Boskovsky/Vienna Octet: Brahms Clarinet Quintet - Decca LXT 2858, lovely copy

$

55

redgarnett Store ITEM DESCRIPTION:

This lovely LP from Decca (LXT 2858, English pressing, orange/silver label, mono, laminated flipback jacket) features clarinetist Alfred Boskovsky with Members of the Vienna Quartet in a sublime account of Mozart’s Quintet for Clarinet and Strings in B minor K. 581, warmly recorded in Vienna in June 1953.

Joining Boskovsky on this memorable occasion were the following soloists with the illustrious Vienna Octet: Willi Boskovsky (1st violin), Philipp Matheis (2nd violin), Günther Breitenbach (viola), and Nikolaus Hubner (cello).

Of a Testament CD that also included a re-issue of Alfred Boskovsky’s reading of the Brahms Clarinet Quintet, the erudite critic Dan Davis wrote for ClassicsToday:

“Pairing the Brahms and Mozart Clarinet Quintets is something of a no-brainer since the two are the backbone of the clarinet-based chamber repertoire–and they fit neatly on a single disc. Both are late works (if anything by Mozart can be called “late”), and both were written for leading clarinetists of their day. Here they’re played by one of the top clarinetists of the 1950s and the string players of the Vienna Octet. They’re typical Vienna Octet performances: warm, middle-of-the-road interpretations overlaid with a surfeit of charm, now more a souvenir of a well-loved group than a viable first choice for contemporary collectors.

“Alfred Boskovsky plays with an ingratiatingly warm, liquid tone whose midrange lacks ideal color. Both works are cut from the same interpretive cloth. Outer movements, in the Vienna Octet manner, want more energy, and slow movements sacrifice depth for charm. Musical points are understated, so in the Adagio movement of the Brahms the darker currents of the string tremolos under the clarinet line have neither dread nor expectancy. It’s impossible to discuss the Brahms work without using the word “autumnal”, but while it describes the players’ approach, their faded Brahmsian “leaves” are realized more through rhythmic stodginess than through tempo choices. The sunnier Mozart goes slightly better, but more thrustful playing and a less emotionally distanced approach, even within a classical framework, would have been welcome.”

There are informative liner notes (uncredited) on the reverse side of the jacket, provided in English only. The striking cover art is similarly uncredited.

CONDITION:

The gradations of condition I use are as follows: MINT, Near-Mint, Excellent, Very Good, Good, Fair, Poor.

The condition of the laminated flipback jacket is EXCELLENT. The only flaws barring a near-mint grading concern a slight bit of wear to the open edge and minor laminate lift along the spine. However, there are no seamsplits, bends, scuffs, owners’ markings, or other defects, and the album remains solid, bright, glossy, and highly attractive – an excellent collector's copy.

The condition of the LP itself is near-MINT. Although surfaces are not completely silent (and thus I have rated it NM vs. MINT), this is a fine copy and playback is superb. However, if you must have perfect surfaces, then please do not buy this LP – this is a lovely collector's copy.

PLEASE NOTE:
This LP has been carefully cleaned using a VPI cleaning machine. All LPs are provided with a new Nagaoka (or Nagaoka-style) inner sleeve. The images I've provided are of the actual item you are potentially bidding on - these are not stock images or images I've taken from other sites. Bid with confidence!

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