This album is included in the following sets:
This set contains the following albums:
- Producer's Note
- Full Track Listing
- Cover Art
Mark Obert-Thorn completes the digital transfer of their electrical catalogue
The Flonzaley Quartet made its first recording attempts
in 1913 for Victor, but its earliest issued discs date from five years
later. From that time until its disbandment in 1929, the Flonzaley was
the première string quartet ensemble on the Victor/HMV family of
labels. They recorded prolifically, with 32 acoustic and 92 electric
sides published during the 78 rpm era, as well as another 11 sides that
were first issued on LP or CD. Even those numbers pale in comparison to
the 860 total matrices they recorded. Their quest for perfection is
evidenced by the high take number (13) on the medley of two Spirituals
presented here. The issued take came only after having recorded the
work over eight sessions stretching over fourteen months.
In 1992 and 1994, the Biddulph label released two sets
of two CDs each featuring most of the Flonzaley’s electrical recordings,
including some previously unpublished sides. In 2008, I transferred
two more electrical sides of Christmas carols for A Very Pristine Christmas
(Pristine Audio PAMX 005). The present release completes the digital
reissue of all of the Flonzaley’s published electrical recordings.
The sources for the transfers were pre-war Victor “Gold”
label pressings for the Smetana; “Z” pressings for the Dohnányi; and
Orthophonic pressings for the remainder (which, unfortunately, I’ve
never seen available on any quieter shellac).
I am indebted to Jon Samuels for his discography of the Flonzaley Quartet, published in the ARSC Journal in 1987, for the details regarding dates, matrix numbers and recording venues.
Mark Obert-Thorn
FLONZALEY QUARTET Smetana, Dohnányi and more (1926-29)
SMETANA: String Quartet in E Minor, “From My Life”
1. I. Allegro vivo appassionato (7:12)
2. II. Allegro moderato alla polka (4:33)
3. III. Largo sostenuto (8:22)
4. IV. Vivace (4:39)
Recorded 19th – 20th March, 1929 in Victor Studio No. 1, Camden
Matrix nos.: CVE-51035-4, 51036-6, 51037-4, 51038-6, 51039-4 and 51040-4
First issued on Victor 7130 through 7132 in album M-63
DOHNÁNYI: String Quartet No. 2 in D Flat Major, Op. 15
5. I. Andante (8:14)
6. II. Presto acciacato (4:27)
7. III. Molto adagio animato (12:27)
Recorded 20th – 21st October, 1927 in Victor Studio No. 1, Camden
Matrix nos.: CVE-40702-1, 40703-2, 40704-6, 40705-3, 40706-4 and 40707-4
First issued on Victor 7354 through 7356 in album M-90
Recorded 11th February, 1926 in the Victor Studios, Camden
Matrix no.: CVE-31389-13 First issued on Victor 6594
Deep River
Recorded 4th January, 1927 in Victor Studio No. 3, Camden
Matrix no.: BVE-31388-2 First issued on Victor 1276
8. Go down, Moses; Swing low, sweet chariot (4:40)
9. Deep River (3:45)
POCHON: Irish Cradle Song
10. POCHON Irish Cradle Song (3:21)
Recorded 10th February, 1926 in the Victor Studios, Camden
Matrix no.: CVE-31384-10 First issued on Victor 6594
Recorded 4th January, 1927 in Victor Studio No. 3, Camden
Matrix no.: BVE-37400-5 First issued on Victor 1276
Recorded 3rd May, 1929 in Victor Studio No. 1, Camden
Matrix no.: BVE-51840-5 First issued on Victor 1569
Recorded 30th April, 1929 in Victor Studio No. 1, Camden
Matrix no.: BVE-51841-4 First issued on Victor 1569
11. TRAD. Irish Reel (2:30)
12. TRAD. Sally in our alley (Old English tune) (3:34)
13. TRAD. Turkey in the straw (2:36)
SPIRITUALS (arr. Alfred Pochon)
Go down, Moses; Swing low, sweet chariot
TRADITIONAL (arr. Alfred Pochon): Irish Reel
TRADITIONAL (arr. Pochon): Sally in our alley (Old English Tune)
TRADITIONAL (arr. Pochon): Turkey in the straw
Gramophone Historic Review
These are vintage Flonzaley
"...These
are vintage Flonzaley laid down before the break-up of that excellent
organisation, and left to mature till now in the cellars at Hayes. Like
all dated "vintages " they have the virtue of preserving something that
would otherwise have been lost irretrievably—and a performance by the
Flonzaley was well worth preserving. On the other hand, an old wine is
often inclined to lack "body," and these two Flonzaley samples sound
strangely light and ethereal beside the full-blooded modern recordings
of the Budapest. The Schumann [Quartet in A minor, Op. 41, No. 1, not
included here], indeed, cannot be regarded as entirely satisfactory; the
extreme notes at both ends of the gamut do not actually disappear, but
there are times when they do undoubtedly "fade." And there is a curious
haze over a good deal of the part-writing that occasionally makes it
impossible to distinguish all the detail. The Smetana is distinctly
better, and the sensationally high B, long held by the first violin
towards the end of the Finale, is quite able to make its presence felt.
On the whole, this is the quartet I prefer; the " cuts " are
regrettable, but not of paramount importance..."
from "Additions to the HMV Connoisseur Catalogue",
The Gramophone, August 1932 - note that the UK issues being reviewed
came out there several years after their original US releases.
