1935 Emanuel FEUERMANN Haydn CELLO CONCERTO D Major Malcolm Sargent Set 262

$

31

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I am currently selling a series of great Richard Wagener and classic European 78 rpm orchestral recordings on all the great European labels:

Gerald Moore, noted of Feuermann: "He had perfect intonation, utmost clarity of articulation, beauty of tone quality and mastery of rhythm. All these attributes were the back-bone of his art. From these foundations his imagination ranged freely. His playing - like the man himself - was in perfect taste , though possessed of a fiery temperament, it was held in control and he gave the impression of a most relaxed individual. As a man Feuermann was very well balanced, a delightful companion with thought and kindness for others."

Emanuel Feuermann Cello

Haydn Cello Concerto in D Major (cellist: Emanuel Feuermann)
 Op. 101
Emanuel Feuermann with orchestra conducted by Dr. Malcolm Sargent

Recorded November 25, 1935

Complete on 4x 12" 78 rpm pre war gold label Columbia records w orig album and booklet

Condition: EXCELLENT minus, scuffs needs cleaning, side 1 is very rubbed = VG++, has hiss first 7mm, side 3 has a few spots of wear at the end, the other sides play E very quiet. Pencil writing on booklet, album close to new

Emanuel Feuermann (1902-1942) was almost universally recognized during his brief lifetime as an unrivaled master of the cello. Artur Rubinstein said "Feuermann became for me the greatest cellist of all time". Jascha Heifetz accepted him as the first cellist worthy of serious collaboration, and would not play with another for nine years after his death. He was the cellist of choice for Toscanini, who described him as "the greatest" and said that "there is no one after him".

No cellist, not Casals, not Rostropovich, conveys for me the fire, the passion, the lyricism and the virtuosity of Feuermann. To me, his ur-recording is the great Brahms Double Concerto with Heifetz and Ormandy (1939) which has been my favorite for half a century. He died from easily preventable complications of a very minor surgery at age 39. His recordings are not many.

What is the nature of his greatness? It is not unlike that of Heifetz or Toscanini. Impeccable command and virtuosity go without saying. It is the underlying intensity--whether forte or piano or lyrical or martial, there is always the intensity of a musical life and sensibility that is always probing. There is no routine; every phrase, every note is informed with a vital spirit. Every note is pregnant with the next. Nothing is routine; nothing is repeated the same way. And there is the plangent tone--a bit thin and nervous compared to Rostropovich or Casals--that can either caress or whiplash, depending on the musical requirement. And how does one hear soft playing with such expression and underlying tension?

Suffice it to say that Feuermann knows how to be playful and dance as he does in the Schubert "Arpeggione" sonata. He opens the sonata with a light, somewhat sec tone, which announces that this is an early, light romantic work and not the C Major Quintet. He does not make heavy weather of the development, but keeps its dancing. Moore, perhaps the greatest accompanist who ever lived, is one with him. Feuermann's tone is a bit richer in the the lovely second movement, but he does not lean on the themes to exaggerate their importance. In the third movement, we are back to loose-limbed, insouciant joy.

I am currently selling a series of great Richard Wagener and classic European 78 rpm orchestral recordings on all the great European labels:

Gerald Moore, noted of Feuermann: "He had perfect intonation, utmost clarity of articulation, beauty of tone quality and mastery of rhythm. All these attributes were the back-bone of his art. From these foundations his imagination ranged freely. His playing - like the man himself - was in perfect taste , though possessed of a fiery temperament, it was held in control and he gave the impression of a most relaxed individual. As a man Feuermann was very well balanced, a delightful companion with thought and kindness for others."

Emanuel Feuermann Cello
Gerald Moore Piano.

in Schubert's sublime SONATA IN A MINOR (Arpeggione)

Complete on 3x 12" 78 rpm pre war gold label Columbia records no Album

Condition: EXCELLENT close to PRISTINE small rubs don't sound

Plays EXCEPTIONALLY quiet

A SUPERB COPY

A review of THIS RECORDING

Although Schubert wrote this sonata for Arpeggione and Piano, it is more usually played by cello and piano, and indeed on the discs from which this recording stems it is referred to as a Sonata for Cello and Piano. The Arpeggione was a curious instrument which didn't catch on. Developed in 1823 by the Viennese guitar luthier Johann Georg Staufer as a kind of upright bowed guitar, it had six strings, tuned as a guitar is, and was a fretted instrument.

Despite Schubert's use of it the following year, 1824, in this composition, written for an enthusiastic arpeggione player, Vincenz Schuster (who also wrote the only method book for the instrument in 1825), the use of the instrument never caught on and after about 10 years it had been largely abandoned.

Thus in the hands of Feuermann, with his subtle use of glissandi, the sonata is very much a piece for cello rather than a fretted arpeggione. His accompanist in this recording, Gerald Moore, noted of Feuermann: "He had perfect intonation, utmost clarity of articulation, beauty of tone quality and mastery of rhythm. All these attributes were the back-bone of his art. From these foundations his imagination ranged freely. His playing - like the man himself - was in perfect taste , though possessed of a fiery temperament, it was held in control and he gave the impression of a most relaxed individual. As a man Feuermann was very well balanced, a delightful companion with thought and kindness for others."

When listening to the marvellous third movement in our sample here and you can't help but delight in the playing of Feuermann, and agree with Moore's comments. This is a truly wonderful recording!

REVIEW OF: Schubert "Arpeggione" Sonata (Moore, 1937)

Emanuel Feuermann (1902-1942) was almost universally recognized during his brief lifetime as an unrivaled master of the cello. Artur Rubinstein said "Feuermann became for me the greatest cellist of all time". Jascha Heifetz accepted him as the first cellist worthy of serious collaboration, and would not play with another for nine years after his death. He was the cellist of choice for Toscanini, who described him as "the greatest" and said that "there is no one after him".

No cellist, not Casals, not Rostropovich, conveys for me the fire, the passion, the lyricism and the virtuosity of Feuermann. To me, his ur-recording is the great Brahms Double Concerto with Heifetz and Ormandy (1939) which has been my favorite for half a century. He died from easily preventable complications of a very minor surgery at age 39. His recordings are not many.

What is the nature of his greatness? It is not unlike that of Heifetz or Toscanini. Impeccable command and virtuosity go without saying. It is the underlying intensity--whether forte or piano or lyrical or martial, there is always the intensity of a musical life and sensibility that is always probing. There is no routine; every phrase, every note is informed with a vital spirit. Every note is pregnant with the next. Nothing is routine; nothing is repeated the same way. And there is the plangent tone--a bit thin and nervous compared to Rostropovich or Casals--that can either caress or whiplash, depending on the musical requirement. And how does one hear soft playing with such expression and underlying tension?

Suffice it to say that Feuermann knows how to be playful and dance as he does in the Schubert "Arpeggione" sonata. He opens the sonata with a light, somewhat sec tone, which announces that this is an early, light romantic work and not the C Major Quintet. He does not make heavy weather of the development, but keeps its dancing. Moore, perhaps the greatest accompanist who ever lived, is one with him. Feuermann's tone is a bit richer in the the lovely second movement, but he does not lean on the themes to exaggerate their importance. In the third movement, we are back to loose-limbed, insouciant joy.

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