Search - Nathan Milstein :: Les Introuvables Nathan Milstein

Valuable set, despite some frustrating duplication

Discophage | France | 07/27/2008

(5 out of 5 stars)

"No record is really "introuvable" - impossible to find - if you really set your mind, time and money onto it - but it's true that some of these old LPs can be difficult to find and attain ludicrous prices. Now it's become true even for some CDs as well, and this includes the batch of Milstein Capitol reissues made by EMI in the mid-to-late 1990s, in their "full dimensional sound" series (I've counted 13 CDs): almost all are now gone, and whenever available on the Marketplace, the prices are way above what I'm ready to pay for a CD. Arkivmusic has made CD-R reissues, but it is not the same as the originals. A selection is also available on the earlier 6-CD set, "The Art of Nathan Milstein" - but that's less than half of the Capitol reissues, and furthermore the CD-set entails its own frustrations when it has only snippets from recitals that were issued complete on the Capitol series (see my review)



So, although it duplicates part of the contents of "The Art" (Beethoven's Spring Sonata, Prokofiev's 2nd Violin Concerto and 2nd Sonata, Vivaldi's Violin Sonata, Vitali's Chaconne, Tartini's Devil's Trill), this "Introuvables" set from EMI-France, released in 2007, serves a function, reissuing as it does two of these earlier Capitol recitals, complete: the CD of "Italian Sonatas" and the Beethoven recital. Furthermore, the Vivaldi concertos contained on CD 1 are apparently new to CD, which further speaks in the set's favor. They were recorded between 1962 and 1966 and published not on Capitol but on Angel. We get a selection of 7 out of the 10 that came in three instalments: Angel S-36001 (RV 186, 350, 352) which also had P. 419, S-36004 (213, 340 and 233, with P. 208 left out) and S-36010 (R 343, with P. 258 left out. The LP also had Bach's BWV 1041 & 1042). In the series came also S-36006 with Vivaldi's Concerto for 2 Violins op 3/11 (featured on "The Art"), paired with Bach's Double Concerto and Sonata for two Violins S. 1037, with Milstein partnered by Erica Morini. All that Bach is still unreissued on CD.



Of course, this is not how we are accustomed of hearing Vivaldi these days, with textures too Romantic and lush-sounding and no ornamentation, but still Milstein was at the avant-garde of his days for using, not an overbloated symphony orchestra, but a small ensemble with (discreet) continuo, which he conducted. Excellent stereo sound.



CD 2 reissues the Capitol CD of "Italian Sonatas". Tartini, Corelli, Geminiani and Vivaldi with Leon Pommers from 1959 originally came on Capitol SP 8481. Pergolesi and Milstein's Paganiniana, recorded in the winter of 1953/54, came on Capitol P 8259, a Milstein recital with pieces of Schumann, Brahms, Bloch and Suk; most have been CD-reissued on Milstein Encores, but Bloch's Nigun only in Japan, God knows why. Vitali's Chaconne was on P 8315 with Prokofiev's 2nd Violin Sonata and a Handel Sonata. As with Vivaldi, our baroque sensibilities and expectations have moved on since then, but as testimonies of a bygone stylistic era of great violin playing, they are enjoyable.



I'm particularly happy to have Beethoven: Sonata No. 9 "Kreutzer"; Sonata No. 8; Sonata No. 5 "Spring" back. The 8th and 9th Sonatas with Arthur Balsam, recorded in 1957, were originally published on Capitol P 8430, and the "Spring" Sonata with Firkusny from 1958 came on a 2-LP set, "The Art of Milstein", Capitol SPBR 8502 with Tchaikovsky's Concerto (Pittsburg, Steinberg) and small pieces by Debussy (The Girl with Flaxen Hair, Minstrels), Fauré, Pizetti, Sarasate, Szymanowski. Those small pieces have been reissued on the same "Encore" CD as above, while, on moral grounds no doubt, Debussy's Girl was separated from her Minstrel and sent to Milstein Vignettes.



As for Milstein's Prokofiev: the 1st Concerto with Golschmann from 1954 (originally on LP 8313 with Lalo's Symphonie Espagnole) was on Bruch: Violin Concerto/Mendelssohn: Violin Concerto/Prokofiev: Violin Concerto with Mendelssohn and Bruch under Steinberg (the recording date and location of Nov 1953 in Pittsburgh given by "Introuvables" relates to those Steinberg fillers. The Prokofiev was recorded in January 1954 in Saint Louis) and the 2nd Sonata on Mozart, Prokofiev and Handel with Sonatas of Handel and Mozart (recording date not provided: it is 26 Jan. 1955). The 2nd Violin Concerto with Frübeck is a later recording, from 1965, first published on Angel S-36009 with a remake of the 1st with Giulini. The Giulini recording has been reissued by EMI on their "Great recordings of the Century" series with these same recordings of the 2nd Concerto and Sonata (Profofiev: Violin Concertos 1 & 2; Violin Sonata No. 2), so one of the frustrations entailed by this "Introuvables" set is the necessary duplication if you want that Giulini recording. I haven't heard it, but I've read that it is better than Milstein's first essay.



Indeed, a comparison of Milstein's recording with those made by Oistrakh at the same time (in 1953 with Kondrachin on Melodiya, David Oistrakh plays Shostakovich: Violin Concerto No. Op. 99 - Leningrad Philharmonic with Eugene Mravinsky and Prokofiev: Violin Concerto No. 1 Op. 19 - State Radio Orchestra with Kiril Kondrashin and 1954 with Matacic for HMV, Prokofiev: Violin Concertos Nos. 1 & 2; Violin Sonata No. 2) doesn't entirely speak in favor of Milstein. Part has to do with the recording: some of the woodwind and brass solo work sounds so distant you'd think they were placed in the dressing rooms, and sometimes it is even entirely lost, as the important tuba and trumpet theme in the finale - very frustrating. Oistrakh's EMI recording fares better in that respect, although it is not ideal either. But Milstein is not as ample- and glowing-toned as Oistrakh either, sometimes he even appears comparatively frail in the upper registers, and consequently he doesn't elicit the same kind of aristocratic serenity as Oistrakh in the more lyrical passages. On the other hand his 2nd Concerto is perfect, closer in conception to Oistrakh's than to Heifetz' (to the second even in the finale), broad and lyrical but with plenty of forward drive and bite in the more scherzando passages. Soloist and orchestra have great presence but the sound is disagreeably harsh and metallic, I find.



I am greatly indebted to the stupendous discography of Youngrok Lee, available on the net. The rest comes from my serviceable old Schwann catalogs.

"

`Unique' but `easy to get' - buy it before they remove this

Anton Zimmerling | Moscow, Russia | 12/07/2008

(5 out of 5 stars)

"As far as I know, French `introuvable' has an additional meaning `unique' (cf. la Chambre Introuvable): the EMI editors seem to make a pun of the two meanings. I guess that most music friends who opened this page on amazon.com already know what a great artist Nathan Milstein was and why his recordings are constantly reissued. I happened to buy this set in a music store for a cheaper price, but I think that some 40 dollars for 4 CDs containing extraordinary performances of the `Kreutzer' sonata (CD 3), Tartini's `Le Trille du Diable' (CD 2) and Prokofiev's concertos (CD 4) is reasonable.

Discophage is of course right: the EMI likes making new compilations which intersect with the preceding ones, in this case - "The Art of Nathan Milstein" and Bruch: Violin Concerto/Mendelssohn: Violin Concerto/Prokofiev: Violin Concerto. I have both, but many people are in a better position than Discophage and me: they will get the content of this box set on CD for the first time. I really envy them: they will discover some great recordings I have almost worn out on my LP player.

As mentioned by the preceding reviewer, these Milstein box set mainly consists of the reissues of his Capitol and Angel recordings made in the 1950-s, in an good mono or early stereo sound. Vivaldi on CD 1 and Prokofiev's 2nd concerto on CD 4 are in stereo sound.

A few remarks about Milstein's program and his interpretations.

CD 1. Vivaldi's concertos are a Milstein rarity. Here Milstein both plays the solo part and directs a chamber ensemble. I am not that bothered by the lush-sounding violin in the slow movements, missing ornamentation or the lack of period instruments. Milstein disliked great conductors and opted for a small group of string players. My main beef on him is just that Milstein the conductor is not on the level of Milstein the soloist: the ritornelli in the fast movements soon become boring. But keep in mind that some of Vivaldi's solo concertos he selected are difficult to find in *any* recording.

CD 2. Tartini's G minor sonata `Le Trille du Diable' (1959) is one of Milstein's peaks. Nobody could deliver it with such a shining tone and flexible intonation. Of course, Milstein plays Kreisler's version. There is a pre-war recording of Tartini with Milstein on `Opus Kura' (OPK 2004), but it is less inspiring. Milstein's own `Paganiniana' (1954) is a pastiche on Paganini's themes, with nec plus ultra violinistic voltage. There is an earlier and equally great live recording from his 1946 Congress Library recital available on (Bridge 9046) and a later concert recording on Milstein's DVD - really impressive, too. Listening to these recordings, you realize why no other violinist desired to play this Milstein's composition.

CD 3. `Kreutzer' sonata w. Artur Balsam (1957/1958) is astonishing. It is an extremely convinced reading, combining the soloist's personal creed with a demonic impetus. Milstein's accents are rather free, but they are devoid of any extra-musical matters as `literary program' or `there-is-too-much-piano-on-the-record'-considerations. Beethoven's 8th and 5th sonatas are great, too, but in this case Milstein left us another stunning versions: a live recording of the `Spring' sonata (1953) may be found on (Bridge 9066), and a studio pre-war recording of the 8th sonata may be found on Milstein's Membrane set (see my review). Both accounts of the 5th sonata with Milstein/Balsam are similar, but both Milstein's approaches to the 8th sonata with the same accompanist show completely different tempi. I like both versions.

CD 4. Prokofiev's 1st concerto (1953) has been of one Milstein's favorites: he even gave a Moscow premiere of this work (w. Horowitz at the piano!). I don't find him `frail in the upper register': on the contrary, I find Milstein's upward splashes in the final movement ravishing and more nuanced than by any other virtuoso. Milstein's creed was not to force the violin: he never tried to play `con tutta la forza'. Of course, he does not need my advocacy - the recording speaks for itself. I admit that Golschmann is not the most radical interpreter of Prokofiev, though he provided a fine accompaniment for Milstein. For those who are interested in the score of this concerto, and not only in the name of the soloist, I recommend an amazing old recording with Mitropoulos/Stern: it is the most enthralling version I know. I have it on a LP, coupled with Prokofiev's 2nd Concerto w. Bernstein. Unfortunately, it is very difficult to find on CD. Comparing Milstein with his almost schoolmate Oistrakh, I can say that I rate Oistrakh's recording of Prokofiev's 2nd Violin sonata higher. The 2nd Concerto w. Milstein /Fruehbeck de Burgos (1965) is excellent: the first movement is very effective - brilliant and manlike.

The transfers are fine. I have heard some complains from fellow collectionists that EMI overretouched the sources on CD 2. This is an exaggeration, but if you have Milstein LPs in a good condition, don't try to get rid of them.



Heartily recommended. An easy choice for everybody who loves great music and great performers.



Anton Zimmerling"

CD Contents

Alexander Mendez | South Pasadena, CA United States | 10/13/2007

(5 out of 5 stars)

"Here is what is on this 4 cd set:

CD 1 Vivaldi Violin Concerti

RV 186 C-major RV 350 A-major RV 352 A-major RV 343 A-major RV 213 D-major RV 340 A-major RV 233 D-major

Rec. 1962-63, 1966 The ensemble is unnamed.

CD 2 Italian Baroque Sonatas

Tartini Devil's Trill G-minor

Vivaldi op.2/2 A-major

Corelli La Follia D-minor op. 5/12

Geminiani Op. 4/10 A-major

Vitali Chaconne G-minor

Pergolesi Sonata no. 12 in E-major

Milstein Paganiniana for solo violin

Recorded in 1953, 1954, 1955, 1959

Leon Pommers, Artur Blasam, Carlo Bussotti, piano.

CD3

Beethoven

Sonata four violin and piano in A-major op. 47 "Kreutzer"

Sonata for violin and piano no. 8 in G-major op. 30/3

Sonata for violin and piano no. 5 in F-major op. 24 "Le Printemps"

Recorded 1957, 1958

Artur Balsam, Rudolf Firkusny, piano.

CD4

Prokofiev

Concerto for violin and orchestra no. 1 in D-major op. 19

Sonata for violin and piano no. 2 in D-major op. 94a

Concerto for violin and orchestra no. 2 in G-minor op. 63

Recorded 1953, 1965.

St. Louis Symphony Orchestra Vladimir Golschmann

Artur Balsam, piano

New Philharmonia Orchestra Rafael Fruhbeck de Burgos



I got this set for the Vivaldi since three of the concerti, originally released for the Angel Label, have not been recorded on cd, and two of them have not been recorded elsewhere on any format. These three concerti are RV 350, 352, and 233. The playing is light and elegant, with some pronounced romanticism in the slow movements.

As for the other items I can't really say much, but Nathan Milstein is one of the great violinists of the 20th century, so you can't go wrong with this set."