Both parts are recorded by Heifetz using an overdubbing. The recording is considered a failure, in my opinion, because of the relatively dull sound and the unsuccessful first movement: the tempo is too high, the orchestra plays monotonously, the violins do not differ in tone or style. I think because of this, many people never got to hear Largo, the first half of which is played and recorded musically perfectly. In the second part of Largo, the violins lost their voice, but the finale is recorded very well-expressively and with mood.
Continue reading “J.S.Bach — Concerto For Two Violins — Jascha Heifetz , 1952 78rpm shellac rip”
Only the first record is present from the set. The orchestra sounds a little heavy, but Menuhin's violin is recorded elegantly – touching, soft and intonated, it is for this sound Menuhin loved by his fans. The Enesco instrument sounds calm and muted, the teacher does not interfere with his protege.
Continue reading “J.S.Bach — Concerto For Two Violins — Yehudi Menuhin, Georges Enesco – 1932 78rpm shellac rip”
Re-release of the 1930s, two records from different sets – the crackling HMV and the clean Electrola. Unique 1915 version of the concert – acoustic recording with chamber accompaniment, which preserved unusually merged consonances and chords, built by two beautiful violins and a quartet. The narrative is on the rise – setting the mood for vivace, then the extraordinary beauty of Largo and the passionate, divine Allegro at the end.
Continue reading “J.S.Bach – Concerto For Two Violins – Fritz Kreisler, Efrem Zimbalist – 1915 78rpm shellac rip”
For all its power, the organ is vulnerable to intangible distortions made by the sound recording even more than its smaller acoustic brothers – the organ’s soft notes is poorly discernible, and the loud chords desperately screams in all the registers, the higher the register, the more desperate it shout. In my opinion, the organ sounds quite comfortable only on some very old records, they, thanks to the LO-FI recordings of those years, can convey to the listener the sublime mood inherent in church music. The 1960s Soviet records presented here are not ideal technically, nevertheless you can feel the heavenly beauty of them, especially if you listen to the tracks using an old tube receiver as an amp.
Continue reading “Organ music, 1960th lp mono rip”
Reissue on the 1955s USSR Accord, the quality varies from track to track, the sound is sometimes not fully disclosed, but magical honey notes, expressive and caressing the ear, arise here and there. Gould is certainly a wizard!
Continue reading “I.S. Bach – Goldberg Variations, Glenn Gould – 1959 LP mono rip”
From the 3-lp set only the first (1968) and the third (1972) records have been found, from each one I took three most successfully recorded tracks. The result was an example of how the thoughtless replacement of recording equipment with a more modern one leads to the degradation
of sound, in this case – the loss of natural timbres of the piano on the record of 1972 (tracks 4, 5, 6). In general, the sound of the entire second book of the WTC makes worse impression than the first (1965)
Continue reading “J.S.Bach – Well-Tempered Clavier, Book 2 – Glenn Gould, LP mono Rip ”
On tour in the USSR Gould was recorded several times, including a live performance of the Three-Voice Inventions (1960) and a partita #2 (1962) with a well good LO-FI sound. Inventions convey the magic of the piano Gould better than studio recordings, we can only guess how great it sounded live. Rondo and sarabande from the second partita recorded somewhat tougher, there are noticeable detonations in the saraband. At the end of the list there are two finest Columbia 1964 studio recordings of inventions. The magic there is noticeably less.
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The German LP MPS-Basf 1972, in general recorded and mixed poorly – there are many preludes with a level of -10db, and subsequent overloaded fugues, most tracks sound disembodied and cold. F. Gould, to my taste, plays WTC too monotonous and rigid, especially it concerns fugues, but a couple of well-recorded preludes clearly demonstrate that at the piano the master of his craft.
Continue reading “J.S.Bach – Well Tempered Clavier, Book I, F.Gulda – 1972 LP mono Rip”
The recording was made in 1970 in one of the churches of Salzburg. Microphones are set far from the piano, the sound is dull and over echoed but rather plastic and conveys the sacred nature of the music very well. Richter plays thoughtfully, his version of WTC is imbued with light sadness and philosophical reflections.
Continue reading “I.S. Bach – Well Tempered Clavier – Part I, Sviatoslav Richter, 1973 LP mono rip”
Kirill Kondrashin conducts the Moscow Symphony Orchestra, violin solo by Nelly Shkolnikova. The D-02176 GOST 5289-56, recorded in the first half of the 1950s, was reissued after 1956 from the original matrix (without re-recording on a newer equipment, as it was commonly practiced in the late 1950s in USSR). The recording bears all the signs of early soviet LPs of the TU-1kl – on the one hand the magnificent sound of the soloist, on the other – the unimportantly recorded orchestra. This performance is without a doubt one of the best interpretations of Tchaikovsky's concerto and a perfect example of violin recording.
Continue reading “Tchaikovsky – Violin Concerto, N. Shkolnikova – 1950th LP mono rip”