No. 2 in B minor for Flute, Strings & Continuo, BWV 1067 Overture ~ Rondeau ~ Sarabande ~ Bouree I & II ~ Polonaise ~ Menuet ~ Badinerie
Andre Pepin (Flute) & Doris Rossiaud (Continuo)
WAV: http://www.mediafire.com/?c23s453v7u8088d
No. 3 in D major, BWV 1068 Overture ~ Air ~ Gavotte no.1 ~ Gavotte no.2 ~ Bouree ~ Gigue
WAV: http://www.mediafire.com/?5rs5cbh44m96b2n
Stuttgart Chamber Orchestra conducted by Karl Munchinger
Decca ACL 29 - 1958 Matrices: ARL 1729 - 1Dr / ARL 1728 -1Dr. First issued as: Decca LX 3043 / LX 3002
Recorded: October 1950 / November 1949 - Victoria Hall, Geneva. Somewhat 'buzzy' string-tone - more evident in No.3. Not on CD
Re-edited files derived from the previous FLAC files - November 2011 (unfortunately the originating WAV files were lost: the FLAC files have been converted to WAV - then edited).
I admire Munchinger but don't have the suites.It will be interesting to compare with the "old world"versions I do have Klemperer 33CX and Hermann Scherchen WRC.
ReplyDeleteNot heard the Scherchen/English Barouque on WRC in their entirety - but recall the Suite no.3 as being pretty perverse! Klemperers stereo NPO set (also not listened to complete) is probably just as 'odd'.
ReplyDeleteHere's the "EMG Monthly letter" take on the 3rd Suite (April 1950 - 78 set)
Bach: Suite No. 3 in D major, (Score, 3/-),
"1-2. Overture. 3. Air. 4. Gavotte 1 and 11. 5. Bourree; Gigue.
Chorale Prelude: lch ruj ! zu dir, Herr Jesu Christ,
by the Stuttgart Chamber Orchestra under Karl Munchinger. D. AX314-6* 25/10½
Bach's French Overtures are always referred to as Suites inasmuch as they consist of an overture proper followed by a suite of dances. The movements of the suites are not as numerous as those of the solo violin or violoncello; this one, No. 3 in D, has no allemande, no courante, and no sarabande, and apart from the gigue, the usual dance-movements of the suite are absent. It is the most popular of the four, possibly because of its second movement which is the famous Air.
This is an outstandingly beautiful performance. It is the kind of playing that one rarely hears in these hectic days of robot-like sight-reading. From the very beginning the quality of the players and the artistry of the conductor, Karl Munchinger, are apparent. Here is the very type of firmness and intensity that Bach demands, a strength of impulse and purpose not to be confused with that unpleasant aggressive vibrancy that is at present so rife, especially among string-players. These attractions coupled with a most beautiful recording go to make this set of records a most satisfying purchase. All who have taken part in this production have exercised a most loving care. Small orchestra, harpsichord continue, etc., all contribute to what is undoubtedly one of the best issues of Bach's music to date. The players have a most sensitive grasp of the long phrase as well as of the internal rhythm, and they also have a keen regard for that variety of tone which, in Bach, is so much the responsibility of the performer. How lovely the effect is when Munchinger hushes the strings at the B minor cadence in bar 12-13, letting the oboes come through. The slow introduction is broadly and deliberately played, with a strong sostenuto, and the ensuing fugal quick piece is admirable in its crisp vivacity. The trumpets are especially fine in their tone and attack. The well-loved Air is the more moving because it is unaffected and has the original ornamentation, which is, by the way, much simpler than that of some editions.
The remaining three quick movements have the most delightful resilience, and although this is a restrained and scholarly performance, the effect is of great bouyancy. It is the kind of bouyancy that results from a discipline so completely mastered that it releases unsuspected energies.
The little chorale prelude on the 6th side, is played with the utmost simplicity and
sweetness of tone: there is something childlike in the approach which seems to make a direct
contact with Bach. This is a wonderful set of records, quite outstanding in fact, and our
hope is that the remaining three suites be recorded without further delay. E.EE "
Your wonderful transfer of Suite No. 3 by KM is truly a *revelation* to me! For the only copy of this I've ever heard has, unforatunately, been the US-Richmond pressing monaural issue of these old early ffrr recordings of Suites 2 and 3. In that frustrating LP, no. 2 sounded good (if perhaps a bit too bright) but no. 3 sounded positively "underwater" (as though a tape dubbing had been improperly copied with a complete loss of contact with the playback head: so there was scarcely any audio frequency above about 4000 Hz! Pitiful...)
ReplyDeleteI always wondered if the original had, oddly, been botched. But now I know it had NOT: it sounds fine. I am absolutely delighted, and it answers a small (admittedly unimportant) question that had been buried in my mind for 40 years.
Your uploads of old Decca ffrr classics are truly a joy for me!
Sincerely,
A retired (reticent) former professional sound engineer
There is a query about this release, as the ARL matrix number indicates a mastering for 12inch LP circa 1953 - but there appears to have been no UK LXT release ..so possibly the Richmond issue came from that time, if UK matrices were being used? ..I don't think I could do much with the 1952 pressing of LXT2688 (Munchinger's Bach Fugues/Beethoven Grosse Fugue) - as it sounds rather Primitive - but some early Decca's are still very acceptable - even superior to later masterings - if EQ is adjusted (more guesswork than science involved..).. Have a very hefty chunk of the Decca mono-era catalogue - but am only dubbing those, so far, not (??) issued on CD.
ReplyDeleteThese were my introduction to Bach, many years ago, and I am fascinated to hear what they sound like now. My recollection of the overture to the third suite especially is the wonderful sense of the bass line, holding the whole edifice aloft. I recall being fascinated by it as an eleven year old...
ReplyDeleteMany thanks!
Hello Ronan. Thanks for the comments. I'm invariably too drained by the lengthy editing-process to then remark on the actual performance! The sound is probably as 'hair-shirt' as you may recall - & one reason I needed to be able to upload as FLACs.. My introduction to these Suites was in the 1970/1 Philips subscription 5LP set "The Bach Family" - ECO/Leppard - and don't recall such individuality as can be heard in Pepin's performance of the 2nd.
ReplyDeleteI do believe that I remember when the Richmond issue of the 1949/50 two Bach suites came out. I purchased it brand new--and it was not anywhere as early as '53. My recollection is that it was one of the later issues near the demise of the American Richmond label. The early sixties? Generally the transfers were good, if a bit bright. But this one was miserable -- ONLY on side 2, the Third Suite. Your excellent transfer reveals some slight differences in balance between the '49 and '50 sessions, but they both sound rather similar with respect to high and low end response. The Richmond was grotesque: high end not much better than a telephone, in the D Major. The B Minor sounded brilliant like your transfer. A mite 'hair shirt' as you say!
ReplyDeleteI wonder if I simply got a flub that was corrected for later pressings? It was such an anomaly! I never heard any other Decca record sound this bad, so it stuck in my mind. I used to play historical items on radio shows and featured KM's mono recordings, but always had to skip that bad Third Suite LP side; I did not want everybody in the audience to tune out! Once again, the original Decca crew is revealed to know what they were doing: your transfers are like a window on the REAL past.
Please do not ever be deterred by the phony and incompetent "remasterer" who objected to one of your transfers on RMCR. His "work" sounds remarkably bad...err, in fact like that botched Richmond of Suite No. 3! He wouldn't know high fidelity if it bit him in the...
Sound Engineer
Had intended implying that a '1953' transfer had been used for that side. Presumably the Richmonds were pressed in England - and Decca would sometimes press from 'obsolete' factory matrices in the Ace of Clubs series. That occurs, eg, with Bohm/VPO/Brahms 3rd (recut nearly 3years previous; the original also sounding marginally superior..) - and was considering dubbing that + some other Bohm/VPO, ie Beethoven 8 - Weber Overtures - Schubert 5/8 - though 'Buster' has beaten me to the Beethoven 8). All that would prevent me from continuing is the gruelling time-aspect - and damage to my eyesight - the latter may be happening - so am always considering 'the position'..
ReplyDeleteNever seen a Richmond pressing, but would assume they were imported Decca UK pressings - unless the low-price dictated that, maybe, Decca US mastered/pressed them? Earlier Decca UK matrices, especially Symphonic, were frequently subject to dynamic compression with poor distorted sound. Am looking to upload some Decca LXT Chamber Music titles (not on CD - nor elsewhere, it appears) and there, surprisingly, the earliest issues can be very fine indeed - fortunate as usually only have duplicates of the more popular titles; where I would likely choose a later mastering. I know the Gluck/Gretry I've just uploaded is far superior to the 1955 mastering! I disposed of the Furtwangler/Brahms 2 in both LXT/ACL versions ; however, the later re-mastering on ACL of the VPO/Franck Symphony is really excellent, sonically (and musically - mostly..).
ReplyDeleteIt's a very interesting permorfance, though I do prefer the ultra-violence Goebel's reading (by the way one of the best holographic recordings I know).
ReplyDeleteThanks for the careful editing process.
Thanks - Munchinger recordings introduced me to a lot of Bach's music. Jerry
ReplyDeleteI may re-visit these files to check if there are any 'ticks' left to remove (probably are).
ReplyDeleteI've not compared them to their much later (stereo) performances: maybe his/SCO style remained pretty unchanged over the years?
Even though it was the least-popular upload (pre: this blog) I could re-dub the old mono Four Seasons - in the original (new, LXT) pressing, as well as the 'detailed' ACL transfer as I think it still stands-up well as a performance.
Improving the very best, thanks Tin Ear.
ReplyDeleteI was quite surprised how many 'ticks' there were to be removed: quite inaudible via the desktop system .
ReplyDeleteIt's a shame the WAV files were lost in a HD crash - however the FLAC's still sounded fine.