Magic Marmalade 13th Dec 2016
| | ReviewIt's strange how an idea can get fixed in your mind that can colour your view of particular albums before you've even tried them...
... In this case, I had previously tried a Toscanini HMV (ALP),which I found had a few shortcomings, and then having found, and heard a few of the Decca, HMV, and Columbia stereos, it kind of lodged the idea in my head that no good could come of mono issues of classical titles, and were to be simply passed over in the record bins whenever I found them, in favour of the very elusive stereos (Which hardly ever turn up on those specific labels - hence the frequently astronomical prices for them!).
But this, and the other Yehudi Menuhin / Bath Festival Orchestra album I have, I got only because I found them together, and they both have great covers, and were in fantastic condition - and at 50p each, why refuse them?!!! - However, I simply stowed them away, and hadn't thought to play them until now, thinking:
"Well, they are only Monos, so won't be up to much, but will do until the stereos get here"
...But having given this one a spin, it's pleasing to be able to say I've shattered that illusion.
And now I see that the problem with the Toscanini was actually a limitation of the original recording technique of the time, rather than the vinyl, or anything to do with the mono aspect itself... This has a very broad and open sounding mono, with great detail, and separation of the instruments (albeit within the mono soundstage), and in fact there are times where I wondered if it was actually mono, or stereo... becoming convinced that a particular instrument was leaning out of the left or right speaker more at any given time.
So while the stereo would of course be preferable, in order to get the full benefit of the whole orchestra, I see no reason to refuse a mono issue of any title on this label in future, if the work on it is one that takes the fancy, or the composer / conductor / soloist is the thing of interest.
It simply depends on the quality and technique of the original recording.
And while still a comparative dunce of classical music, Iam beginning to hear the different qualities if individual performers, in contrast with others...
...And to me, Yehudi Menuhin is very much like Rostropovich is with the Cello, in being almost supernaturally precise, fluid, intricate and elaborate... able to operate on the very finest edges of detail.... whereas Heifetz on Violin, and Du Pre on Cello, and almost like their counterparts in the more "pyrotechnic", and impassioned end of the spectrum... just depends on what you're in the mood for at the time really.
But this is a very intricate "lacey" work too, so very well suited to Menuhin's qualities (and vice versa).
All round, you get your money's worth here.
(And I'll not be refusing an HMV on the mono / stereo basis alone in future!)
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