Bargain finds at Shabby Records - Solomon performs Beethoven's Third Piano Concerto


EMI HMV BSD 751
Beethoven: Concerto No. 3 in C minor, Op. 37 (1956)





ARTISTS:

Solomon, piano
Herbert Menges, conductor
Philharmonia Orchestra

LABEL/PRESSING:

White/gold

STAMPERS: 

OYEA 36-9
OYEA 37-13

PRICE RANGE:

Median $30, max $109

COMMENTS:

Shabby Records is a little gem of a record shop located in the coastal town of Haugesund (population 37,855), Norway, not far from the harbor. According to its website, it has been in business since 1989. They sell vinyl records, CDs, and DVDs of a wide variety of musical genres, including classical. It is here that I was fortunate enough to come across this interesting 10 inch EMI/HMV record for 70 Krone, which comes out to just under $7. For some reason, their credit card reader just wouldn't accept mine, so the owner held onto my records while I jogged over to the nearest ATM (called a "minibank") a couple of blocks away where I could withdraw some local currency.



Solomon Cutner (1902-1988), known professionally only by his first name Solomon, was a highly talented British pianist whose name is seldom mentioned these days. He made over 100 recordings (many for EMI/HMV), including the concertos and sonatas of Beethoven, Brahms, and Schumann, among many others. Interestingly, he performed the world premiere of Arthur Bliss' piano concerto in 1939 at the New York World's Fair. His musical career was sadly cut short by a stroke in 1956 that left his right arm paralyzed. At the time of the stroke, he was in the middle of recording the complete Beethoven piano sonatas, which he unfortunately never completed. Solomon never returned to the stage but lived for another 32 years. I came across a nicely written tribute, which I encourage you to check out if you are interested in learning more about this past master.

Most of Solomon's recordings were made before the age of stereo, but he did leave us with a few early stereophonic records, this being one of them. The others were EMI/HMV ASD 294 (Beethoven Piano Concerto No. 1) and EMI/HMV ASD 272 (Schumann/Grieg Piano Concertos). These were all recorded in 1956, shortly before his stroke. I found this information via a Solomon discography compiled by Michael H. Gray.

This is an enjoyable performance of Beethoven's third piano concerto. The third is one of my favorite of the five concerti and the only one in a predominantly minor key (although the gorgeous middle movement is in E major). Back in the day when my piano teacher encouraged me to pick up a concerto to work on, she suggested this one. I balked and went with the Gershwin Concerto in F.

This EMI/HMV 10 inch is not my reference recording but is worth considering if you can find it for a low price (see releases below). I definitely would not pay the Popsike prices quoted above. Solomon plays with such a beautiful and warm tone, which I find to be the highlight of this record. The sonics of my particular pressing are only okay for early stereo, certainly not in the same league as some of the better EMI/HMV and UK Columbia stereo records of the late 1950s and early 1960s. The soundstage is somewhat cavernous. Strings can sound a little bit muddy at times, and there is a bit of distortion during loud climactic passages. But hey, for $7, I'm not complaining. It's still a keeper with its beautifully laminated cover.

RELEASES:

There have been a number of vinyl releases of this recording:
  • HMV ALP 1546 (mono)
  • EMI SLS 5026 (boxed set of the five concerti)
  • World Record Club T 540, ST 540
  • Angel Seraphim (S) 60019 (US release)
  • Regal SREG 1053 (Spanish release)
I have not heard any of these but would wager that the EMI boxed set, WRC, and Regal could sound cleaner and more dynamic than the original pressing. If any of you have experience with these, please share your thoughts. We'd love to hear from you.







Here is a link to a Youtube video of this recording:


For more on the Beethoven piano concertos on vinyl, check out Meles' dedicated post on this topic from February 2015.






Comments

  1. That is a nice find. Herbert Menges was an interesting conductor too, I know him from some concerto recordings where he accompanied my compatriot Gina Bachauer. Since you live this side of the pond you may want to explore the European labels, such as Erato, Club Francais du Disque, Italian EMIs, the Spanish Discos Columbia, German Decca etc. But then again, you probably have :-)

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    1. Thanks for the recommendation, kostaszag! Actually, Meles and I are both on the other side of the pond, so it can be a bit more challenging to find those European pressings in our shops. I do enjoy crossing the Atlantic, though, for vacation, and if I am lucky to find a record shop, I try to make a stop!

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    2. Kostaszag - perhaps you could shed some light on a question that I have. What do you know about German and Australian pressings of the UK Columbia recordings? Some of the Australian ones seem to have the same stamper numbers as the UK editions. Any reason to think that these might sound better, worse, or no different?

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    3. If you ever make it again to Europe, tell me what country you are visiting and I may be able to give you a tip about the records worth plundering :-)

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    4. That's very kind of you to offer! Thank you! I will certainly take you up on that!

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    5. aqlam, indeed, many Australian and German pressings (and French, and Italian, and Spanish...) seem to be made with UK stampers. They have, however, in many occasions a different numbering system. So, my guess is, instead of EMI/Columbia sending copies of the master tapes to be mastered in situ like DG did, they sent mothers from whom stampers were made. This was certainly done for the Australian World Record Club, who insisted on mothers made from the same master as the original records. They had an issue with EMI, who first play-checked them before sending them, as their chief technician thought it would damage the mother somehow. I did acquire one WRC copy of the Brahms concerto with Kogan, mastered by the Australians. It was an error -I ordered an edition made with British stampers, but the dealer sent me the wrong one and I did not have the heart to send it back or demand a refund as it is an easy mistake to make. I did not regret it, it sounds every bit as good as my Concert Classics LP.

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    6. More information on the WRC here: https://www.stereonet.com/au/features/stories-from-the-club-part-3

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    7. Kostaszag, thank you very much for your detailed response and for sharing that link to the WRC article. I learned a lot reading it and have a whole new appreciation for the WRC label.

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    8. Sorry, that was me commenting as anonymous above.

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  2. I love this until Solomon starts playing.😐 I think it is much more likely that the author of this post is some kind of reverse Viking Who plundered Norway on a recent visit hehe. Hopefully there was time for a rail tour in between the record shops.😆

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  3. EMI presumably didn't admit the Sonata 22 (presumably on the Regal) was a 1951 mono...as that (c/w PC3) was first issued as ALP1546. Not for the WRC ST 540 (matrices are SW8474/5 -1).
    The WRC is certainly 'transistory-sounding' -but only have the ASD PC1. Bit too gentle piano-playing: recently was playing a couple of Brendel/Vox (UK Turnabout PC1/4) - more to my taste & sounds nice.

    FYI: Philip Stuart is currently collating a complete WRC discography..

    Nice re-design hereaboutz

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    Replies
    1. It's really great to hear from you, Tin Ear! I hope you are doing well! Happy to hear you like the new look of the site!

      I have seen but not yet heard those Brendel/Vox recordings. I see those were mastered by Rudy Van Gelder of Blue Note Records (and many others) fame. Do you prefer those 1960s performances to his later ones on Philips?

      I look forward to that WRC discography. After my "exploration" of the "more collectible" record labels led me to the stark realization that collectibility and price did not directly correlate with sound quality or musical enjoyment, I decided to check out the reissues of my favorite performances/recordings on "budget" labels such as WRC, Regal, and others. I know you, Meles, and others have praised their qualities in the past, but I just never jumped on the bandwagon until now. My experience so far has been very positive, and I hope to share some of my thoughts on the site in the near future. As always, your insight and commentary are warmly welcomed!

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    2. Just popped-by to see if anything new had occured !
      Decca mastered UK Turnabouts (but the Johanos/Copland looks suspiciously like a Hancox mastering). Never listened to my Philips/Haitink box. Got the Philips/Digital live Levine LPs (99pee NEW some few years back on eBay). Thought it was great: but so far only played #1 !!!

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