AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head
EMI Testament - SBTLP 1483 - 180 Gram Virgin Vinyl
Previously Unpublished - Pure Analogue Audiophile Mastering
AAA 100% Analogue - Pressed in Germany
Testament has revived these classic titles from the EMI catalog using only the original EMI master tapes,cut onto lacquer at EMI's Abbey Road Studios and mastered using full analog techniques throughout production.
New release includes previously unpublished performances of Mozart, Mendelssohn concertos
Johanna Martzy - violin
Mendelssohn: Violin Concerto in E minor, Op.64
Mozart: Violin Concerto No. 3 in G, K.216
Conducted by Wolfgang Sawallisch
This program completes Testament's reissue of the recordings made for EMI by the fabled Hungarian violinist Johanna Martzy. At the same time it features two of the earliest recordings made by the great German musician Wolfgang Sawallisch, a master accompanist as both pianist and conductor, as well as a profound interpreter of the symphonic literature. The Mozart G major Concerto and this version of the Mendelssohn Concerto were not issued at the time. They are here receiving their first European and American releases.
After some recordings for Deutsche Grammophon, Johanna Martzy came to the notice of EMI's most influential producer, Walter Legge. Her first sessions for Columbia took place at Kingsway Hall, London, in February 1954, Paul Kletzki conducting for her in the Brahms Concerto with the Philharmonia Orchestra. Further sessions were scheduled for June: Bach's C major solo Sonata at Abbey Road Studios and the Mozart G major and Mendelssohn E minor concertos with the Philharmonia and 30-year-old Wolfgang Sawallisch at Kingsway Hall. These concertos were not released at the time.
Martzy continued her Bach solo sessions at Abbey Road in July with the D minor Partita; and the following March, April and May she completed her exceptional set of Bach's unaccompanied masterpieces. Just before Christmas 1955 the Mendelssohn was re-recorded with the Philharmonia at Kingsway Hall, with Kletzki: One session was devoted to the cadenza and Beethoven's two Romances were also taken down. In September and November 1956, at the Electrola studios in Berlin, she and Antonietti taped all Schubert's works for violin and piano. And that was the end of Johanna Martzy's recording career. The capricious, dictatorial and unpleasant Legge simply lost interest in her. It is difficult to find artistic reasons as to why the Mozart and Mendelssohn recordings were not issued in Martzy's lifetime. They are both excellent performances ... . Martzy plays both concertos very well and since their belated release on a Japanese CD, some critics have even suggested that the Mendelssohn interpretation is superior to the substitute version that Martzy made with Kletzki.
Violin Concerto op 64th
Wolfgang Amadeus Mozart:
Violin Concerto No. 3 K. 216th
Johanna Martzy, violin
Wolfgang Sawallisch - Philharmonia Orchestra
Recording: 9-10. June 1954, Kingsway Hall, London
It was in 1931, when Jeno Hubay (born in 1858 and one of the then greatest living violin legends), the seven-year Fiddle apprentice Johanna Martzy prophesied they would once not among the 50 best violinists in the world, But to the best ten. In terms of popularity, it did not reach the goal (which factors were there, explained the detailed flap text); But the few surviving recordings - their record career ended already in 1956 - today violin enthusiasts around the world are regarded as almost sacred; Original LPs are hard to balance with gold. This LP, however, is something special even in this short, discreet discography: the thirty-year-old soloist played with Wolfgang Sallawisch, whose first major label recording is here - or should have acted, because somehow it was between the two (Over Tempi, allegedly), which meant that the planned LP was never released and that the Mendelssohn concert was re-recorded a good year later, this time with the more attentive Paul Kletzki. Many critics and critics of the finally officially released Sawallisch recording give preference!
Of the alleged tensions, nothing is heard (but nothing); Quite the opposite: the Mozart recording is probably among the most subtle and charming of its kind; And the way in which the headline of the Mendelssohn Concerto seems literally breathing is also unique. Very, very large violin art. - The mono sound of this EMI recording produced by Walter Legge is amazingly detailed, although not spectacular "audiophile". But that is not the issue here also certain: This publication is intended for music listeners.
Wolfgang Amadeus Mozart
Violin concerto No. 3 in G, K216
3. Rondo: Allegro
Violin concerto in E minor, Op.64
1. Allegro molto appassionato
3. Allegretto non troppo - Allegro molto vivace
Testament has revived these classic titles from the EMI catalog using only the original EMI master tapes, cut onto lacquer at EMI's Abbey Road Studios and mastered using full analog techniques throughout production.