FLAC: http://www.sendspace.com/file/uidejy WAV: http://www.mediafire.com/?6lczedzqj4eehyl
Frank Martin:
Concerto for Seven Wind Instruments, Timpani, Percussion & String Orchestra ( Allegro ~ Adagietto ~ Allegro vivace )
FLAC: http://www.sendspace.com/file/5kpar5
Chicago Symphony Orchestra conducted by Jean Martinon
RCA SB 6710 Decca pressing/matrices: TRRS 2362 -2K / TRRS 2363 -2K Recorded: March 1966 - Orchestra Hall, Chicago.
STEREO FLAC/WAV files Gramophone review - 1967 Sleeve-note >>>
COPYRIGHT NOTICE: This is made available solely for the purpose of evaluating/reviewing the copyrighted recording, after which it must not be otherwise stored/copied. By downloading the file/s you agree to accept these conditions.
Hello Frank,
ReplyDeleteI have been a fan of Martinon ever since I heard him conduct the CSO--in the world premiere of Sessions 7th (I was sitting right in front of Sessions in Hill Auditorim, Ann Arbor MI) and the Rite of Spring, the greatest performance of this work I have ever heard. His Nielsen 4th with the CSO has never been surpassed.
So thanks! also for the Adler both of which I have on LP in USA pressings.
Hello Joseph.
ReplyDeleteI don't have the Nielsen 4 (probably sold poorly due to Robert Layton's review in Gramophone!).
Possibly interesting to compare different pressings: though I consider the RCA recordings to be rather 'compressed' (or tape saturation).
These are very fine performances indeed!
The Nielsen 4th has recently made it to an excellent RCA CD c/w the 2nd and another great one, the Clarinet Concerto w Benny Goodman.
ReplyDeleteI have both the US and British issues of the 4th on LP, and, with all due respect to Layton, I think the performance is magnificent.
Martinon remains a hugely underrated conductor, IMO. His pioneering account of Deryck Cooke's Mahler is very special, as is his wonderful record of French overtures for Decca (has his Ibert Divertissement ever been surpassed for bravura wit?)
ReplyDeleteLooking forward to hearing the Varese and Martin. Both composers are of course more associated with Martinon's compatriots (Boulez and Ansermet respectively). It will be interesting to hear how Martinon's more lyrical approach contrasts with these other accounts.
Thanks for these.
His commercial recordings were pretty popular (ie: the Decca/EMI: at least in the UK..) and were it not for the sheer tedium of transferring LP's I'd upload some more: but the moment I see them re-issued on CD then consider it best to leave 'the job' to 'CD-Bloggers': it takes them so little time!
ReplyDeleteThe Ibert/PCO is of course very fine (the Decca 'Eclipse', I think, is likely the equal of the original SXL - original transfer reissued on SDD) - but so is the Desormiere version (on ACL)...and I tend to be more interested in the orchestra than the stick-waver!
This Varese is probably 'better' than the other LP versions I have (Craft/Mehta/Boulez) - but, having sold Ansermet's 'Concerto' many years back, am quite content with this sole version (a very fine composition: I would have uploaded the 'Petite Symphonie' in the Tortelier/Unicorn version except both transfers (EMI/Philips UK) disclose a rather muddled recording: inferior to my ancient original LXT/Ansermet, I'm pretty sure!).
Hi Frank,
ReplyDeleteI’ve owned the American LSC pressing of these performances for years and always found the sonics disappointing- constricted and emasculated, a pale replica of what Martinon sounded like live in this music. In 1991, RCA issued a “CSO Centenary Collection” on CD which included the Martin. It was a slight improvement, but still disappointing. In 1999, RCA reissued the Varese on CD along with Martinon’s revelatory readings of Bartok’s Miraculous Mandarin Suite and Hindemith’s Nobilissima Visione. Again, it was good to have the Varese on CD, but the sound still came up short. This led me to the conclusion that the original tapes were not all that well engineered in the first place.
Your transfers from the Decca pressings, however, are simply remarkable. As I write this, I’m listening to the Varese and it’s plastering me against the wall, as it should do. It’s all there- the clarity, impact, dynamic range. In my opinion, the sound now really does justice to the interpretations, transporting me back to the old pre-renovation Orchestra Hall in Chicago and vindicating the skill of the original engineers. BRAVO, FRANK!
Moral of the story: Just because a record company “officially” reissues a recording on CD doesn’t guarantee that the results will be an accurate representation of what was on the original master tapes!
Thanks,
Al
Hello Al.
ReplyDeleteWell..this is Interesting.
I formed a 'bad' opinion of some RCA SB's nearly 40years ago (Leinsdorf: 'Wagner Overtures' was so horrible I sold it..bought as a deletion - as they invariably didn't sell well!) - they seemed 'compressed/upfront' compared to most others: thus assumed Decca's copy tapes were not too good compared to US issues!
Even now, I've no titles duplicated in US/Decca UK masterings; but have recently been 'testing' the (earlier) US Dynagrooves used for Decca-pressed SB's of Leinsdorf: Heldenleben/Salome/Helene: and no 'noticeable' problems there; also the Alpine/Kempe sounds rather good - a Decca mastering (not 'Dynagroove' - though their sleeve/label nearly always stated that).
If these really are 'better' than CD-masterings - then could be tempted to try a few more RCA's.
I have to say that the equipment I invariably use for these dubs is 'nothing special' - except that the Stanton CS100 PU cartridge easily reveals fine detail - and doesn't 'smother/'sit on' the micro-dynamics as 'lesser' PU's can do.
ps: I had to slightly (~>3dB) reduce the input gain for the Varese as some 'disturbances' were sending the meters into the red...and I think there's a slight 'blip' near the end of the Martin: edited these directly onto the laptop (EAC rip) so bass 'subtleties' aren't too apparent...I'm only interested (sic..) in 'transient ticks'...but repairing the waveform can occasionally introduce a 'blip'..
pps: I do have the Bartok/Hindemith: also a Decca mastering.
Hello Frank,
ReplyDeleteWould LOVE to hear your Bartok, Hindemith, of course!
Wonderful disc! Thanks again!
ReplyDeleteMartinon's recording of "Arcana" is the most dynamic, kinetic and mesmerizing I have ever heard. Will somebody please explain to me why critic Claudia Cassidy took such a dislike to him and made it a personal crusade to drive him from Chicago? I just listened to his recording of Bartok's "Miraculous Mandarin Suite" and that, too, is singular and revelatory. If it sounds better in the Decca pressing, please post it. I haven't been so excited by a performance of this work since hearing the Dorati/Chicago version when I was a kid. Thanks for posting the Varese. It is an extraordinary work. And this is an extraordinary performance.
ReplyDeleteTBH would much prefer (appears not to be currently available?) Solti/LSO 'Mandarin' - have the original 1964 LXT/SXL's - as don't consider Martinon's to be particularly well-played - and the Hindemith was a rather dismal experience (mvt.1 sampled: IMO the 'idiom' really wasn't grasped..).
ReplyDeleteDecca's recording is also hugely superior (I really dislike the RCA 'compression' and close-up multi-miking: as with other CSO's (inc Gould/Stokowski) - though the above LP was reasonably satisfactory, soundwise, compared to the others - though not yet tried the Decca mastering of the Bizet/Lalo/Massenet - which anyway wouldn't upload as I've only just 'done' Morel's version of the Bizet!
After these well-documented comments I have little to say and much to learn.
ReplyDeleteBut I can say just a simple thing: the recording quality of this disc is simply gorgeous. I've read the review and it says that the orchestra is very huge but the definition and the power of the sound in this performance is really impressive.
I am in the group of Martinon-lovers, I have always wished to find other recordings by him but they're quite rare to find apart from some very common stuff.
Hi Frank,
ReplyDeleteThe cd issue sounds dull compared to your LP transfer. The full savagery of Arcana seems to leap from my speakers.
Do you ever do LP transfers in 24/96? The wide dynamic range of this LP may be best served in a DVD-audio format.
Thanks very much for this---I'm a big fan of the CSO and Martinon, and I'm thrilled to have your version!
(first time visit to your blog)
ReplyDeleteThank you kindly for sharing this wonderful disc. Varese and Martin have such individual sound worlds, and it is not so easy to come by opportunities to hear different interpretations, particularly by a conductor contemporary with the composers.
Please do not be disuaded from making your precious LP material available once again, especially in your caring transfers. The world is full of inconsiderate people, and it is so sad to see inconsideration succeed in overwhelming the good intentions of generous people such as you.
Cheers, and many thanks for your efforts!
Hello. Thank you for your comments.
ReplyDeleteAs you can see above this was a 'by request' post: normally I wouldn't upload anything currently on CD/in copyright from the record company.
It has been rather popular - I have attached a MegaUpload screenshot which shows over 1200 downloads for the Varese - possibly an understsatement as twice, after April, their 'ticker' has stopped counting.
I do have other Varese/Martin Lp's but am fairly sure they are available on CD -= so wouldn't be available from here: but yes: a very fine LP - though saw a recent comment re: their German repertoire playing - similar to mine: hence I didn't previously upload the Hindemith/Bartok LP of theirs.
David wrote: "Will somebody please explain to me why critic Claudia Cassidy took such a dislike to him and made it a personal crusade to drive him from Chicago?" The Cassidy situation concerning Martinon was a sad one. She supported him when he first came to Chicago. Martinon unfortunately had stepped into a simmering labor situation with the CSO which the orchestra's manager was doing little to resolve. Martinon therefore endorsed the manager's removal.
ReplyDeleteThe manager had previously worked with Cassidy at the Chicago Tribune and she was incensed. Her reviews of Martinon immediately did a 180, to the blatant extent that CSO patrons picketed outside Orchestra Hall in protest. The Tribune "retired" Cassidy to alleviate that situation. With Cassidy gone, the other Chicago critics then stepped into the imagined breach and began dumping on Martinon (likely trying to make a name for themselves). Their notices were truly off-base in many instances. If you have heard any of the broadcast material from Martinon's CSO tenure (quite a large selection of repertoire survives), it is immediately apparent what a high musical standard he maintained in spite of the bad press!