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In Reply to: RE: Martzy's a find. The original EMI just went for big $$ on ebay. nt posted by jdaniel@jps.net on July 19, 2014 at 20:06:22
....like this, although ten years ago, they would get close to $200.
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I've listened to some of her recordings several times in other's place, wasn't motivated to get my own copy. But,
if they got the new ERC recuts, I wanna hear those. I believe those have fascinating sound and they might change my mind.
BTW, anyone here collecting Camilla Wicks and Wanda Wilkomirska? I'd like to see those show up more.
For the even younger ones, I like Lara St. John and Rachel Podger, but they are all digital only. Lara's Bach solos are fresh and bold, reminds me of Pinnock's Four Seasons. I don't know how to describe Rachel's playing, again, fresh to me, the sound has a folk guitar style but quite effective.
At least, I have the Camilla Wicks 1952 Sibelius concerto with Sixten Ehrling on Capitol, as well as the CD reissue circa 2010 from Biddulph, which also incudes another concerto and violin and piano selections. I once read an interview of Wicks in which she says there was a technical problem with the Sibelius recording causing the pitch to wobble. Not really noticeable on the LP, but on the clearer sounding CD, you can hear the pitch problem.I have Wilkomirska playing Bach, Brahms and Prokofiev sonatas, all excellent in fine LP sound from Connoisseur Society.
I agree re Martzy. Very finicky about her studio recordings, so made very few, and didn't even want budget LP reissues. But their rarity is their most remarkable attribute.
Edits: 07/21/14
Interesting, when you brought up the tone wobbling problem, I seemed to recall hearing strange things in one or two Sibelius violin concerto recordings but I can't remember which one has that, I should go back to Wicks' and listen more carefully. Did you also find D. Oistrakh, Heifetz or Ferras's recording has that? Of these three, I don't recall anything tricky there.
Thanks for the comment of Wilkomirska/CS chamber works, I'll pay more attention to them.
I have the Oistrakh and Heifetz, but not the Ferras. Both have excellent stereo sound for their day (1959 and 1960, respectively), but for me, the Oistrakh, with Ormandy on Columbia, has too much stereo separation and loses its cohesiveness. Both have the soloist well in front of the orchestra, of course.
Both spectacular performances, though.
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I've got this one too, and another Khachaturian, from Stolat record, pressed by Arista, US, what a surprise! The pressing is quiet but a bit too bright. Intense performance again.
I saw on eBay that she also recorded quite a few chamber works under Connoisseur Society, should be interesting. I can enjoy digital files in my system but these recordings did not seem to have released in CD format.
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