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Albert
Sammon, violin
Lionel Tertis, viola
London Philharmonic Orchestra
Conductor: Sir Hamilton Harty Recorded
30th April,1933.
Released as (UK) Columbia DX478-481
Matrix numbers: CAX 6824-6831
Takes: Mvts 1 & 2 - 2nd takes, 3rd mvt: 1st takes
Download ID: 202994
Duration
29'16"
Play
sample movement:
This
double concerto is a mature and deeply serious composition; the
performance is worthy of the sublime music...
Sackville-West & Shaw-Taylor, The Record Guide, 1951 (Starred
recording)
Albert
Sammons and Lionel Tertis were the foremost British violinist and violist
of their day - indeed Tertis is regarded widely as the father of modern
viola playing. Their pairing here, together with Harty's masterly direction
of the then newly-formed London Philharmonic Orchestra, is frequently
sublime.
Clearly,
even nearly 20 years later, this world première recording was standing
the test of time, and yet now perhaps it could be seen at times as an
historic anomaly. It's certainly not historically informed - the heavy
romanticism of the playing as hardly what is now seen as appropriate for
Mozart; Tertis' lengthy self-composed cadenza seems almost bizarre in
this context.
And
yet, remarkably, the magic does still work. The recording quality is excellent,
our source discs were quiet and well-preserved, and it's a recording I
come back to over and over again for listening pleasure. Times change,
performance practises change, but you can't deny a wonderful performance
such as this its place in the history of recorded music.
REVIEW
OF MOZART SINFONIA CONCERTANTE Sammons, Tertis, LPO, Harty
(1933)
A
very alert orchestra enters with a performance whose sound
appears like very good mid-1950's monaural. The crispness
and lightness of Sir Hamilton's lines mark him as a real Mozartean.
I was put off briefly by the soloists who enter in a rather
mannered and romantic fashion and slow down the proceedings.
After a few moments, everything settles down and I enjoyed
a very good romantic, if not great classic performance, of
the first movement. The ensembles between Sammons (whose performance
of the Elgar concerto, in my opinion, tops even that of Menuhin)
and Tertis is quite remarkable. This is especially apparent
in the cadenza to which they add some rather anachronistic
and non-Mozartean touches.
Unexpectedly,
the slow movement is restrained, delicate and very classic.
At rather flowing speeds, it is extremely eloquent. Tertis'
deep-throated viola echoes Sammon's sweet violin in one of
the greatest performance of this movement I've ever heard.
Dash
and brio characterize the finale. The second theme is played
by the soloists with such limpid grace. The orchestra ends
the work with glorious panache.
Not
without flaws, but memorable and with beautiful sound.
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This
double concerto is a mature and deeply serious composition; the
performance is worthy of the sublime music...
