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BRONISLAW HUBERMAN the Complete Bach and Mozart Concerto Recordings - PASC397

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BRONISLAW HUBERMAN the Complete Bach and Mozart Concerto Recordings - PASC397-CD

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Quick Overview

BRONISLAW HUBERMAN violin


Vienna Philhamonic Orchestra - Issay Dobrowen
Philharmonic-Symphony Orchestra of New York - Walter


Studio & Live Recordings · 1934 and 1945




Producer and audio restoration engineer: Mark Obert-Thorn
Further XR processing for Tracks 10 – 12: Andrew Rose
Special thanks to Nathan Brown, Frederick J. Maroth and Charles Niss for providing source material
Cover artwork based on a photograph of Bronislaw Huberman

Total duration: 76:12
©2013 Pristine Audio.

Details

Bronislaw Huberman's complete Bach and Mozart Concerto Recordings

Special 25th anniversary* transfers by Mark Obert-Thorn


 

 

 

BACH  Violin Concerto No. 1 in A minor, BWV 1041
Recorded 13 June 1934, Mittlerer Konzerthaussaal, Vienna
Matrix nos.:  WHAX 20-2, 21-1, 22-2 and 23-1
First issued on Columbia LX 329 and 330

BACH  Violin Concerto No. 2 in E major, BWV 1042
Recorded 13 June 1934, Mittlerer Konzerthaussaal, Vienna
Matrix nos.:  WHAX 15-5, 16-2, 17-2, 18-2 and 19-4
First issued on Columbia LX 408 through 410

MOZART  Violin Concerto No. 3 in G major, K.216
Recorded 13 - 14 June 1934, Mittlerer Konzerthaussaal, Vienna
Matrix nos.:  WHAX 24-5, 25-5, 26-3, 27-2, 28-3 and 29-3
First issued on Columbia LX 494 through 496

MOZART  Violin Concerto No. 4 in F major, K.218
From the CBS broadcast of 16 December 1945

Carnegie Hall, New York


 

Vienna Philharmopic Orchestra - Issay Dobrowen (Bach, Mozart Concerto No. 3)
Philharmonic-Symphony Orchestra of New York
- Bruno Walter (Mozart Concerto No. 4)

Bronislaw Huberman - violin

 

 

Historic review

There is room for much useful discussion about the definition of “classical,” especially as over against “romantic”; but if an example of classical style in the first half of the eighteenth century is wanted, the E major is a splendid one, and it affords excellent opportunity for the exhibition of classical style in fiddling: a fine, nervous sensibility is wanted, with a strong, upstanding, no-finicking clarity. There are easy distinctions to be noticed between the styles of admired players. Huberman, we expect, will not play this work quite like Busch, any more than Szigeti and Menges will give us the same Brahms in the Concerto; but whereas in the modem work there is a world of difference in the degree of romanticism possible in the outlook of various players, in the older work the difference chiefly lies in varieties of bowing and phrasing. Hence we are more likely to agree about the good qualities of any able performance than we are about the interpretation of the Brahms. And an able performance, of course, we are sure to get from Huberman—one that nobody need hesitate to recommend.


W.R.A. - The Gramophone, November 1935
Excerpt from review of Bach Violin Concerto No. 2 in E


 

Producer's note

This release brings together for the first time in a single place all of Huberman’s Bach and Mozart concerto recordings. The sources for the transfers of the commercially-issued discs were American Columbia pressings: a “Royal Blue” shellac set for the Bach A minor concerto; a large label, post-“Viva-Tonal” black shellac album for the Bach E major (except for the first side, which came from a late-1930s “microphone” label copy); and a small label “Master Works” set for the Mozart.

 

The original recordings were not state-of-the-art for their time. The hall is over-reverberant, obscuring detail; and the sound is inherently fuzzy and occasionally distorted. (The opening of the Bach E major is gritty on every copy I’ve heard, both European and American.) However, the U.S. Columbia pressings are probably the quietest available for these discs.

 

For the present remastering of an existing transfer of the Mozart D major broadcast, almost all clicks and pops have been eliminated, pitch variances have been corrected, and as much warmth as possible brought to the originally strident recorded sound. While still far from perfect, I believe it to be a significant improvement over how this performance has been heard until now.


Mark Obert-Thorn


* "Twenty-five years ago this month, I was hard at work on my first releases as a professional transfer engineer ... This month we come full-circle, and I begin my silver anniversary as a reissue producer with a new transfer of the first CD of the three I did for Pearl in October, 1988 to be issued: Bronislaw Huberman’s recordings of Bach and Mozart Violin Concertos, now expanded to include his broadcast performance of Mozart’s Violin Concerto No. 4 with Bruno Walter conducting."


Excerpt from Pristine Newsletter article, 25 October 2013, by Mark Obert-Thorn




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