Yes, his production is massive but you can have a very effective ‘greatest hits’ in a single piece with his Magnificat RV610:
especially abandoning yourself to the splendid ‘Et misericordia eius’ at 3:33, with his musical use of the word progenie, rhythmically phrased ‘á la Bach’ but with wonderful harmonies. And, BTW, note the first soprano on the left, please.
Ciao
M
Alfredo Campoli with the LSO. Campoli was a wonderfully lyrical player. I’ve all his recordings, including the salon orchestra stuff, which is light but great fun.
My best friend knew him quite well in his later years, hence the connection. Campoli used to refer to the Tchaikovsky as ‘a bit of a boxing match’. He’d get very tense and terse before a live performance apparently…then walk on stage and produce performances like this.
When he stopped playing through old age he didn’t mourn the past but would say of his future ‘I’m ready for the box’ in a matter of fact way.
Qobuz has them all.
Enjoy.
G
Graeme,
hi & thanks. I haven’t been reading or hearing of Campoli for long, but he was a very familiar name when I was a family member and my parents talked music and performers. I am glad he’s remembered. I’ll try to have some excerpts to listen to.
Performers who were portrayed with just surname on record label, in a certain era, were surely worldwide known performers.
Thanks and best
max
P.S. And the same goes for Ataulfo Argenta.
The Sibelius Concerto is getting a good number of preferences… And this version has reminded me of Christian Ferras, another glory whom time has put in a sort of discographic corner. This goes to show how many careers - of great musicians - have depended upon their mediatic presence on the radio on the shop-windows of record stores.
I grew up in a world were a musician - composer or performer - retained his fame basically through word of mouth. I learned much from my parents - a violinist and a music lover - but, alas, also sucked some of their preferences…
I’ll dedicate some time to Sibelius’s Concerto.
Thanks,
Max
Christian Ferras, Berlin Phil and Von Karajan LPM 18961 analogue recording
Thanks,
Max.
This is the Chritian Ferras recording with Bpo and Mr Karajan, I picked this up when the Australian Broadcasting Commission were selling of Lps for $2.00 a very sound buy!
I also like Samuel Barbers.
I don’t know it… Shame.
Thanks for the hint.
M.
Are two fiddles allowed? If so, it has to be Bach’s double concerto. Fugal composition can often seem to be dry and academic. Only Bach could write a slow movement with so much fugal writing which also reaches the heights of lyrical beauty. I’ll go for the performance with Arthur Grumiaux and Herman Krebbers.
Of the 19th century warhorses, I’d opt for the Mendelssohn. Poised between the classical and romantic periods, to my ears it takes its outward form from the former and its spirit and feeling from the latter. And the final movement sparkles with joy in a good performance. Alina Abragimova captures this excellently.
Finally, a personal favourite is the Elgar. I hear so much of it as a love letter from a middle-aged member of the Edwardian establishment to his ‘Windflower’ (Alice Stuart-Wortley). “Too emotional” Elgar said. Respectfully, I disagree but it’s certainly a long way from the pomp and stiffness many associate with his music. Performances: Heifetz is sui generis but the recording shows its age. Of the more recent ones I’ve heard, I’d go for James Ehnes with the excellent Andrew Davis conducting.
Roger
Roger,
thanks for the refined and well written reply. I also thanks you for the Elgar reminder: my wife, a choir conductor, is an Elgar fan and although I understand well the ‘pomp and stiffness’ thing, just Nimrod from the Enigmas would be enough to take off one’s hat in front of such noble and yet hyper-romantic beauty. I’ll retrieve some edition I know I have, but last I am happy to tell you that I share with you great admiration for Andrew Davis, whom I know since I bought his Faure’s Requiem some 30 years ago and is still my preferred reading ever.
Best
Massimo
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