S&Ps.
No, actually what gets me is the grating, wobbly (his vibrato had
almost completely gone south on him) tone; I've always been amazed at
how _good_ his intonation is in the Bach set considering his other
technical frailties at the time. I agree that this is great
music-making, and I envy people who can listen through the aspects of
the playing that drive me up the wall- I consider it entirely my loss
that I can't.
(I'm a fine one to talk, my vibrato is nothing to write home about
either! ;-) )
Henry Limouze
In article <formanDr...@netcom.com>, for...@netcom.com says...
>
>Joseph Szigeti is my favorite violinist and I have copies of everything
>
>The Vanguard Bach S&P was actually made for Columbia in their studios in
>1955. I consider it to be his greatest recording, along with the Brahms
>
>I'm qute hard of hearing, so it is quite possible that I am not hearing
>the flawed intonation of his later recordings, but there is at least one
>other person (Leslie Gerber, prop. of Parnassus Records, one of the big
>used LP & CD dealer in the US) who agrees with me regards the Vanguard
>Bach S&Ps.
Full agreement on most of this. Szigeti was more than an outstanding
violinist--he was an extraordinary musician. The late Vanguard Bach set
is something I treasure, and I also do not hear any very serious
*intonation* problems; but I do hear clear signs of the aging of the
technical equipment that had produced wonderful effortless performances
of the same works 10 and 20 years earlier. Music & Arts has a two-disk
set that includes 1930s recordings of the Bach solo sonatas in g minor
and a minor that are absolute revelations. What Szigeti was trying to
say in these pieces (not always successfully, and with audible effort) in
1955 he says in full in his earlier recordings.
The Music and Arts two disk set also includes an excellent transfer of
the Brahms concerto with Harty, along with the great 1932 Beethoven
Concerto with Bruno Walter and a British orchestra, a wonderful version
of the Brahms d minor sonata (with the great Egon Petri) and a Mozart
sonata. The 1940 recital with Bartok and the 1947 recital with Schnabel
are also immortal.
It's a pity Szigeti's technique wasn't all there in 1955, but the
eloquence, the musicality, the strong sense of musical line and
architecture are all present, and they make his reading of the Chaconne
and other movements very special indeed.
I look forward to seeing your discography
Regards,
Henry Limouze <hlim...@corvus.wright.edu>
JDT
HLIM...@CORVUS.WRIGHT.EDU (Henry Limouze) wrote:
>Regards,
>Henry Limouze <hlim...@corvus.wright.edu>
One of my teachers at the U of Wisconsin in the early 60's was the
late John Barrows, a hornist who had been prinicpal of the NYPO at one
time. Late in Szigeti's career, Barrows made a recording of the
Brahms trio with him for Mercury-Szigeti last label. Barrows
commented that Szigeti had terrible shaking of his arms and Barrows
was amazed he could play at all. I think the recording (but not the
issuance) was in the late 50. Late enough to be in Stereo. I don';t
remember the coupling. I never heard the recording - largely because
I was scared away by Barrows and I didn;t have much discretionary
income then. I later heard Szigeti's recording of Brahms and
Beethoven concerto. While I was decidedly in the Stern/Oistrach camp
back then, one could tell the intellect behind the phrasing and the
structure of even Szigeti's late performances. I must have 20 sets now
of the Bach S&P ( and have even private performances of myself on
record) and Szigeti in many ways is still the touchstone. The E major
preludium has shape to it, not just a virtuoso drill. Szigeti, even
in 1955 could sustain the tryptych structure of the Chaconne that few
others can match. I studied with the Hungarian-American violinist ,
Robert Gerle. It was while I studied with him that Szigeti died...and
it was I who told him. Gerle just said, Hungary has given the world
many violinist, but this was the greatest musician who happened to
play the violin.
Jon Teske