Pyotr Ilyich TCHAIKOVSKY (1840-1893)
Symphony No 6 in B minor, Pathétique Op. 74 [43:02]
Maurice RAVEL (1875-1937)
Pavane pour une Infante Défunte [6:21]
Gioachino ROSSINI (1792-1868)
La Gazza Ladra - Overture [8:50]
Philharmonia Orchestra/Guido Cantelli
rec. 22 (Rossini) 24, 28 & 30 (Tchaikovsky) 24 & 25 (Ravel)
October
1952, Royal Festival Hall, London
PRISTINE AUDIO PASC269 [58:13]
These recordings offer proof - if proof were needed - of what a great
conductor
was the tragically short-lived Guido Cantelli (1920-1956). I’ve had
these
Tchaikovsky and Ravel recordings in my collection for many years on
Testament
CDs (SBT 1316 and SBT 1017 respectively).
I presume those Testament discs came from EMI masters, since they were
issued
under licence from EMI. The source of these Pristine transfers is rather
more
unusual and I think it’s worth reproducing Andrew Rose’s note
on
the subject.
“The recordings here, all of which were generously lent by [Cantelli
biographer]
Keith Bennett for the purposes of this release, were drawn largely from a
rare
and unusually high quality source. During the 1950s, His Master's Voice
recordings
could be purchased on disc, normally both 78rpm shellac and, from 1952
onwards,
on the quickly popular 33rpm vinyl format. However, they also ran a short
series
of "High Fidelity Tape Recording" issues, the "HTA" series, and at the
time
the highest-priced issue format the company offered. Each tape consisted
of
a 7-inch spool of 1/4 inch EMITAPE with two mono tracks, one on each side,
running
at 7.5 inches per second. A printed paper inlay contained the sleeve
notes,
and a small slip which referenced the Batch Number was hand-initialled by
the
tape operator, an inspector and a packer. Despite their undoubted high
fidelity,
especially when replayed as here on a modern, broadcast-standard Studer
tape
recorder, these tapes failed to attract much public attention at the time,
quite
possibly as a result of their exorbitant cost. It has to be said that they
have
been a pleasure to work from - offering the highest quality of any
domestic
medium I've encountered from the era.”
The resulting transfers are excellent though I have to say that I
couldn’t
detect a great deal of difference between the Pristine and Testament
issues,
except, perhaps - and this is a very minor matter - the tiniest
suspicion
of hiss around the 1:40 mark in the Ravel recording on the Pristine
transfer.
However, anyone wanting these recordings can invest in Andrew Rose’s
transfers
with complete confidence.
If you appreciate great conducting then you should want these
recordings
for, as recorded performances they are superb. Cantelli was a very fine
conductor
of Tchaikovsky and I admire his recording of the
‘Pathétique’
enormously. These recordings were all set down in conjunction with
concerts
that Cantelli gave with the Philharmonia and, experimentally, they were
recorded
in the same venue as the concerts, the recently-opened Royal Festival
Hall.
In a fascinating note about these recordings the aforementioned Keith
Bennett
points out that in his entire - and short - career Cantelli performed this
symphony
just six times; he then goes on to point the contrast with Karajan who
alone
made seven commercial recordings! Perhaps that’s why
Cantelli’s
recording, though undoubtedly scrupulously prepared, sounds so fresh and
unalloyed.
The big melancholy tune in the first movement is judged to perfection;
it’s
expressive but not overwrought. The interpretation is aided by some
fabulous
playing by the Philharmonia who, collectively, are on sovereign form - the
woodwind
principals are superb. The allegro vivo (8:44) is trenchant and
full
of drive yet it never tips over into hysteria as lesser interpretations
can
do. The 5/4 waltz is nicely turned and is gracefully played. The march is
tightly
controlled and the Philharmonia’s articulation is razor-sharp. In
the
finale Tchaikovsky’s marking, lamentoso, if not the music
itself,
invites the wearing of the heart on the sleeve. Cantelli, however, is
dignified.
He’s ardent too, however, and delivers a reading that is powerful
without
tipping over into sentimentality. This is, in fact, one of the finest
recorded
performances of the Pathétique that I know.
Apparently the recording of Ravel’s exquisite Pavane required
many
takes to satisfy Cantelli’s exacting standards. Not that you’d
know
that from the performance that we hear, which has a lovely, natural flow.
The
great Dennis Brain is the principal horn and the wonderful wind soloists
match
his excellent playing. The performance is beautifully judged and balanced
and
there’s great clarity. The string playing can only be described as
silken.
This is a wonderful recording.
For dessert, if you like, Cantelli serves up a keen, sprightly performance
of
the Rossini overture.
This is a most desirable collection of performances by a great conductor.
Since
the sound quality is fully worthy of the playing and interpretations, what
more
could one ask?
John Quinn
A wonderful collection of performances by a great conductor.