Tortelier: Schubert "Arpeggione" + Beethoven Son Op. 69 - EMI (r. 1981, DDD)
$
95
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Description
ITEM DESCRIPTION:
This beautiful and rare gatefold LP from EMI · La Voix de son Maitre (C 069-07578, French Pathé Marconi pressing, colored dog-in-stamp label, DDD stereo) features Paul Tortelier’s final statements on Schubert’s Sonata in A minor for Cello and Piano D. 821 “Arpeggione” and Beethoven’s Sonata No. 3 for Cello and Piano in A Major Op. 69, both recorded with his daughter, the pianist Maria de la Pau at Abbey Road Studios, London, on 16/17 March 1981.
The producer for these sessions was Suvi Raj Grubb, and the engineer Christopher Parker.
Wrote the critic J.O.C. in his review for the September 1982 issue of The Gramophone: “Beethoven's cello and piano sonatas are much more readily available in sets than singly, just now, so this coupling of the most popular of the five with Schubert's endearing Arpeggione is welcome. What struck me first was the lovely quality of the sound. The tone is warm, clear and true, the piano rightly treated as an equal partner in balance. With eyes closed you could quite easily imagine Tortelier and his daughter playing to you only a few yards away in your own room. The performances themselves are also delightfully homely—and I use that word without pejorative undertones. For what I enjoyed so much was the Torteliers' spontaneous warmth and naturalness. They make music as if for their own pleasure in their own home. You are never aware of interpreters at work. And that, alas, cannot be said of Rostropovich and Britten in Schubert's Arpeggione, where not a phrase, not a note, is left unturned in pursuit of heightened expression, deeper layers of meaning, and all that. I need hardly say how beautiful that old Decca version is. But it is surely not quite the truth about this unassuming little piece. In the finale (where pointmaking is at its most obtrusive) Rostropovich's greater variety of tone-colour surely derives from the simple expedient of transposing this or that phrase up an octave. Tortelier is more wary of resorting to that liberty.
“Obviously it is the Beethoven sonata that brings de la Pau more into the picture. The repartee between cello and piano has the closeness of an involved personal con'versation. The breadth of the digital recordings dynamic range is particularly evident in Beethoven's first movement.”
Incidentally, the interior panels of the gatefold jacket reproduce handsome portraits of the two composers, as well as of Tortelier and de la Pau. There are also extensive and insightful liner notes, printed in French only, by Rémi Jacobs.
CONDITION – PLEASE READ CAREFULLY:
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 a slight bit of wear along the spine, but really that is all. There are no seamsplits, bends, owners’ markings, or other defects, and the album remains solid, bright, glossy, and quite lovely in appearance – overall, this rates as a lovely collector's copy.
The condition of the LP itself is near-MINT and the playback is superb – overall, this rates as a truly fine collector's copy.
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