2019-08-09 08:05:18 UTC
Listening now to this newly-issued set on AppleMusic. The Brahms VC suffers from constructed sound in first movement tuttis. It sounds like worn pressings, destroyed grooves. And one side join, in particular, at 04:23 of the Adagio is conspicuously ugly. I was looking forward to this set, but it’s not sounding very good to me. New shellac transfers (perhaps some orig. metal parts from Hayes?) effected at Studio Art & Son, Annecy. Interested to hear opinions from our historical gurus and aficionados. P.S. Re performance, I forgot how scrappy the Philharmonia plays for Issay Dobrowen here, esp. in the Rondo. My favorite is still Efrem Zimbalist and the BSO “under the baton” of Serge Koussevitzky, Live in concert on March 30, 1946. The cadenza is to die for.
Official label blurb:
<< The French violinist Ginette Neveu was just 30 when her plane crashed in the Azores in October 1949. She had studied with George Enescu and Carl Flesch, and as The Observer wrote in 1945, “Her playing was superbly vigorous and passionate, and made the impression that its great qualities, such as eloquent phrasing and an apparently limitless range and variety of tone, came from the only true source – an identity with the music and with her instrument.” Her complete recordings, specially remastered from the best sources available, are gathered on these four CDs, with her incandescent Sibelius Concerto taking pride of place.
• 2019 marks the centenary of Ginette Neveu’s birth.
• Newly remastered in 24-bit/96kHz from the best sources available by Studio Art & Son, Annecy.
• All recording details are presented in the booklet in a table with date, matrix number, take number (where known), original catalogue number, date, venue and source used for the present box.
• French violinist Ginette Neveu studied with George Enescu and Carl Flesch and rapidly built an international carrier and reputation. She died aged just 30 with her brother Jean Neveu in a plane which tragically crashed in the Azores in October 1949.
• “Her playing was superbly vigorous and passionate, and made the impression that its great qualities, such as eloquent phrasing and an apparently limitless range and variety of tone, came from the only true source – an identity with the music and with her instrument.” The Observer, 1945
• The present box gathers the complete studio recordings done by Ginette Neveu and contains the first CD reissue in the West of Ion Scărlătescu’s Bagatelle. >>