Milstein: Mozart Violin Sonatas K. 296, K. 301, K. 304 - Capitol P 8452

$

65

redgarnett Store ITEM DESCRIPTION:

This lovely and rare LP from Capitol (P 8452, US pressing, rainbow label / Capitol logo at 9 o'clock, mono – no stereo edition exists) features Nathan Milstein's peerless renditions of 3 Mozart Violin Sonatas, all recorded with veteran pianist Leon Pommers at  Studio A, Capitol Studios, New York in 1957.

To hear these extraordinary performances, so well recorded that one doesn’t register the absence of stereo, is entracing, the microphones well capturing Milstein's silken and inimitable tone, the players set in a warm acoustics, and perfectly balanced to boot – a truly great example of the art of the violin.

Included are the following Violin Sonatas of Mozart:

Violin Sonata No. 17 in C Major K. 296*

(rec. 21 January 1957)

Violin Sonata No. 18 in G Major K. 301

(rec. 9 April 1957)

Violin Sonata No. 21 in E minor K. 304

(rec. 12 April 1957)

In comparing it with violinist Alexander Plocek’s Supraphon disc, the critic R.F. wrote in his review for the March 1959 issue of The Gramophone:

“The Milstein disc contains three of the six violin sonatas Mozart wrote for his visit to Paris. The Plocek disc contains two or the same three plus a much later and bigger sonata he wrote in Vienna for an Italian violinist and guitarist called Regina Strinasacchi—and good female violinists were a great rarity in the eighteenth century, the piano and harp being considered more ladylike. The first performance of this B flat sonata (not E flat, as stated on the back of the sleeve) was a remarkable occasion, for Mozart had only had time to write out the violin part, and he played the piano part from an almost blank piece of paper; it was, of course, his unique ability to compose in his head down to the last detail that made this possible. The sonata contains some wonderful modulations in the slow movement, but is not otherwise very remarkable. The E minor, a short two-movement work full of restrained passion, is more interesting. All the sonatas on these two discs have been recorded before, the C major recently by Schneiderhan and Seeman (DGM18307, reviewed in January).”

“Both the new discs are well played, well balanced and well recorded. The Czech players, I think, carry classical restraint a little too far, especially in the E minor. Plocek's bowing is perhaps more in the eighteenth century style than Milstein's, but I do not think one can approach this music as though nothing had been written since; though this may well be how it was played at the first performance we cannot help enjoying it more if the Sturm and Drang element is a little more emphasised. Milstein's slightly quicker tempo and more impassioned playing must surely give more pleasure. He too has classical restraint, and in some ways he gets nearer the style than the Czechs. He does not, for instance, give us a five-bar rallentando at the end of the first movement as do Plocek and Palenicek (a strange lapse), while the latter misinterpret the trill in bar 3 and elsewhere in the minuet. In this latter movement Milstein phrases the E major section beautifully, while on the rival disc traces of wow spoil the effect. In the little G major I can find little to choose between two enjoyable performances. Plocek's restraint is here more of an asset, and he phrases the last movement better, especially in the G minor section where his grace notes are more stylish and musical; and Milstein is inclined to bump the upbeats in the main tune.

“Milstein and Pommers do wonders with the C major sonata on the back; I prefer the excellent Schneiderhan version in the first movement, but there is nothing in it with the other two. The Czechs too are at their best in the longer work, in their case the B flat, which they play with unexpected virility. The Capitol disc, which is banded (there are none on the Supraphon), gives the violinist a slightly closer balance and has a little more top.”

Incidentally, the liner notes on the reverse side of the jacket, in French only, were written by Georges Beck.

There are extensive liner notes (uncredited) on the reverse side of the jacket – printed in English only. The striking cover design is similarly uncredited.

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 EXCELLENT. There is bumping/wear at corners, as well as mild shelfwear, but that is all. There are no seamsplits, bends, owners' markings, or other defects, and the album remains solid, bright, and highly attractive in appearance – overall, an excellent collector's copy.

The condition of the LP is EXCELLENT. Although surfaces are not perfectly silent, and there is occasional light surface noise, in general the playback remains enjoyable. Only those needing an absolutely flawless copy need hesitate. Overall, this rates as an excellent 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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