Accardo: Paganini works for Violin & Orch Vol 2 - EMI (DDD), superb copy

$

55

redgarnett store

ITEM DESCRIPTION:

This beautiful and rare LP – a truly superb collector's copy – from EMI (27 0063 1, German Electrola pressing / DMM · Direct Metal Mastering, large dog semi-circle label, DDD stereo) features Volume 2 in Salvatore Accardo's magnificent survey of Nicolo Paganini's lesser-known works for violin and orchestra, recorded at EMI Studio No. 1, Abbey Road, London on 10 and 11 December 1983 with the Chamber Orchestra of Europe conducted by Franco Tamponi (producer: John Mordler / engineer: John Kurlander). This is exalted music making by any measure and all those who treasure the art of the violin will find much to cherish here.

 

Included are the following works by Paganini, with timings shown in parenthesis:

 

1) Sonata Varsavia: Variations on a mazurka by J. Elsner, M.S. 57 (15:22)

 

2) Marie Luisa: Sonata with variations for the fourth string, in E major, M.S. 79 (8:06)*

 

3) Polacca with variations (Polacca con variazioni) in A major, M.S. 18 (7:52)*

 

4) Balletto Campestre: Variations on a comic theme, M.S. 74 (Ed. Tamponi) (27:01)*

 

* Denotes a world premiere recording.

 

Wrote the critic M.M. in her review for the April 1985 issue of The Gramophone: "Accardo continues his explorations of the lesser-known Paganini. The explorations reveal something you would by no means guess from the works' titles: each one of them is a set of variations. To Paganini this meant one thing only: a tune of minimal importance on which to hang a sequence of variations of maximum difficulty. And of maximum effect, if in the hands of the right player.

 

"Accardo is indeed the right player, or at the very least belongs to a very small group of players of comparable technical mastery. In the circumstances it is perhaps not quite so unkind to report surprise that in both the Varsarvia and Maria Luisa Sonatas (not sonatas at all, of course, but sets of variations) there are a few patches of intonation which have gone sour, balanced in the Maria Luisa by some of the most accomplished and beautiful playing on the one string of the violin called for. Even so, perhaps the most devastating sounds come in the Balletto campestre (not a ba//etto at all, of course. . .), where in the course of its 27 variations there is to be heard, among much else, the most astonishing display of flying staccato that can ever have been put on record.

 

"The accompaniments are beautifully (and patiently!) played, with the scoring, where necessary, very well done by the conductor. Rich and clear recorded quality add to the pleasures; so does an informative sleeve-note (in a field where such a note is of the highest desirability!) by Edward Neill. One minor piece of information, though, wants looking at again: in the Ballet to the theme may indeed be inspired by a bal di gob, an assertion I am in no position to dispute; but surely it is the introduction, by no means the theme, which is in 6/8!"

 

Incidentally, the liner notes on the reverse side of the jacket, provided in English only, were written Edward Neill.

 

CONDITION:

The gradations of condition I use are as follows: MINT, Near-Mint, Excellent, Very Good, Good, Fair, Poor.

 

The condition of the jacket is EXCELLENT. There is slight chip to the upper-right corner and the beginning of a 1" seamsplit at the spine, but that is all. Otherwise, the album appears almost as new. There are no bends, owners' markings, or other faults and the whole remains solid, bright, and glossy – an excellent collector's copy.

 

The condition of the LP itself is near-MINT and the playback is outstanding – overall, a truly fine collector's copy.

 

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