Bolet " Rediscovered"

[Rugby]

RCA now adds Bolet to Richter,Rubinstein,Bjoerling,Price,Heifetz as
"found". How in the world did they lose these in the first place?

According to the liner notes,and then producers ,among them Gregor
Benko, Bolet was to record a multi-lp all- Liszt album in 1972 but for
reasons not disclosed in the notes did not finish the project,thus
these "rediscovered" recordings languished in the files with little or
no paper trace.

Whatever, this cd certainly seems Bolet at or near his best, even
though studios.Golden Age playing. "Un sospiro" inspired, and the
"Waldesrauschen" especially magical. Bolet avoids a cloying
"Liebestraume # 3.", and brings a more expansive view of the
"Funerailles " here than Horowitz'.

Among the show-stoppers, Bolet's "Rhapsodie Espagnole" reveals on the
one hand what a wonderful job Kissin did with this work, especially
live, in his 1998 Carnegie debut,but also the additional magic Bolet
adds. And of course the inspired, one-take "Tannhauser" simply defies
description, one of the great piano performances of anything ever I'd
think, perhaps as close to what Liszt sounded like as we are likely to
get, worth the cd price alone.

A couple reasonably priced still at Amazon-US marketplace. Essential,
IMHO,but others here with greater knowledge/ differences urged to
chime in.Very glad I added this cd to my Ensayo TE's and Fidelio
transcriptions.

FWW. Rugby

[operafan]

Post by Rugby
RCA now adds Bolet to Richter,Rubinstein,Bjoerling,Price,Heifetz as
"found". How in the world did they lose these in the first place?

I agree fully with Rugby's assessment of this Bolet CD. I'd never
heard anything of his except the dreary Liszt series he did for Decca.
These CD's are sparkling, alive, musical (not just flash).

Also worth exploring are a number of Bolet's video performances on
youtube, and a 14-part series there in which he gives a masterclass on
playing Rach 3--not the typical "play it like me" masterclass, but a
musician trying to enhance the students' own performances while giving
them practical information about how to integrate their conception
with what the orchestra is doing.

[francis]

Post by Rugby
RCA now adds Bolet to Richter,Rubinstein,Bjoerling,Price,Heifetz as
"found". How in the world did they lose these in the first place?
According to the liner notes,and then producers ,among them Gregor
Benko, Bolet was to record a multi-lp all- Liszt album in 1972 but for
reasons not disclosed in the notes did not finish the project,thus
these "rediscovered" recordings languished in the files with little or
no paper trace.
Whatever, this cd certainly seems Bolet at or near his best, even
though studios.Golden Age playing. "Un sospiro" inspired, and the
"Waldesrauschen" especially magical. Bolet avoids a cloying
"Liebestraume # 3.", and brings a more expansive view of the
"Funerailles " here than Horowitz'.
Among the show-stoppers, Bolet's "Rhapsodie Espagnole" reveals on the
one hand what a wonderful job Kissin did with this work, especially
live, in his 1998 Carnegie debut,but also the additional magic Bolet
adds. And of course the inspired, one-take "Tannhauser" simply defies
description, one of the great piano performances of anything ever I'd
think, perhaps as close to what Liszt sounded like as we are likely to
get, worth the cd price alone.
A couple reasonably priced still at Amazon-US marketplace. Essential,
IMHO,but others here with greater knowledge/ differences urged to
chime in.Very glad I added this cd to my Ensayo TE's and Fidelio
transcriptions.
FWW. Rugby

As I mentioned in my contributions to the recent Albeniz thread, I
agree that this is the finest Bolet commercial disc. The reason the
mastertape languished on the shelf for thirty years was simple: R.
Peter Munves left as head of the classical division at RCA. His
successor scrapped extensive planned future recording projects of two
notable artists then on the RCA roster, Earl Wild and Jorge Bolet. On
the schedule for Bolet were six solo discs devoted to Rachmaninoff,
Brahms, Chopin, Schumann, Mendelssohn and Liszt and a seventh for
which repertory had not yet been decided...AND the heart of Jorge's
concerto repertory to be recorded with Mata & the Dallas
Symphony...much of that project was reassigned to the then new-star on
RCA's horizon--Tedd Josselson. The impromptu Tannhauser filled a spot
on the disc which was reserved for the Norma Fantasy, which Jorge
hadn't learned (and didn't like) and would not until the 1987-88
season, if then.

FC

[Steve Emerson]

In article

Post by francis
As I mentioned in my contributions to the recent Albeniz thread, I
agree that this is the finest Bolet commercial disc. [sizeable deletion]

Many thanks for your writings in both threads.

Question -- I find a lot to like in the Liszt Sonata he did for Everest,
along with the Ensayo Transcendentals. Long story short, the Omega
20-bit reissue that I have whacks the first note off the piece. (The
note as to whose importance Richter so eloquently spoke.) The note is
there on the LP, of course, and I think Omega (or another reissuer?)
must have issued a revision with a fix, because I've heard a CD
somewhere that had it right.

Do you know anything about this case, like how to tell the fixed from
the original?

Thx,
SE.

[Steve Emerson]

Long story short, the Omega 20-bit reissue [of the Everest Bolet
Liszt Sonata of ca. 1961] that I have whacks the first note off the
piece. (The note as to whose importance Richter so eloquently spoke.)
The note is there on the LP, of course, and I think Omega (or another
reissuer?) must have issued a revision with a fix, because I've heard
a CD somewhere that had it right.

It's the repeated first note, i.e. two notes.

Anyway, regardless of the Everest/Omega reissue, several reports state
that the 2007 budget Alto/Musical Concepts release coupling the two
concerti under Zinman -- is the same Sonata recording. Musical Concepts
itself says nothing about that on its site, although the provenance of
the concerti is discussed.

So that looks like the solution. From samples at JPC, it appears this is
a new transfer.

Musical Concepts btw says that its Brendel Beethoven reissue (Vanguard)
is also a new transfer, using JVC processes.

SE.

[Steve Emerson]

Long story short, the Omega 20-bit reissue [of the Everest Bolet
Liszt Sonata of ca. 1961] that I have whacks the first note off the
piece. (The note as to whose importance Richter so eloquently spoke.)
The note is there on the LP, of course, and I think Omega (or another
reissuer?) must have issued a revision with a fix, because I've heard
a CD somewhere that had it right.

It's the repeated first note, i.e. two notes.

Anyway, regardless of the Everest/Omega reissue, several reports state
that the 2007 budget Alto/Musical Concepts release coupling the two
concerti under Zinman -- is the same Sonata recording. Musical Concepts
itself says nothing about that on its site, although the provenance of
the concerti is discussed.

So that looks like the solution. From samples at JPC, it appears this is
a new transfer.

Musical Concepts btw says that its Brendel Beethoven reissue (Vox)
is also a new transfer, using JVC processes.

SE.

[Matthew B. Tepper]

Rugby <***@gmail.com> appears to have caused the following letters to
be typed in news:8a78076d-b275-4b77-b531-

RCA now adds Bolet to Richter, Rubinstein, Bjoerling, Price, Heifetz as
"found". How in the world did they lose these in the first place?

I'm not sure what you mean by "now," because this CD was issued a few years
ago. However, I agree with you that it displays Bolet's terrific piano
playing and wonderful musicianship!

[gggg gggg]

Post by Rugby
RCA now adds Bolet to Richter,Rubinstein,Bjoerling,Price,Heifetz as
"found". How in the world did they lose these in the first place?
According to the liner notes,and then producers ,among them Gregor
Benko, Bolet was to record a multi-lp all- Liszt album in 1972 but for
reasons not disclosed in the notes did not finish the project,thus
these "rediscovered" recordings languished in the files with little or
no paper trace.
Whatever, this cd certainly seems Bolet at or near his best, even
though studios.Golden Age playing. "Un sospiro" inspired, and the
"Waldesrauschen" especially magical. Bolet avoids a cloying
"Liebestraume # 3.", and brings a more expansive view of the
"Funerailles " here than Horowitz'.
Among the show-stoppers, Bolet's "Rhapsodie Espagnole" reveals on the
one hand what a wonderful job Kissin did with this work, especially
live, in his 1998 Carnegie debut,but also the additional magic Bolet
adds. And of course the inspired, one-take "Tannhauser" simply defies
description, one of the great piano performances of anything ever I'd
think, perhaps as close to what Liszt sounded like as we are likely to
get, worth the cd price alone.
A couple reasonably priced still at Amazon-US marketplace. Essential,
IMHO,but others here with greater knowledge/ differences urged to
chime in.Very glad I added this cd to my Ensayo TE's and Fidelio
transcriptions.
FWW. Rugby

Upcoming radio program featuring Bolet:

https://www.wfmt.com/2021/01/31/a-complete-jorge-bolet-recital/

[Neil]

Post by gggg gggg
https://www.wfmt.com/2021/01/31/a-complete-jorge-bolet-recital/

There are several complete Bolet live recitals on youtube, strangely one I looked up has identical programme

This channel: https://www.youtube.com/results?search_query=HelenandHermaninLawrence

Hard to know where to start because there are such rich pickings.