Aureole etc.




Golden Age singers

Nimbus on-line




Faure songs
Charlotte de Rothschild (soprano);

  Founder: Len Mullenger
Classical Editor: Rob Barnett


Some items
to consider


New App by the Gothenburg Symphony Orchestra for iOS and Android!

Schumann Symphonies Rattle


Complete Brahms
Bargain price

 

REVIEW



Gerard Hoffnung CDs

Advertising on
Musicweb


Donate and get a free CD

New Releases

Naxos Classical

Hyperion

Musicweb sells the following labels
Acte Préalable
Alto
Arcodiva
Atoll
CDAccord
Cameo Classics
Centaur
Hallé
Hortus
Lyrita
Nimbus
Northern Flowers
Redcliffe
Sheva
Talent
Toccata Classics


Follow us on Twitter

Subscribe to our free weekly review listing
sample
 

Availability
Historic Recordings

Arthur Catterall - Volume 4
Johannes BRAHMS (1833-1897)
Violin Sonata No.3 in D minor Op.108 (1888) [19:53]
Wolfgang Amadeus MOZART (1756-1791)
Sonata for piano and violin in A, K526 (1787) [18:51] ¹
Ludwig van BEETHOVEN (1770-1827)
Violin Sonata in F Op.24 Spring Op.24 (1801) – abridged [12:51]
Arthur Catterall (violin)
William Murdoch (piano)
Hamilton Harty (piano) ¹
rec. 1923
HISTORIC RECORDINGS HRMP00117 [51:41]

Experience Classicsonline



In the first half decade of the 1920s, during the period when Albert Sammons defected to the Vocalion recording company, Columbia, for whom he used to record, turned instead to another leading English violinist on their books, the leader of the Hallé, Arthur Catterall. He’d recorded a fair bit, but this lacuna gave him a major opportunity and he set down the three sonatas here, in addition to the Turkish Concerto of Mozart, amongst other things.

These performances were all late acoustics, but they were expertly balanced — I’m not sure if the engineer was Arthur Brooks, who was a practised hand — which was not at all easy, and the pianist usually lost out. The Spring Sonata was abridged to fit four 78 sides, and in this work Catterall, as in the case of the Kreutzer sonata (not included in this disc), was following in his compatriot’s footsteps. Sammons had recorded it a few years earlier; Columbia replaced the performance but retained the catalogue number, which led to predictable discographic confusion in later years. The same cuts were made as well, and each movement fits a single side. When others came to record it, the tail lengthened; first Robert Zeiler and Bruno Seidler-Winkler took five sides in Berlin in 1924 and then Edith Lorand and Michael Raucheisen went one better and recorded it complete on six in 1925.

Catterall was a classicist, whereas Sammons was a romantic. The former makes fewer slides than his colleague, and his tone is less ardent. But the performance is a fine one, and he has the great advantage of Sammons’s sonata partner, William Murdoch, who remained loyal to Columbia, and was an outstanding chamber player. Ensemble is excellent, the playing attractive, communicative, and highly effective. I must also commend the transfer which has brought forward the sound without compromising treble frequencies.

The Brahms sonata was the first ever recording of the work. Both Catterall and Sammons were notable interpreters of the composer’s music; Sammons’s performance of the Concerto with Boult was remembered for years by admirers, but hardly anything of his Brahms was recorded — just two Hungarian Dances, and a Waltz. Catterall often performed the Double Concerto, but it too wasn’t recorded. Sammons is on record as having admired this recording of the sonata — given that Murdoch is playing here too, that might seem only too obvious — but it is indeed a fine, noble, and intelligently conceived performance. The approach to the climax of the slow movement is especially convincing. The only way you’d be able to gauge where the side-joins are is by slightly increased surface noise, or by the de-accelerandos made to prepare for the turn-over.

This leaves Mozart’s Sonata in A where Catterall was partnered by the Hallé’s conductor, Hamilton Harty, who had been, many years earlier, one of London’s greatest accompanists. A couple of years later they had a famous dust-up, leading to the violinist leaving the orchestra. For now they were amiable colleagues, performing with congenial wit and taste. This, again, is the work’s first ever recording, and was for the time a full edition. The only demerit is not really the fault of the performers; the accompanying violin figures were over-recorded, but this was an ever-present danger of recording via the acoustic horn, and indeed after.

The transfers are really very good. There are some clicks in the Brahms. There is too small a gap between the Brahms and Mozart. But running my own copies of all three recordings alongside these transfers I appreciated the way that the sound was beneficially boosted and clarified. Unless you are allergic to acoustic recordings — and I appreciate that this is a ‘groovy hi-fi’ world and many, if not most, are allergic — you’ll be pleasantly surprised by how good chamber music recordings of 1923 actually were … and performances too. Catterall was a fine player, and these restorations demonstrate the point.

Jonathan Woolf




 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



 


EXPLORE MUSICWEB INTERNATIONAL

Making a Donation to MusicWeb

Writing CD reviews for MWI

About MWI
Who we are, where we have come from and how we do it.

Site Map

How to find a review

How to find articles on MusicWeb
Listed in date order

Review Indexes
   By Label
      Select a label and all reviews are listed in Catalogue order
   By Masterwork
            Links from composer names (eg Sibelius) are to resource pages with links to the review indexes for the individual works as well as other resources.

Themed Review pages

Jazz reviews

 

Discographies
   Composer
      Composer surveys
   National
      Unique to MusicWeb -
a comprehensive listing of all LP and CD recordings of given works
.
Prepared by Michael Herman

The Collector’s Guide to Gramophone Company Record Labels 1898 - 1925
Howard Friedman

Book Reviews

Complete Books
We have a number of out of print complete books on-line

Interviews
With Composers, Conductors, Singers, Instumentalists and others
Includes those on the Seen and Heard site

Nostalgia

Nostalgia CD reviews

Records Of The Year
Each reviewer is given the opportunity to select the best of the releases

Monthly Best Buys
Recordings of the Month and Bargains of the Month

Comment
Arthur Butterworth Writes

An occasional column

Phil Scowcroft's Garlands
British Light Music articles

Classical blogs
A listing of Classical Music Blogs external to MusicWeb International

Reviewers Logs
What they have been listening to for pleasure

Announcements

 

Community
Bulletin Board

Give your opinions or seek answers

Reviewers
Pat and present

Helpers invited!

Resources
How Did I Miss That?

Currently suspended but there are a lot there with sound clips


Composer Resources

British Composers

British Light Music Composers

Other composers

Film Music (Archive)
Film Music on the Web (Closed in December 2006)

Programme Notes
For concert organizers

External sites
British Music Society
The BBC Proms
Orchestra Sites
Recording Companies & Retailers
Online Music
Agents & Marketing
Publishers
Other links
Newsgroups
Web News sites etc

PotPourri
A pot-pourri of articles

MW Listening Room
MW Office

Advice to Windows Vista users  
Questionnaire    
Site History  
What they say about us
What we say about us!
Where to get help on the Internet
CD orders By Special Request
Graphics archive
Currency Converter
Dictionary
Magazines
Newsfeed  
Web Ring
Translation Service

Rules for potential reviewers :-)
Do Not Go Here!
April Fools






Untitled Document


Reviews from previous months
Join the mailing list and receive a hyperlinked weekly update on the discs reviewed. details
We welcome feedback on our reviews. Please use the Bulletin Board
Please paste in the first line of your comments the URL of the review to which you refer.