Deutsche Grammophon LPM 18622: Schneiderhan's Second Set of Beethoven Sonatas ... in Mono

Deutsche Grammophon LPM 18622

Beethoven: Violin Sonata No. 3 in E flat major, Op. 12, No. 3; No. 4 in A minor, Op. 23; No. 6 in A major, Op. 30, No. 1

Wolfgang Schneiderhan, violin
Carl Seemann, piano

Pressing: German, blue tulips "Alle Hersteller", mono

Condition: NM

Date first published: 1961

Stampers: H0/HE

Performance: 5/5

Sound: 4/5

Price range: Insufficient data

Comments: My friend Eric (whom I accredit with getting me into the classical collecting hobby to begin with) used to always tell me that when it came to chamber music or solo instrumental recordings, it didn't always make a big difference if you picked up the mono or stereo issue.  This was especially relevant when it came to albums whose stereo releases were highly collectible, though in some cases (e.g. Leonid Kogan and Elizaveta Gilels playing Leclair violin sonatas on Columbia SAX), even the mono LPs were expensive.  With chamber music and solo instrumental works, the whole concept of stereophonic imaging and soundstage has somewhat less importance (though a finely recorded chamber music recital with multiple instrumentalists is certainly capable of nice imaging) to the enjoyment of the recording compared to large orchestral works in which the listener may prefer to hear the distinct placement of individual instrument sections.  Schneiderhan recorded the set of Beethoven violin sonatas twice for DG, once in mono with Wilhelm Kempff and once in stereo with Carl Seemann.  I think that collectors tend to prefer the mono interpretations, but others may prefer the stereo recordings just because they are in stereo.  This one was recorded in stereo, but I found the mono issue at a local shop for $6 and decided to pick it up.  I'm glad I did so, because the record is very enjoyable in mono.  Schneiderhan plays with a lovely tone throughout (there is some very beautiful and expressive playing in the slow movements), and Seemann provides a sensitive accompaniment.  Like the previously reviewed Beethoven concerto, the sound here is warm, clear, and undistorted.  Dynamic range not the greatest, but hey, this is chamber music.  I'd like to get my hands on the stereo sometime to compare, but any of these mono Schneiderhan recordings are well worth obtaining for cheap.