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After leaving Germany in 1933 Horenstein had much less contact with choral music but always relished the chance to include it in concerts when opportunities came his way. In 1953 he wrote to Karol Rathaus that he “enjoyed immensely” working with the chorus for a performance of Boris Godunov in Italy and that “there is simply nothing so wonderful in interpretation like working with voices”.
He later described the human voice as “the most musically expressive instrument there is”, and whenever he included choral music in his concerts he invariably insisted on taking separate choir rehearsals himself, sometimes against the wishes of the chorus masters concerned. Indeed, some of his most successful performances, from Beethoven's Missa Solemnis to the Brahms Requiem to Mahler's Eighth Symphony, involved extensive work with choirs and soloists and the same can be said for the two Mozart items presented here, possibly Horenstein's first stereo recordings, in which the celebrated Viennese chorus and soloists give him their most refined, stylish and rhythmically vital singing, with phrasing of unusual attention and delicacy.
MOZART Vesperae solennes de confessore
MOZART Mass in C, "Coronation"
Jascha Horenstein conductor
Wilma Lipp soprano
Christa Ludwig alto
Murray Dickie tenor
Walter Berry bass
Singverein der Gesellschaft der Musikfreunde, Vienna
Vienna Symphony Orchestra
Recorded 1956 in stereo
On March 29, 1947, Felix Salmond gave a recital at the Juilliard School commemorating the twenty-fifth anniversary of his American debut. The program was one he had played on more than one occasion over the years: the five Beethoven Cello Sonatas. The following year, Salmond and his performing partner, fellow Juilliard faculty member Leonid Hambro, returned to the school’s Concert Hall to make a private recording of the sonatas, three of which were issued in 1960 on a private LP as a fund-raiser to help establish a scholarship in his name.
These recordings are revelations in several ways. First, they show that Salmond maintained his technique even in his sixtieth year. His last commercial recordings were made in 1930, when he was forty-two; and although he continued to concertize and appear on broadcasts, these Beethoven sonatas are the only published documents of his playing after that. But more importantly, they present Salmond in the finest recorded sound he ever received: they have the presence, and nearly the frequency range, of high fidelity mono tape recordings.
BEETHOVEN Cello Sonatas 1, 4 and 5
BEETHOVEN 7 Variations on “Bei Männern” from Die Zauberflöte
Encores by Bizet, Chopin, Fauré, Pianelli and Pierné
Felix Salmond, cello
Leonid Hambro, piano
Simeon Rumschisky, piano
A 2-CD collection of rare and brilliant early electrical recordings by the renowned Budapest String Quartet, recorded in London between 1926 and 1929, in new transfers by Mark Obert-Thorn for Pristine.
The early quartet’s recordings have had only spotty availability in extended-play format - the Haydn, Dittersdorf, Mozart and Tchaikovsky Second Quartet make their first appearances here since the 78 rpm era.
"When this time I read the title and saw that H.M.V. had recorded Schubert’s String Quartet in D minor (“Death and the Maiden”) performed by The Budapest String Quartet my heart leapt, knowing that something really good was in store for me—and I was not disappointed...
To create such music means unselfishly to serve the ideas and never to stop before the last and only expression has been found. To perform such music means just the same, and that is why I do not hesitate in saying that this recording of the D minor Quartet is the best I know of."
HAYDN Quartet in G, Op. 76, No. 1
MOZART “Hunt” Quartet
SCHUBERT “Death and the Maiden” Quartet
DVOŘÁK “American” Quartet
TCHAIKOVSKY Quartet No. 2 in F, Op. 22
Encores by Dittersdorf, Mendelssohn and Borodin
The Budapest String Quartet
PACM098 (2hr 35:50)
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