Not waving but WAVing – and DAWing

Brahms String Quartet in B flat Op.67
Quartetto Italiano:
Paolo Borciani & Elisa Pegreffi (violins),
Piero Farulli (viola), Franco Rossi (cello)
Columbia 33CX 1244
(rec. July 1954 or January 1955?, Milan)

Sorry, I’ve had this blasted record almost ready to go for weeks… Unfortunately, entropy is wreaking havoc in the Cave. Some of my old audio kit is finally breaking, but I’m too mean to throw it out and buy replacements. So I rummage around at the back of the Cave for older kit to press back into service – which my aging brain can only half-remember how to connect and operate. And then I’m too lazy to face the resulting cumbersome workarounds anyway.

So what happened is this: I started digitally cleaning up a transfer of this really lovely LP which I’d made quite some time ago. It seemed to be going swimmingly – until the second movement, which turned out to be riddled with nasties. The third was little better – and then, to add insult to injury, I found two minute but audible drop-outs. (Until a few months ago, I dubbed all LPs onto CDRWs in a semi-pro CD recorder, which has finally died. It did very occasionally leave drop-outs, as did ripping the CDRWs to my newer PC.) Blast – I’d have to fire up my ancient SCSI-based SADiE DAW (‘digital audio workstation’), on an almost equally ancient, incredibly noisy XP PC, with barely less noisy external SCSI enclosures, and see if I could remember how to do the fine editing that was second nature to me for so many years!

Well, today I finally did it, and here’s the result. The drop-outs have gone, though I suspect I’d have done a better job in my younger days. The pops, clicks and thumps are gone too, though there’s still quite a lot of surface noise – well worth it, if you ask me: this is a wonderful performance of one of my favourite string quartets. I surprised someone just last week (now, who was it?…) with the fervency of my love for the Brahms quartets, which only increases the more recordings I hear (I can’t remember the last time I heard one in concert). And of the three, Op.67 is closest to my heart, with its the perfect Brahmsian combo of gruff bonhomie, sometimes anguished lyricism, cross-rhythms, moments of stillness, and always the long but comforting shadows of the past… The Quartetto Italiano plays it beautifully, emphasizing the lyrical side, taking plenty of time over the reflective bits, but with plenty of thigh-slapping gusto in those ‘hunting’ passages that also remind me of a Tyrolean Plattler.

This is a reproach to EMI (now Warner) for allowing so much of the Quartetto Italiano’s superb legacy of Columbia LPs to slumber unheard for so long. Universal has a lot to answer for, too: yes, the Quartetto’s  later Brahms appeared on mid-priced CDs, but not its Schumann, coupled with the Brahms on the original Philips LPs. (That was issued on CD only in Japan – as usual…) Universal is at last making good, its big box of the Quartetto Italiano’s supposedly ‘Complete Decca, Philips & DG recordings’ (including the Duriums, I hope?) due out any day. But no sign of the like from Warner…

Sorry if these sleeve scans seem a funny colour – my monitor shows everything too pink, so I don’t know what to believe (I wish I wasn’t too stupid and lazy to learn colour calibration). There’s also disagreement about the recording date. One rather good Quartetto Italiano website says January 1955, but the selfless and highly respected discographer Michael H. Gray says July 1954.

Download the 4 mono, fully-tagged FLACs, in a .rar file here.

I’ll now have to record LPs (and 78s, I hope, soon) either onto my newer PC, which is fab – but I won’t feel happy working while I’m dubbing, as even the best machine is prone to glitches if it has to do two tricky things at once – or onto my old SADiE, which means cables trailing under my feet. And it puts the occasional digital splat across the audio, and I don’t like the sound of the A-D converter I’m now using, as much as the one in my Sony DAT recorder, through which I used to feed the signal into my CDR. Nope, I’m just going to have to get some new kit…

Albert Sammons plays Fauré REMOVED

Over the last year I’ve received a few requests for access to the transfer of  Fauré’s Violin Sonata Op.13, recorded privately by Albert Sammons in 1937, which I shared and wrote about in October 2010.

I’m very sorry not to grant these requests. As I explained in an addendum to my post a few weeks later, the owner of the original discs of the Fauré, who had kindly given me the transfer to post, then gave it to Pristine Audio for further treatment and sale via the Pristine Classical website. I try not to compete with the few bone fide producers of commercial transfers of 78s who are able to stay in business in these very difficult times, so I withdrew my upload.

Pristine Classical certainly is a bona fide producer, and deserves all our support. For instance, a few months ago, during one of my periodic Stravinsky phases, I found to my joy that Pristine has transferred one of Stravinsky’s few commercial recordings which has never been reissued, his 1957 Columbia LP of Perséphone, narrated by Vera Zorina, an interesting artist with a long and varied career in ballet, film and the theatre. Perséphone is a fine and original piece, unfairly overlooked in Stravinsky’s output – so kudos to Pristine for letting us hear the composer’s first recording, which I prefer to his 1966 remake (also with Zorina). There’s an earlier, even better recording, narrated by French actress Claude Nollier and conducted by André Cluytens, especially notable for the wonderful singing of Nicolai Gedda: I keep hoping it’ll be reissued, if possible from master tapes - one for Testament, whose catalogue includes Cluytens’s exactly contemporary recording of Stravinsky’s Le Rossignol?

Pristine’s version of Sammons’ Fauré is coupled with his 1926 Columbia recording of Beethoven’s ‘Kreutzer’ Sonata Op.47, in an album of ‘Rare and Unissued Violin Sonatas’ – and it’s priced extremely reasonably, so if you want to hear the Fauré, please support Pristine by buying it!

Thank you and, again, apologies.

The Kindness of Strangers, Part 4

(scan: courtesy of CHARM)

I don't really know where to start. What have we done to deserve this bounty? Never mind, let's just sit back and enjoy it.

Tully Potter has written an article for The Strad about the d’Arányi sisters, Jelly and Adila (later Fachiri). He needed somewhere to park some audio examples for readers - but, obviously, he’s got better things to do than arse about on the web like your servant. I offered to post them for him. So he only just flipping goes and dumps 5 CDRs’ worth of inestimable treasures on the muddy sward outside the Cave...

They contain just about the complete commercially recorded legacy of these Hungarian-born siblings, grand nieces of Joachim and pupils of Hubay. (There's an interesting post about Jelly on Peter Sheppard Skaerved’s blog; otherwise, it's Wikipedia).

The true source of this cornucopia is renowned collector Raymond Glaspole - originals in fine condition, excellent dubs (lightly whipped by me through the default declick and decrackle settings for 78s on ClickRepair), discographical data and all. Amazing. Our deepest gratitude to him.

It’s going to take many posts, so I'm starting with single-disc items recorded by Jelly, which Tully Potter has mentioned in his article:

Vitali ed. Charlier Chaconne in g minor
Jelly d’Arányi (violin), Arthur Bergh (piano)
Columbia 9875
recorded 20 March & 4 April* 1929, USA
[*or 6 & 20 March - there’s some disagreement]
(Review in the October 1929 issue of The Gramophone here)

Brahms arr. Joachim Hungarian Dance No.8 in a minor
de Falla arr. Kochanski 7 Canciones populares -
(vi) [orig. No.4] Jota
Jelly d’Arányi (violin), Coenraad Bos (piano)
Columbia 2061 M
recorded 6 & 7 February 1928, USA
(Review of British issue of the Brahms side
in the February 1930 issue of The Gramophone here)

Joachim Romance in C
Dienzl* Spinnlied Op.46
[*Apologies, I have misspelled his name as Dienzi in the sound-file name and tags]
Jelly d’Arányi (violin), Ethel Hobday (piano)
Vocalion K 05118
issued November 1924
(Somewhat dismissive review
in the December 1924 issue of The Gramophone here)

Hubay Six Poèmes hongrois Op.27 - No.6 Allegro molto
Anon.* arr. Craxton Fitzwilliam Virginal Book - Alman
[‘played with mutes’; *anyone know the composer?]
Jelly d’Arányi (violin), Ethel Hobday (piano)
Vocalion X 9981
issued May 1927; despite the late date, an acoustical record
(Review - or mention, really - in the May 1927 issue of The Gramophone here)

Download the 7 fully tagged mono FLAC files, in a .rar file, here

Plus one set, which especially appeals to me:

Mozart Violin Concerto in G K.216
Serenade in D K.250 ‘Haffner’ - (ii) Menuetto; Trio

Jelly d’Arányi (violin),
Aeolian Orchestra, Stanley Chapple
Vocalion A 0242-44
issued November 1925
(Review in the November 1925 issue of The Gramophone here)

Download the 2 fully tagged mono FLAC files, in a .rar file, here

Please note that sides have not been joined up in the Mozart Concerto or the Vitali Chaconne.

In addition, public institutions have made freely available several recordings by Jelly and her sister Adila Fachiri.

On the British Library’s Archival Sound Recordings site you will find:

Bach Violin Concerto in d minor BWV 1043
Jelly d’Arányi, Adila Fachiri (violins),
orchestra, Stanley Chapple
Vocalion A 0252-53
issued February 1926
Listen to a streamed .wma (or download an .mp3
if you are registered at an academic institution) here
(Review in the February 1926 issue of The Gramophone here)

CHARM transferred two more lovely Vocalion records of the sisters:

attrib. J.S. Bach [Goldberg?]
Trio Sonata in C BWV 1037 - (iv) Gigue
Spohr Duet in D Op.67 No.2 - (iii) Larghetto
Jelly d’Arányi, Adila Fachiri (violins), Ethel Hobday (piano)
Vocalion D 02146
issued April 1924
(Review - of sorts - in the April 1924 issue of The Gramophone here)
Download each side as a FLAC file here and here

Purcell ed. Moffat Sonata in Four Parts No.9 in F Z.810 ‘Golden’
Jelly d’Arányi, Adila Fachiri (violins), Ethel Hobday (piano)
Vocalion K 05177
issued July 1925
(Review in the August 1925 issue of The Gramophone here)
Download each side as a FLAC file here and here

(Again, as with all CHARM transfers, the Purcell Sonata has not been joined up.)

(scan: courtesy of CHARM)

Please revisit the Cave for more over the next few days and weeks.

A Dilemma and a Freebie

Deepest apologies for my long absence! I've been doing paid work, now that I'm in the 4th (and, let's hope, final) year of my PhD and no longer have a stipend...

First, the freebie: pursuing my grumpily unfashionable theme of unloved early music records, here is the Quartetto Italiano (Paolo Borciani and Elisa Pegreffi, violins; Piero Farulli, viola; Franco Rossi, cello) playing Italian mid-Baroque 4-part sonatas - or, as the lovely Columbia sleeve has it:

Class, eh?And yet - not one of the Quartetto's best albums, to be honest. Still, I think it's well worth hearing - this is a wonderful repertoire, which I've been collecting and enjoying on CD for years, and now I'm often finding that musicians of the 1950s and even earlier made some very honourable stabs at it.

Of special interest, as noted by J.N. (Jeremy Noble?) in The Gramophone (May 1957, pp.453-54), is the way 'the Quartetto Italiano have made a gesture towards authenticity by abjuring vibrato in the earliest pieces' - so, yar boo sucks to all those who imagine such devices were only thought of in the 1970s. The rest of this review strikes me as a tad churlish, which can't have helped this LP to sell; in his haste to point out that these are not really string quartets and mostly have a continuo part, the writer forgot that modern string quartets (notably André Mangeot's various formations) had been playing 16th, 17th and 18th C string consorts for more than half a century - and why the hell not!? No string quartet today will start a programme with Gabrieli, Marini or Vivaldi - and we're the poorer for it. Even the Pro Arte Quartet recorded a Vivaldi concerto (DB 2148, 1933 - never reissued - and, again, why the hell not!?) and if he was good enough for them...

So, 7 mono FLAC files at

http://www.mediafire.com/file/yymhwqwnyzy/Columbia_33CX_1430.rar

I've tried to identify all the pieces but I got lazy with Vitali's Capriccio - if anyone can pin-point that (or confirm that this is Neri's Sonata quinta from Op.2*) I'll be... less grumpy than usual. Michael Gray's data (http://www.charm.kcl.ac.uk/) gives a recording date only for the items on side 1 (and the Italian LP number); I've assumed side 2 was recorded the same day. Talking of the Italian issue, the Quartetto's own very useful website gives the date of April 1957, which must be the release date, as well as the entire original Italian sleeve note by Luigi Pestalozza. I hope you can make out Columbia's translation in my scan, and also the section titles: each piece is one file but three consist of more than one section. In fact two aren't quite right here: the Marini apparently goes (a) Entrata grave (b) Balletto allegro (c) Gagliarda (d) Corrente (e) Retirata (so my Manze CD says); and the Vivaldi should be (a) Largo molto (b) Allegro ma poco andante.

[*P.S. This has now been confirmed by the mighty Jolyon!]

The Dilemma

Should I give recordings away free? This one, yes: I've done nothing beyond the usual ClickRepair and the condition of side 2 was not quite what I was led to believe by the seller, so there's quite a bit of shushy noise in the Vitali and some clunks in the Vivaldi. (Also, are my dubs getting worse or what?) But I have a couple of other LPs of this type which are rarer and musically more rewarding. If academic work is not forthcoming after I finish my Phd (if I ever do...) and even if it is, I'd like to make a living in this reissues racket; if these guys can do it, why not me?