Rodzinski: Russian Overtures (Tchaikovsky, Glinka, et al.) - Capitol SG 7182
$
42
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Description
redgarnett Store ITEM DESCRIPTION:
This dazzling LP from Capitol (SG 7182, US pressing, rainbow label / Capitol FDS logo at 9 o’clock, stereo) entitled “Russian Overtures” features conductor Artur Rodzinski leading Beecham’s Royal Philharmonic Orchestra in high-octane and atmospheric overtures by Tchaikovsky, Rimsky-Korsakov, Glinka, and Mussorgsky, all sumptuously recorded in demonstration quality sound at EMI Studio No. 1, Abby Road, London, on 27 April 1958.
The exact contents are as follows:
Tchaikovsky: Romeo and Juliet Fantasy Overture
Rimsky-Korsakov: Russian Easter Festival Overture
Glinka: Overture from Russlan and Ludmilla
Mussorgsky: Prelude from Khovantschina
In reviewing EMI’s 2CD “Artur Rodzinski · Artist Profile”, which contained all of the works heard here, The Gramophone wrote in its September 1996 review:
“Artur Rodzinski’s RPO legacy (or at least the small part of it for which EMI were responsible) has a striking personality. Best by far are the Spanish items, the “Ritual fire dance” being one of the most dramatically incisive accounts ever recorded. Beecham’s orchestra is on top form for sultry Granados, sun-drenched Albeniz and a particularly memorable Three-cornered hat. If you require evidence as to just how seductive this so-called martinet could be on occasion, then try 0'22'' into the ballet’s “Introduction”, and note the ensuing woodwind solos (I can remember an equally alluring Rapsodie espagnole that Rodzinski recorded in Cleveland years before). The Russian Easter Festival Overture is suitably regal (the closing pages are swathed in aural glitter) while Romeo and Juliet combines passion and finesse. Rodzinski’s ear for texture and dynamics is particularly apparent near the start of Tod und Verklarung; Strauss’s tinselly Couperin Dance Suite is hugely entertaining (the busy “Tourbillon” especially) and the shorter Russian items confirm an impression of discipline allied to a vivid musical imagination.”
Incidentally, there are superb liner notes on the reverse side of the jacket by Malcolm Rayment, printed in English only. The remarkable cover art is uncredited.
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 VERY GOOD. There are several discreet tape repairs to the edges, really only noticable on the rear panel. There is also slight bumping/wear at corners, and mild discoloration to the jacket back. However, the album remains solid, bright, glossy, and highly attractive – overall, this ratas as a very good 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.
PLEASE NOTE:
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