Klarinet Archive - Posting 000640.txt from 1995/06

From: thehat@-----.ORG
Subj: Old Recordings
Date: Tue, 27 Jun 1995 20:23:23 -0400

In case anyone hadn't noticed, the cd era has been a true blessing for
collectors like myself who weren't around for the early LP days when the
old 78s were rereleased and dissapeared within a few years. Such early LP
sound quality because they were the only long-playing versions of
historical performances.

Now there are several labels specializing in all kinds of historical
recordings. I'll mention just a few that may be of interest to Klarinet
readers.

Victoria Soames' Clarinet Classics label has released two volumes of
incredibly rare early solo clarinet recordings, featuring some famous
players and some not-so-famous players. The transfers are reasonable,
considering the primitive technology used to record most of the selections
and the rarity of the copies. The performances range from the the truly
hilarious to the truly inspirational. Vol. 1 is wonderful. Vol. 2 is nice
too, but she has yet to include any American clarinet players of name
other than Goodman. I wrote to Ms. Soames with some suggestions but
received no response. These discs must be included in any basic clarinet
recording collection. They are distributed by Qualiton Imports

My own favorites among the rereleases are of the Stokowski/Philadelphia
Orchestra. These may be found on several labels but the transfers are
invariably by either Ward Marston or Mark Obert-Thorn, two of the best in
the field. The label Biddulph has released several volumes of Stokowski
including a Scheherazade from 1927 Daniel Bonade played this recording and
I think he sounds even finer than his recording made with Rodzinski in
Cleveland (available only from the Cleveland Orchestra directly, but worth
having), which my teacher always felt was the best Scheherazade. Biddulph
has several volumes of Russian and French music already released. The
other major label is Pearl, which has released a considerable amount of
Wagner and Bach, two Stokowski specialties.

Bonade is not on all of the recordings. Robert MgGinnis plays on many of
them as well as a few which must include Portnoy. The playing generally is
of a style which is now lost to us, much portamento in the srtings and the
trademark rhythmic freedom which was allowed on improtant solos are very
evident. I find these traits delightful, if somewhat quaint. The era when
a conductor could truly shape an orchestra and completely command every
aspect of its performance is gone now, but these recording commemorate
what was probably the most compelling of all hand built orchestras. I urge
you all to sample at least a few of these discs!

-David Hattner

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This copy of Freddie 1.2.5 is being evaluated.