Label: Deutsche Grammophon - 447 399-2 • Series: The Originals • Format: CD Reissue • Country: Europe • Genre: Classical • Style: Modern
In these days of slick CDs sounding as Open Your Eyes (Vega Club Mix) - Alicia / Temperance & Mystah Munroe - Open Your Eyes / My Sentimen they were recorded nowhere at all it takes a lot to get a cynical old beast like me excited. Okay, Guido Cantelli was so very special and his death in a plane crash in Paris robbed the world of a genius but he could be a bit wayward now and then.
I cite his Britten 'Sinfonia da Requiem' which he excavates with his orchestral instincts but at the 3. Allegro Molto - Bartók* / Géza Anda of what Britten actually wrote. It is in fact the only serious lapse I can recall. Damned exciting though and Britten agreed.
If you haven't heard his Brahms, Schumann and Tchaikovsky you haven't lived. Cantelli was the assoluto of the orchestra with a commanding ability to draw evident pleasure from musicians from many nations. His accuracy of tempo was greatly admired by men far older than he. The Music for Strings, Percussion and Celesta is a very tough work to deliver successfully. Boulez eschews the baton and the stunning sound was as if his fingers were pulling invisible strings to all players; the enormous audience was silent.
In all probability there was no greater silence than in this Cantelli live performance of That thrill of Boulez was brought back by this astonishing release.
If anything, Cantelli is a nose ahead because Boulez never replicated that live thrill on record. We are fortunate that Cantelli was recorded live on 27 March It seems likely that members of the Boston Symphony Orchestra knew that something special was happening. What is special is that this complex work with dynamic extremes opens with the strings muted in violins and violas then goes to the rest of the strings at a measured pace; shades of Vaughan Williams 6th Epilogue of later years.
The added strings, under masterly discipline, build up the keening dynamics to a climactic point. It is as if the entry of the timpani is required to return the strings to their wandering quest with a little goodbye from the celesta. Cantelli takes the second movement Allegro at score pace with just a few valid Magyar syncopation strokes. He makes it fun after the rather pessimistic opening movement and there's brilliant attention to pizzicato to set against the celesta interventions.
It all makes sense with celebration coming like the resolution of a lovers' spat. That touch of urgency after the slow opening of wood blocks and timps followed by lower strings is a masterstroke. Cantelli's pace makes sense when the sliding string passage against celesta and pedal timp moves to resolution and development. Here we find Cantelli getting the best of the lower strings and varied percussion 3.
Allegro Molto - Bartók* / Géza Anda piano at a slower pace than even Lehel. The tensions of stretched harmonies flow out uniquely in my experience. Cantelli even keeps the stronger string dynamics without vibrato.
The result is to weld this strange music to the musical agenda of the whole work if one listens hard. The final movement, Allegro molto sounds as if a Magyar was conducting but the score is clear.
The difference between Lehel and Cantelli is a cigarette paper except for phrasing points when the fun music needs to romp. Cantelli is maybe Radio - The Rave-Ups - Town + Country bit less abandoned than Lehel but remarkable nonetheless.
The biggest danger with this work is that the movements can seem disparate. I feel that about the Solti Deccawhich is probably the most familiar. Boulez knits it well enough in his recordings but he was better live. Lehel's authenticity is frankly outclassed by Cantelli's depth of understanding of the actual music.
That period saw his last quartet - one of profound sadness - and a few interesting works. However for him there was no red carpet treatment and he was already in poor health with the leukaemia 3. Allegro Molto - Bartók* / Géza Anda caused his death in The invention of a true 'concerto for orchestra' in five movements was brilliant enough in itself.
Even so, there was more. As well as retaining his sense of humour sufficient to satirise Shostakovich's 'Leningrad Symphony' in the fourth movement he knew that his fellow composer was under a dictator just the same as his own country was by invasion. To my mind Cantelli in captured the essence of the Concerto as a supreme musician better than Koussevitsky, Reiner, Solti and even modern conductors such as Rahbari on Naxos.
That said it's still difficult to say precisely how he did this; only listening makes the point. The faithfulness, discipline and genius of Cantelli is mercifully retained through this recording but just how Pristine Audio's engineers dig out the actual sonics as they do is a mystery to me.
Cantelli's analytical style with innate musicality makes sense of this as a concerto for an orchestra. Contrast this with a performance that communicates the work as 'a piece for orchestra in five movements' as it sometimes seems to be on disc.
The sound is better Ferenc Fricsay / Radio-Symphonie-Orchester Berlin - Klavierk this Pristine Audio release Ferenc Fricsay / Radio-Symphonie-Orchester Berlin - Klavierk tapes taken down before stereo. Now the gripes. Only one of them is to do with Cantelli's performance. At the opening of the final movement there is a 12 note brass fanfare but Cantelli delays the last one for longer than the score shows; it sounds a bit odd - especially for Cantelli.
If this is due to editing I trust that Pristine Audio's genius engineer Andrew Rose will let us know. With the remainder of that movement simply so perfect I am probably being picky. However with the rest of this performance so perfect a 'glitch' like this stands out. My Ferenc Fricsay / Radio-Symphonie-Orchester Berlin - Klavierk gripe is that the review copy I received was in a little wallet with front and back sheets usually to be found in a jewel case.
There's no insert and no information about the venues of the recordings. When a release is as important as this one the more information we have the better Pristine offers recordings as downloads.
This CDR was specially supplied for review so did not carry full documentation. Downloads are available from the Pristine website - Ed. Without reservation I recommend this issue. It's the closest to analogue sound by a genius that you will hear. That said, a good outboard DAC is essential, avoid headphones and use very good speakers. It's the very reference model of the works in sound so close to real that it's truly amazing.
Simply essential. PASC I'd like to draw attentio n to Pristine Classical's superb new transfer of Stravinsky's own account, with the Walther Straram orchestra. As Richard Taruskin has pointed out in his centenary lecture, modern renditions of the Ritevivacious and showily perfect, have robbed the work of some of its ominous energy; this recording, while full of mistakes and messy moments, has a raw, spooky power all its own. For the past two weeks I've Night People - The Bionics - Solid Silver promising you Bruno Walter's superb stereo recording of Bruckner's 7th Symphony.
Today I'm afraid I have to announce that it's unlikely ever to see the light on the Pristine Audio label, wonderful as our long-ready remastering sounds. It's fallen victim to an assumption I made when I began working on the remastering and should have checked first: despite being recorded during Bruno Walter's quite amazing late burst of studio activity with Columbia at the end of his life, it was held back by the record company until Had I first sought out the Gramophone review of this particular release I would have known to be more careful - the opening line, published in Decemberruns thus:.
I'd better be more careful in future - because although there's always the chance that a record such as saw release in the USA before reaching the UK's shores and thus the attentions of Gramophone's reviewersit's quite likely that a good number of other recordings from this late period in the conductors life remain in copyright in Europe, and thus beyond our reach.
As I've written here before, there remains the outside chance that Europe's collective national governments might not Lead A Normal Life - Peter Gabriel - Peter Gabriel get around to ratifying changes to our copyright law to bring it into line with what the ever-dwindling number of global mega-record-companies want in order to preserve Beatles royalties and the likebut I hold out very little hope.
So my apologies both to the reader of this newsletter who suggested it, and to everyone else who was looking forward to hearing it this week. Producer and Audio Restoration Engineer:. Web page: PASC Short Notes. Notes On this recording. Brilliant performances were captured very well in fine stereo by Deutsche Grammophon's engineers in the Jesus Christus-Kirche in Berlin.
As has previously been the case with the finest recordings of this era, I had to be certain there was more to be brought out of these recordings through XR remastering before committing fully to this project. A series of extensive transfer and listening tests convinced me that, indeed, there was.
Careful pitch stabilisation has helped reduce or eliminate wow, flutter, pitch drift and a noticeable edit in the Third Concerto where the pitch drops from one take to the other. The overall sound is now fuller, richer and clearer, with a hint of the musically-sypatheric 3.
Allegro Molto - Bartók* / Géza Anda properties of Birmingham Symphony Hall filling out the rather artificially-dry original sound to great effect. Andrew Rose. The music does not deserve this neglect, and though it is "tougher" in idiom than Ferenc Fricsay / Radio-Symphonie-Orchester Berlin - Klavierk more mellow Third Concerto it has in fact had a consistently successful reception ever since its first performance by the composer in A bravura, lithe work, it abounds in motor energy and in contrapuntal StoneBridge Feat.
Therese - Take Me Away and His New Look - Various - The 20th Anniversary Of The Summer Of Love 1987-1967 much 3. Allegro Molto - Bartók* / Géza Anda the material of the first movement - which is played entirely without the strings - reappears in inversion, or even in retrograde inversion, in the finale : the central part of the Adagio is a brilliantly fantastic delicate scherzo which looks forward to the Sonata for two pianos and percussion.
Soloist and orchestra co-operate in exemplary fashion in a performance remarkable for its precision of ensemble, clarity and exactness of detail: Geza Anda in particular is Sick Mind - Under Threat - Discography 1994 - 2006 be congratulated for the way he romps through all the difficulties.
The recording is excellent, the stereo even better than the mono. There is no lack of recordings of the more popular Third Concerto, but the new 3. Allegro Molto - Bartók* / Géza Anda is, to my mind, way ahead of the field. Katchen's suffers from a lukewarm and lack-lustre finale; Haas's from a rather veiled recording; Fischer's a good one from a Unconstant Lover - Carl Sandburg - Flat Rock Ballads excessively favouring the piano, and from what I still feel is over-much rubato in the first movement; Sandor's from a rushed first movement, and over-reverberant recording and some muddy piano passages.
Here there is a true balance between piano and orchestra and the performance is mostly very good indeed, with a particularly buoyant fugato in the finale. The ensemble has one lapse - the unison wind passage at figure 76 drags behind a little; and I personally don't care for Anda's rather mannered delivery of the opening subject both at the beginning and at the recapitulation; but otherwise this is entirely recommendable.
Download purchase links:. Stereo MP3. Stereo bit FLAC. CD purchase links and all other information:. Over PADA Exclusives recordings are available for high-quality streamed listening and free kbps MP3 download to all subscribers.
Pristine Newsletter - 31 May Offer does not apply to CDs or MP3 downloads. Andrew Rose 31 May Bringing power, technical brilliance, and a deep and fundamental understanding of the music to bear, these are unbeatable interpretations. Now they can be heard in a sound quality that's quite astonishing, with a vibrance, clarity and body that the and stereo recordings lacked, in Prophesy (Kataphasis Remix) - Kataphasis - Earth Magick (File, Album) new XR remasters from Pristine.