Kathleen Long's 1953 recordings of Fauré's piano music have without doubt been Pristine Audio's runaway success of 2006. Their restoration and remastering came about following a letter in Gramophone magazine, and the response to their release was unprecedented.
Long's beautiful pianism seems perfectly suited to Fauré's late-romanticism in the Ballade, with Martinon's lush orchestral accompaniment providing the perfect backdrop. In the Nocturnes Long is simply superb. This is a recording to savour!
Schubert's Sonata for this little-remembered instrument is performed here by the incomparable cellist, Emmanuel Feuermann, and came as a revelation. Feuermann, too, is little remembered, dying a tragically young forty years old in 1942.
This 1937 recording has superb tone, superb clarity, and a joie de vivre you can hear - Feuermann can smile through the playing of his cello, and in Moore, the finest accompanist of his day, he has the perfect companion.
Valenti's monumental series of Scarlatti Sonatas is the clear winner here, and thus far we've only reached Volume Eleven of some twenty-five! We've had more correspondence and praise for this edition than any other release - and it's impossible to single out one volume over any other.
Valenti's playing is second to none, the 1950's recordings are superb, and Peter Harrison's remastering is impeccable.
There's far too much choice in this category, and we've already nominated Kathleen Long's Fauré as overall winner, but this stunning 1935 recording of the Mendelssohn Violin Concerto cannot go unrecognised here.
Kriesler's playing is what you'd expect - legendary - and the orchestra is spot on throughout. An excellent day at the office for the HMV recording engineers provides a sound quality far beyond its years. One of the all-time greats!
Heddle Nash defined the role of Gerontius in this 1945 recording, regarded by many as Sir Malcolm Sargent's finest hour in the studio. This remains perhaps the greatest recording of The Dream of Gerontius ever made, and we're not the only ones who think this the finest remastering it's ever had:
"I think the Pristine Audio transfer is absolutely tremendous!"
James Jolly, Editor-in-Chief, Gramophone Magazine
