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Volume 15 Issue 1 - September 2009

  • Text
  • September
  • Jazz
  • October
  • Toronto
  • Symphony
  • Musical
  • Colours
  • Trio
  • Orchestra
  • Theatre

For an appointment to

For an appointment to see and play Canada's largest selection(all models !) of new Mason & Hamlin grand pianos you are invitedto call 1-866-631-6696 or email willem@masonhamlin.caALSO HIGH QUALITYUSED STEINWAYSAVAILABLEOLD WINE INNEW BOTTLES –Fine old recordings re-releasedBy Bruce SurteesThe teacher of Anne-Sophie Mutter and dozensof leading violinists, Aida Stucki wasa brilliant artist in her own right during the1950s, 60s and 70s. Apart from a few LPs,there is a trove of broadcasts in the archivesof various Swiss radio networks of hundredsof concertos, sonatas, and chamber music.Apparently she chose to shun the glamourof the travellingsoloist, preferringto devote herself tochamber music andteaching. A few ofher devoted studentswho discerned thather broadcasts revealedone of thegreatest artists ofthe era approached DOREMI to issue someof these vault treasures. It was decided toinitiate a series of CDs with performances ofMozart concertos and sonatas from 1951to 1977 (DOREMI DHR-7964-9, 6 CDs).Anne-Sophie Mutter wrote to DOREMI that“Aida Stucki’s recognition as an artist isboth inevitable and overdue. Her artistry is atimeless inspiration. Her interpretation incorporatesbewitching sound, personal instinctcoupled with great insight to the wishes ofthe composer. I admire this great violinistdeeply. These recordings are a must for anystring player and music lover.”The late conductor/composer Igor Markevitchhas ten different performances of LeSacre du Printemps to be found on CD, inaddition to a DVD with the Japan Philharmonic(1968). Stravinsky was antipathetic toconductors interpretinghis works.His well knowninstruction was tosimply play thescores as writtenbecause that is allthere is to it. Heendorsed only hisamanuensis, RobertCraft, but had complimentary things tosay about Igor Markevitch. An 11th CD of LeSacre with Markevitch has appeared on theAudite label from Germany containing liveperformances from 1952 in Berlin (Audite95.605). So what? Well, I’ll tell you what...Stravinsky’s shocker sounds unusuallyanimated, lively and vibrant as Markevitchpropels the now familiar score. There is areal sense of tense apprehension throughout,an atmosphere of inevitability absent fromother performances. The RIAS SymphonyOrchestra was a crack ensemble, comfortablewith this complex score. Absolutelyfirst-rate performances of the second suite58 WWW.THEWHOLENOTE.COM September 1 - October 7, 2009

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