Old Wine continues from page 75from EMI. The Philharmonia from London is heard here in its glorydays, the tempos are familiar to Furtwängler’s devotees and absolutelyeverything fits together to perfection. From the first bars thesuperior sound of this new disc unzips all the nuances and dovetailingof instrumental colour. Furtwängler’s elemental vision of the thirdmovement is singular. The forces are so inspired and well-rehearsedthat the staggering difficulty of the fourth movement finale is achievedwithout any sense of effort; not at all easy in a live performance. Thisis consistent with and a perfect document of Furtwängler’s vision ofthe Ninth and is an essential addition to an appropriate collection.Incidentally, the Tahra SACD issued in 2008 sounds to have been basedon a later generation copy.Another new SACD re-mastering fromPraga of legendary performances featuresDavid Oistrakh playing Beethoven’s ViolinConcerto and the Triple Concerto bothlicensed from EMI (PRD/DSD 350082 SACDhybrid). Neither recording is the first timeOistrakh was showcased in this repertoire butthis was the first time he had recorded themin stereo. The soloists in the 1958 Triple werenot strangers, being members of the David Oistrakh Trio, pianistLev Oborin and cellist Stanislav Knushevitzky accompanied by thePhilharmonia Orchestra under EMI’s house conductor, Sir MalcolmSargent. The Violin Concerto, also from 1958, was recorded in Pariswith the ORF Orchestra directed by André Cluytens. David Oistrakh’svarious recordings of Beethoven and just about anything else remainlandmarks and their value undiminished. The sound on this newproduction is cleaner, more spacious and detailed than the originalstereo discs.Martha Argerich & Claudio Abbado –Complete Concerto Recordings (DG 4794155):The first collaboration between Abbado andArgerich to be recorded by DG was in 1967with the Berlin Philharmonic Orchestraplaying the Prokofiev Third Piano Concertoand the Ravel G Major. The last concerto inthis inexpensive little 5CD box documentstheir last concert in March2013 at the Lucerne Easter Festival playingthe Mozart Piano Concertos No.20, K466 and No. 25, K503. In theintervening years DG recorded the Chopin Concerto No.1, the LisztFirst Concerto and the Ravel G Major made during Abbado’s tenurewith the London Symphony; the Tchaikovsky First with the Berlinerand the Beethoven Second and Third Concertos with the MahlerOrchestra. In every case the performances are perfectly judged andpersuasive, displaying both sensitivity and authority that serve thecomposers well.The welcome series of the young Martha Argerich on Doremi hasarrived at Volume Four (DHR-8036) containing items from the 1965Seventh International Chopin Competition inWarsaw of which Argerich was the First Prizewinner. By 1965 Argerich had already won thefirst prize at two other international competitionsin Geneva and Bolzano. And she wasalready signed to a recording contract withDGG. These selections of award-clinchingperformances as recorded live from theChopin Competition, presented in flawless sound, are valuable documentsof the rising star. Works include the Third Sonata, a selection ofNocturnes, Etudes, Preludes, the Polonaise Op.53 and more. A bonustrack is a very rare recording from Buenos Aires of the 14-year-old“lioness at the piano” playing the Etude, Op.10, No.1.WHAT IF YOUcould not only read a reviewbut CLICK TO LISTEN?Soon you can!Coming this springThe WholeNote DISCoveries Listening Room.Be the first to know when.Follow us @thewholenote or subscribe toHalfTones online at TheWholeNote.com.For more information Thom McKercher at thom@thewholenote.com“... the Sonata for Cello andPiano (1946) which I mustconfess is my favourite selectionwith its shades of Debussy andcascading melodies ...”“... the works recorded hereare restored to life in a lavishlyillustrated edition, playedwith great sensitivity by IBarocchisti...”“... Unique exchanges aboundamongst the instrumentalists,particularly in the Kapsbergerselections, ever shifting inrhythmic nuance...”“...there are many lovelymoments of musical anddramatic interchange, such asthe item in the Handel sectionwith the violinists...”“... The performances by all thesingers are clear and colourful.Eileen Nash is especiallyoutstanding in her performanceand childlike vocal tuning of theten-year-old Rita...”“... From the first hesitantmeasures, the listenerimmediately senses that indeed,this is what Beethoven wouldhave wanted .... the phrasingalways carefully nuanced...”76 | March 1 - April 7, 2015 thewholenote.com
JOIN THE FUN AND RAISE MONEYAND AWARENESS FOR MUSIC THERAPY!VANCOUVERCALGARYSASKATOONWINDSORWATERLOOGUELPHBURLINGTONTORONTOOTTAWA/PERTHMONTRÉALMARCHFORMUSICTHERAPYIn support of the Canadian Music Therapy Trust FundIn partnership with the Canadian Association for Music Therapys srSUNDAYMARCH292015musictherapytrust.ca
