First Hand is a new label but it’s quickly developed an
astute eye for well packaged retrievals from the LP racks. Not
only that it, but it has access to stereo tapes into the bargain
and, as one saw with its Cherkassky release, this can make for
elucidatory listening; unexpected listening too, in many ways.
And here too we have not only 3 discs that are being released
on CD for the first time but a number that are making a first
ever stereo release. Fittingly the set was published to mark
a dual anniversary -the 60th anniversary of the London
Music Players and the 100th anniversary of the eminent
violinist and quartet leader in his own right and conductor
of the band, Harry Blech.
Blech had a talent for balance. He also had a talent for natural
sounding tempi. Put together these enliven the Jupiter
symphony. He ensures that the slow movement doesn’t trudge,
that the bass line is mobile, that the Minuet is genially characterised,
and that the finale’s machinations are delivered with
crisp accenting and accuracy. The C major symphony [No.28] was
recorded earlier in 1956 and it receives a spruce reading; the
chamber sized string ensemble allowed a degree of clarity that
contemporary symphonic orchestras couldn’t. Maybe there’s
a slightly Beechamesque way with the Andante - no bad thing
if the Bart was on good behaviour.
We hear that excellent two piano team of Vronsky and Babin in
two concertos suitable for their direct and musical talents.
Mozart’s E flat major [K365] shows their sensitive and
warmly shaped phrasing in the central movement and also their
crisp digitally superior playing of the outer movements. Certainly
the pianos are over-recorded in relation to the band, much in
the line of recordings of the time; one struggles to hear some
orchestral counter-themes. But as with the F major concerto
the fluency and genial spring, and refined sonorities, are a
real tonic.
Arriaga’s D major symphony is a rewarding work whose rich
lyricism is matched by the confident brio of its themes. It’s
hugely enjoyable, and is a work that should be programmed more
often, and Blech’s handling of its youthful resilience
is estimable.
We also hear Haydn’s Drum Roll symphony. At a time
when Haydn meant Beecham in London concert halls it’s
enjoyable to hear Blech’s vital and well characterised
reading. Things unfold very naturally indeed and one must note
too the solo violin playing in the slow movement - was it by
any chance Max Salpeter, who died very recently at the grand
age of 105? Incidentally the producer for both these two symphonies
was Berthold Goldschmidt.
This is by no means the end of the pleasures on offer in these
well filled discs. The little Mozart Minuets and German Dances
were unusual on disc at the time and the Posthorn Serenade too.
This latter is all-stereo except for the finale, which dips
into mono.
The remastering was carried out at Abbey Road using the original
source material. It is first class in every respect. And I liked
the book-like format which opens out neatly; its elegant simplicity
is just right. An admirable release.
Jonathan Woolf
see also review by John
Sheppard (February 2010 Bargain of the Month)
Vitya Vronsky and Victor Babin (piano)
