I was introduced to
the delights of Strauss’s Don Quixote
by the extravagant reading of the solo
cello part by Paul Tortelier which he
first played in the London Strauss festival
in 1947, his idiosyncrasies enjoyed
by many on BBC television in the 1960s.
However locating a set of the Mainardi
78s which played very sweetly I had
them transferred to an acetate LP in
the 1960s and have long preferred Mainardi’s
sweetly played, aristocratic account.
Heard anew in Dutton’s miraculous transfers
the recording has a presence and character
astonishing for 78s now over seventy
years old. The orchestral balance is
remarkable, a benchmark for all assessments
of the work.
Strauss recorded over
a quarter of a century starting with
a number of acoustic recordings including
Don Juan, Salome’s Dance
and the Rosenkavalier Waltzes
with the LSO. In 1926 he was again in
London, recording his specially arranged
score for the silent film of Rosenkavalier
by the new electrical process. Worth
looking out for is Strauss’s 1936 off-air
Queen’s Hall performance of Don Quixote
with Karl Hesse, first cello of the
Dresden State Orchestra now on Appian
CD APR 5527. Despite the murky sound
it allows us to share what Londoners
experienced on a Saturday afternoon
in 1936.
During the Second World
War Strauss recorded Don Quixote
again with the Bavarian State Orchestra
and Oswald Uhl – I presume the first
cello. I have it on an American Columbia
LP (DL 9539). It is on CD on Preiser
90205. I must say that although the
wartime recording was intended to improve
on the sound of the earlier version
it is no match for the earlier version
and Mainardi is in a league of his own.
The Le Bourgeois
Gentilhomme suite was recorded in
1930. Quoting Alois Melichar, who was
present, Alan Sanders in his excellent
booklet notes recounts how the suite
was recorded: ‘Melichar recalled that
at the 1930 Bourgeois Gentilhomme
sessions Strauss started by playing
through the overture, and then immediately
asked to record it. Melichar countered
this proposal by suggesting a test recording,
which was duly made. The composer declined
Melichar's invitation to listen to this,
and merely asked him to point out anything
that was wrong. After listening to his
comments Strauss and the orchestra then
made their record of the overture. The
whole suite was recorded in this way,
to the consternation of the players,
and if lack of adequate rehearsal meant
that execution could have been better
Melichar observed that the performance
certainly possessed concentration and
intensity.’ These are stylish, beautifully
turned performances in a manner now
long past, The solo violinist in the
‘Dance of the Tailors’ movement delivers
playing of a stature you will hear on
few other recordings.
But you will buy this
recording for the Strauss/Mainardi reading
of Don Quixote which is one of
the greats, here given its best possible
presentation, at budget price. Strongly
recommended.
Lewis Foreman
Enrico Mainardi (cello) 
