Mendelssohn & Mozart : Violin Concertos

Mendelssohn & Mozart : Violin Concertos

17.00

Johanna Martzy, Wolfgang Sawallisch conducting the Philarmonia Orchestra

Testament SBTLP 1483

Testament Records : LP 180 gram

Brand New and Sealed Record

Add To Cart

Wolfgang Amadeus Mozart (1756 - 1791) :
A - Violin Concerto No. 3 in G, K. 216 (1775)
Felix Mendelssohn-Bartholdy (1809 - 1847) :
B - Violin Concerto in E minor, Op. 64 (1845)

Recorded on June 9 & 10, 1954, at Kingsway Hall in London 

Johanna Martzy (1924 - 1979) was one of the most accomplished among the pupils of Jenő Hubay. She learnt the basics of violin playing at the age of six. From 1930, Hubay gave classes to her, and in 1932 she was admitted to the Budapest Conservatory. At sixteen she won the Remenyi Prize and at seventeen the Hubay Prize, and she obtained her final diploma from the Conservatory in 1942. The war hindered the progression of her career, and she used these years to expand her repertoire. She did, however, give some concerts in Budapest, notably with Mengelberg in 1943. In 1944, she sought to escape the country, but was interned in Austria until 1946. After Liberation, Martzy moved to Switzerland, and in 1947 won the Geneva Competition, leading to a contract with Deutsche Grammophon. She recorded Dvořák’s Concerto with Fricsay and Mozart’s Fourth Concerto with Jochum. In 1953, she made her London debut, and was signed by Walter Legge. In February of the following year, she recorded her first disc for His Master’s Voice under the direction of Kletzki – Brahms’s Concerto. This was followed by Mozart’s Third Concerto with Sawallisch, Mendelssohn’s Concerto (twice, first with Sawallisch, and latterly with Kletzki), Beethoven’s Romances with Kletzki, and the complete Sonatas and Partitas of Bach, along with Schubert’s works for violin and piano, with Jean Antonietti. Her last recordings date from 1956. Walter Legge did not renew her contract: he had, in the meantime, signed the leading Russian players of the 20th century, David Oïstrakh and Leonid Kogan.

The "golden age" of recordings was from 1955 to 1965, at the beginning of the LP and the stereo era, where pure vacuum tube amplification helped produce recordings demonstrating unparalleled fidelity and warmth, lifelike presence and illumination.

This Testament Records LP, revived from the EMI-Columbia catalogue, was remastered at EMI's Abbey Road Studios in London, using pure analogue components only, from the original studio tapes through to the cutting head, and was pressed at Pallas.