Joshua Bell: Bruch/Mendelssohn Violin Concerti - Decca 421 145-1 (DDD)

$

85

ITEM DESCRIPTION:

This handsome and rare LP – a superlative collector’s copy – from Decca (421 145-1, German Teldec pressing / DMM · Direct Metal Mastering, DDD stereo) features Joshua Bell’s captivating performances of Mendelssohn’s Violin Concerto in E minor Op. 64 and Bruch’s Violin Concerto No. 1 G minor Op. 26, both recorded with Neville Marriner conducting the brilliant Academy of St. Martin-in-the-Fields at EMI Studio No. 1, Abbey Road, London in December 1986 (producer: Chris Hazell / engineer: Stanley Goodall).

Wrote the eminent critic Edward Greenfield in his review for the May 1988 issue of The Gramophone:

“Only 21 this year, Joshua Bell in his first concerto recording gives formidably powerful performances of both the Bruch and Mendelssohn. It was Decca in the very early days of LP who established the aptness of this particular coupling with a classic record by Campoli, and Bell with his rich tone, flawless technique and phenomenal articulation follows on a great tradition. A native of Bloomington, Indiana, his middle-of-the-note security, remarkable even in an age of young wizards of the violin, is a tribute to the guidance of one of the world's greatest violin-teachers, Josef Gingold, who after his years as concertmaster for Toscanini and Szell made the Indiana State University School at Bloomington one of the leading centres for violin study.

“Bell's achievement is the more striking on this disc, when the recording balance places him so close that you would pick up even the slightest flaw. It is that balance which brings my principal reservation to this otherwise magnificent issue. I know that Itzhak Perlman, among others, has made it fashionable to balance violin concertos as though heard by the soloist with the orchestra well behind, but it is something which I for one will never cease inveighing against, and it is sad that these fine performances are marred by it. It is true that the balance has one marvelling at Bell's power and assurance all the more, and the full, immediate recording leaves you in no doubt that he actually does shade his tone down to a pianissimo—as in his ecstatic lead-in to the first movement cadenza of the Mendelssohn—but it generally boosts the boldness at the expense of gentler qualities. There is plenty of warmth and poetry in Bell's readings of both concertos, but next to Mutter on DG for example, or Kyung Wha Chung on an earlier Decca issue (now available on a mid-price Ovation disc—(D 417 707-2DM) he lacks mystery. These are performances presented very much in the full light of day, very masculine (if that isn't too sexist a way of putting it these days), giving the impression of a soloist who is almost too sure where he is going.

“[Bell in] this first concerto issue brings magnificent fiddling to have you gasping at the assurance, strongly and sympathetically supported by Sir Neville and the Academy. I wish you could hear more of them behind the soloist in this full and brilliant recording, made in EMI's Abbey Road No. 1 Studio. Anyone still doubtful should try the wonderfully firm and assured account of the finale in the Mendelssohn, which combines power with excitement.”

Incidentally, the cover photo of Joshua Bell was taken by Alistair Morrison, while the liner notes on the reverse side were written by long-time Gramophone contributor Lionel Salter, which are provided in English, German, and French, is the brief biographical sketch of Bell.

CONDITION:

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

The condition of the jacket is near-MINT. There is minuscule bumping/wear at corners, but that is all. Otherwise, the album appears almost as new. There are no seamsplits, bends, owners' markings, or other defects and the album remains solid, bright, glossy, and very striking in appearance – overall, a lovely collector's copy.

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