La grotte engloutie

Debussy Préludes, Book 1 - (x) La Cathédrale engloutie
Chopin Etude in e minor Op.25 No.5
Marie Novello (piano)
(rec. c. May 1926, issued July 1926)
Edison Bell VF 674

(My wonky framing of the label, above, is so you can see the matrix number.)

I bought this record back in January – but, as usual, I’ve had to rely on the kindness of others to enable me to share it with you. Generous and patient as ever, Jolyon has sprinkled some of his legendary Fairy Fluff on these two sides, giving me several versions to choose from. Although they’re acoustic recordings, and although the piano wasn’t too well in tune, I think they sound good – I’ve not tired of listening to them, repeatedly, as I took out some recalcitrant noises.

The estimated recording date is courtesy of the eminent British discographer William Dean-Myatt, author of the fascinating Beltona: a label listing and history (2007) and the monumental A Scottish vernacular discography, 1888-1960 (2013), which can be consulted on the website of the National Library of Scotland. Mr Dean-Myatt is currently preparing a discography of Edison Bell, a difficult task which he says will take him many years yet. It promises to be another invaluable work of reference.

My prompts for sharing this disc are twofold: guilt at not posting more often, mixed with shame at the constant streams of treasures from Shellackophile, Satyr, Buster and (not quite so constant, as he himself admits) Jolyon; and some good news which I’ve long been hoping for. The enterprising Japanese specialist label Sakuraphon has announced that it will issue a complete transfer of Marie Novello’s disc recordings, including the uncommon VF of Tausig’s transcription of  Bach’s Toccata and Fugue in d BWV 565.

The Bach-Tausig will be offered as a ‘bonus track’: Sakuraphon bought the very copy of the original disc which I’d been eyeing on >ahem< ‘an internet auction site’. It was clearly being sold by a total tyro, and it reached Japan broken in two. I’m sorry for Sakuraphon, but glad that I trusted my instinct (and my meanness, baulking at the price plus postage, which were too high), and that someone more expert than me is picking up the pieces.

Sakuraphon, in case you’re not familiar with the label, is the successor to DIW Classics, which explored audio and piano-roll recordings by overlooked, underrated pianists, and issued such wonderful CDs as ‘Hounds of Ecstasy’ – two volumes of rare historical recordings of music by Scriabin; two of Chopin titled ‘Spoonful of Chopin’s Secrets’; a disc of Beethoven sonatas recorded for French H.M.V. by Aline van Barentzen; and another of Fauré played by French women pianists.

Hounds of Ecstasy vol.1
DIW Classics DCL-1001 (p.2007)

Sakuraphon is continuing this exploration, in CD and CDR compilations which you can see here. I don’t know when the Novello disc is due – I’ll try to keep you posted.

As for Novello herself, she was born Marie Williams in the land of my forefathers, and took her professional surname from her teacher, mother of Ivor Novello. She also studied with Theodor Leschetizky, apparently, although that can’t have been for long, since he died when Marie was 17. Anyway, you’ll find a decent biography and discography on Wikipedia, which also relates the sad story of her early death from cancer, aged around 30 (depending on when exactly in 1898 she was born).

Someone whose expertise and taste I respect – and who actually plays the piano, unlike me, and very well – doesn’t rate this disc very highly. Fair enough; I’m not ashamed to admit I know nothing about piano technique. Both Novello’s technique and her interpretation drew criticism in the September 1926 issue of The Gramophone:

La Cathédrale Engloutie will not stand being played at this pace; its magic atmosphere evaporates and nothing remains but a stark, empty shell. […] The delightful Chopin Etude (from Op.25) is rather better, but here again I should have liked more delicacy and a less percussive effect.

(The reviewer, Peter Latham, liked her Bach-Tausig rather more.) Well, call me cloth-eared, but I really enjoy Novello’s way with both pieces: her refusal to linger over details in the Debussy (though they’re all there), which instead she dashes off like a water-colourist painting en plein air; and, on the contrary, her unhurried, almost parlando phrasing in the Chopin, which sounds really improvised, especially in the middle bit - a quality modern pianists aspire to but rarely achieve. As for La Cathédrale, I just listened to an extremely famous pianist’s 1978 recording and found it catatonically slow, dully grey and almost totally devoid of atmosphere.

Last night I played Jolyon’s transfers to a friend who, again, is much more musical than me, and she likened the Debussy to a ‘charcoal drawing’, exactly the simile I’d thought of using above, instead of the water-colour. She did find the Chopin a bit lumpy. All right, but I think that’s on purpose: Novello lends the outer section an almost Bartókian grotesquery – or should that be Chaplinesque?

Two mono FLAC files, fully tagged, in a .rar file here.

Thanks again to Jolyon and William Dean-Myatt!

Il pleuvait sur Peckham...

Once again, thanks to the selflessness of British collector Paul Steinson, we are able to enjoy two acoustical rarities. The first was recorded on a very wet day in 1923 - in Peckham!

Liszt Piano Concerto No.1 in E flat
Anderson Tyrer (piano)
British Symphony Orchestra, Dr. Adrian Boult
Velvet Face 557-58

Joe Batten's Book, London: Rockliff, 1956, p.61: ‘Dr. Adrian Boult’s first recording for Velvet Face was Liszt’s E flat Piano Concerto, Anderson Tyrer being the soloist. Our well-concealed recording studio in Peckham was remote from the West End. The first session had been called for ten in the morning ; since dawn it had rained hard and incessantly. Through this downpour Boult pedalled across London on a bicycle; when he arrived at the studio his clothes were soaked. But he made nothing of it, mounting the rostrum and getting to work without any fuss. As he conducted, water dripped from coat and trousers and collected in puddles about his feet. Despite this physical discomfort, he made a musicianly job of the Liszt work.’

As the set was issued in July 1923, I guess these sessions took place in the first half of that year - does anyone have a more precise date? The recording was mentioned in The Gramophone in January 1924, in Compton Mackenzie’s quarterly retrospective, but, as far as I can make out (since The Gramophone’s online archive is so hard to search), it was never fully reviewed - I wonder why not?

This is often stated to be the Concerto's first recording; most of Arthur de Greef’s version with Ronald on HMV (D 890-92) was actually waxed earlier, in 1922, but not completed until September 1923. This Velvet Face version has a cut of a few bars marked Grandioso at the end of the first side, not a bad one; otherwise, it is complete. I have merely run Mr. Steinson’s dub through ClickRepair, with decrackling, and joined up the sides (as you will hear, since the surface noise changes quite abruptly).

Download the single, fully-tagged mono FLAC file from my midden.

Some time in the following year, the same team returned (I imagine) to Peckham:

Franck Variations symphoniques
Anderson Tyrer (piano)
British Symphony Orchestra, Dr. Adrian Boult
Velvet Face 599-600

This set, recorded complete, was issued in November 1924, when it was reviewed in The Gramophone. The reviewer, Peter Latham, preferred Arthur de Greef’s 1922 version with Ronald on HMV (D 697-98), transferred and recently uploaded by this enterprising fellow-blogger (doubt he's a fellow-troglodyte, though). I'm just glad to have both!

Technical bits as above. Download the single, fully-tagged mono FLAC file from here.

As ever, the Cave resounds with thanks to Mr. Paul Steinson. All such offerings are, of course, grumpily - I mean, gratefully - received...