{"product_id":"salmond-plays-beethoven-grieg-cello-sonatas-1926-29-pacm095","title":"SALMOND plays Beethoven \u0026 Grieg Cello Sonatas (1926-29) - PACM095","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Cello Sonata No. 3 in A major, Op. 69\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eGRIEG\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Cello Sonata in A minor, Op. 36\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eShort works by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003e Bridge, Bruch, Glazunov, Grieg, Popper \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eand \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSaint-Saëns\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr data_liveedit_tagid=\"000000000D7722F0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings · 1926-29\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:25\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFelix Salmond, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSimeon Rumschisky, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA robust-, rich-, and vibrant-toned player578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eBritish-born Felix Salmond (1888–1952) was a\ndistinguished cellist and later a highly regarded pedagogue at Juilliard\nand Curtis. Unfortunately, through no fault of his own, his performing\ncareer was seriously tarnished, perhaps even sidelined, due to the\ndisastrous London premiere of Elgar’s Cello Concerto in 1919, in which\nSalmond had been personally entrusted by the composer with the solo\npart. Elgar, who conducted the performance, had been given little time\nto rehearse, and the critics were merciless in their morning-after\nreviews. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThough he was in no way responsible for the\ndebacle, Salmond was thereafter dogged by it in the UK, so in 1922, he\ncrossed the Pond, made his New York debut, and settled in America. Two\nyears later he joined the faculty at Juilliard, and a year after that he\nwas appointed head of the cello faculty at the Curtis Institute of\nMusic, a position he held until 1942, when he abruptly resigned in a\nsnit over being snubbed by the institute’s new director, Efrem\nZimbalist, who had hired Emanuel Feuermann without consulting Salmond. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eMark Obert-Thorn, who remastered and produced\nthese recordings for Pristine, has written a bio of Salmond that is\nclose to a verbatim extract from Wikipedia’s entry on the cellist.\nThere’s nothing wrong in that, except that in cutting and pasting,\nObert-Thorn seems to have gotten some of the wording out of order, with a\nhighly amusing result that deserves quoting: “It was perhaps as a\npedagogue that Salmond left his most enduring legacy. He began teaching\nat Juilliard in 1924, where he stayed until his death, and was appointed\nhead of the cello department at the Curtis Institute the following\nyear….” There’s nothing like a little post-mortem moonlighting to ward\noff the eternal boredom. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eTo set matters straight, Salmond was at Juilliard\nfor only a short time before taking the position at the newly\nestablished Curtis Institute in Philadelphia, where, it’s true, he\nremained until he resigned in 1942 over the Feuermann affair. But as you\ncan see from Salmond’s dates given above, he lived another 10 years\nuntil 1952. If only he’d not let his bruised ego dictate his precipitous\nactions, he might have stayed on at Curtis until the end, for\nFeuermann’s tenure there was very brief, less than a year, in fact. He\ndied suddenly in 1942 at the age of 39 from complications following a\nsurgical procedure. So, out of pique, Salmond had given up a good job\nand prestigious position for nothing, though he probably took some\npersonal pleasure in seeing Zimbalist left twisting in the wind. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eAmong the students Salmond taught at Curtis, while\ndead according to Obert-Thorn, were Leonard Rose, Bernard Greenhouse\n(of Beaux Arts Trio fame), and Frank Miller, who played under Toscanini\nin the NBC Symphony Orchestra and recorded Strauss’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Quixote\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with the maestro for RCA in 1953. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eI’m not quite sure how prominent a pedestal\nSalmond occupies in the Cello Hall of Fame. His dates place him\nrelatively close to Pablo Casals (1876–1973), Guilhermina Suggia\n(1885–1950), Beatrice Harrison (1892–1965), and Gaspar Cassadó\n(1897–1966), of those who were born in the 19th century and lived far\ninto the 20th. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eI don’t believe Salmond recorded very extensively,\nthough he did make a handful of 78s for Columbia, mainly in the late\n1920s. Mark Obert-Thorn has put together this program from a number of\nthose Columbia recordings, all made in New York between 1926 and 1929.\nThere’s no point in pretending the sound on this CD will have you\nmarveling at how great it is. There’s considerable grit in the grooves,\nwhich manifests itself as a kind of constant low-grade swooshing\nbackground noise, like the cosmic radiation residue from the Big Bang. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eIf you can get past that, Salmond comes across as a\nrobust-, rich-, and vibrant-toned player—it’s easy to hear the\ninfluence he had on Leonard Rose—and as having a strong, confident\ntechnique. His big-ticket numbers on the disc, the Beethoven and Grieg\nsonatas, would be absolutely competitive in today’s market if the\nrecordings were up to current state-of-the-art standards. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eWith the exception of Bruch’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eKol Nidrei\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nthe remaining items on the disc fall into the category of short salon\nand encore-type pieces, all of which Salmond favors with his radiant,\nrotund tone. He’s placed forward and spotlighted, so that Simeon\nRumschisky’s piano sometimes seems banished to a faraway place, but\nRumschisky is no shrinking violet. He holds his own and proves himself\nan essential contributor to these performances. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eAs always, Pristine’s releases are available\ndirect from pristineclassical.com as physical CDs as well as\ndownloadable files in mp3 and FLAC formats. The current offering is well\nworth your attention, if great cellists and cello playing of the past\ninterest you. \u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJerry Dubins \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM095.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFelix Salmond, influential and inspirational English cellist, plays Beethoven, Grieg and more\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"\"they\nhave struck immediately the right mood for each movement and never lost\nsight of it amid the mass of detail\" - The Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eBritish cellist Felix Salmond (1888-1952) was born into a musical\nfamily.  His father was a baritone and his mother a pianist who had\nstudied under Clara Schumann.  He began formal cello studies at the age\nof 12, entered the Royal Academy of Music at 16 and went on to study at\nthe Brussels Conservatory at 19.  The following year, he made his debut\nat Bechstein Hall in London, in a program which included Frank Bridge’s\nFantasy Trio with the composer as violist and Salmond’s mother at the\npiano.\u003c\/p\u003e\u003cp\u003eSalmond’s attempt to build an international career was interrupted by\nWorld War I.  After its conclusion, he participated in the first\nperformance of Elgar’s String Quartet.  As a result, Elgar chose him to\ngive the première of his Cello Concerto under the composer’s direction\nin 1919.  The performance turned out to be a debacle.  Albert Coates,\nwho was conducting the rest of the concert, used up most of Elgar’s\nscheduled rehearsal time, leading the angered composer to consider\nwithdrawing the work.  For Salmond’s sake, he went on with the\nperformance; but the critics savaged the orchestra’s poor execution. \nWounded by the experience, Salmond would never play or teach the\nconcerto outside of England.  In 1922, he left for America, which would\nbecome his home base for the rest of his life.\u003c\/p\u003e\u003cp\u003eIt was perhaps as a pedagogue that Salmond left his most enduring\nlegacy.  He began teaching at Juilliard in 1924, where he stayed until\nhis death, and was appointed head of the cello department at the Curtis\nInstitute the following year (a post from which he abruptly resigned in\n1942 when the Institute’s new director, Efrem Zimbalist, engaged Emanuel\nFeuermann to join the faculty without having consulted Salmond).  His\npupils included Leonard Rose, Bernard Greenhouse, Frank Miller, Alan\nShulman, Daniel Saidenberg and Orlando Cole. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eSalmond’s discography is comparatively small.  After a few acoustic\nVocalions made in England before his emigration, he was signed by\nAmerican Columbia, where he benefitted from the recent defection of\ntheir star cellist, Pablo Casals, to the rival Victor label.  This\nrelease presents most of his electric commercial recordings, which ended\nin 1930, even though he was to continue performing for another two\ndecades.  It features two of the three album sets that Columbia issued,\nthe third being the Schubert B-flat Piano Trio with Myra Hess and Jelly\nD’Aranyi (Pristine PACM 083).\u003c\/p\u003e\u003cp\u003eThe present transfers were made from first edition American Columbia\n“Viva-Tonal” pressings, the quietest form of issue for these\nrecordings.  Some of the tracks, particularly the earliest ones, suffer\nfrom distant miking and have an inherently smaller signal-to-noise ratio\nthan others.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eCello Sonata No. 3 in A major, Op. 69\u003c\/span\u003e\u003cbr\u003e\n\u003cp\u003eRecorded 18 January and 16 February 1926 in New York City\u003cbr\u003e Matrix nos.: W 98207-3, 98208-1, 98209-3, 98210-1, 98225-3 \u0026amp; 98239-1\u003cbr\u003e First issued on Columbia 67187-D through 67189-D in Set 38\u003cbr\u003e \u003c\/p\u003e\n\u003cp\u003e• \u003cb\u003eBRUCH\u003c\/b\u003e: Kol Nidrei, Op. 47\u003cbr\u003eRecorded 5 and 17 June 1928 in New York City\u003cbr\u003eMatrix nos.: W 98550-1 \u0026amp; 98551-3\u003cbr\u003eFirst issued on Columbia 50073-D\u003c\/p\u003e\n\u003cp\u003e• \u003cb\u003eTRADITIONAL\u003c\/b\u003e (arr. O’Connor-Morris): Londonderry Air\u003cbr\u003eRecorded 15 February 1926 in New York City\u003cbr\u003eMatrix no.: W 98240-1\u003cbr\u003eFirst issued on Columbia 7107-M\u003c\/p\u003e\n\u003cp\u003e• \u003cb\u003eSAINT-SAËNS\u003c\/b\u003e: The Swan (from Carnival of the Animals)\u003cbr\u003eRecorded 15 March 1926 in New York City\u003cbr\u003eMatrix no.: W 98242-3\u003cbr\u003eFirst issued on Columbia 7107-M\u003c\/p\u003e\n\u003cp\u003e• \u003cb\u003eGLAZUNOV\u003c\/b\u003e: Serenade Espagnole, Op. 20, No. 2\u003cbr\u003eRecorded 19 April 1926 in New York City\u003cbr\u003eMatrix no.: W 98234-5\u003cbr\u003eFirst issued on Columbia 7117-M\u003c\/p\u003e\n\u003cp\u003e• \u003cb\u003eBRIDGE\u003c\/b\u003e: Mélodie\u003cbr\u003eRecorded 20 May 1929 in New York City\u003cbr\u003eMatrix no.: W 98660-2\u003cbr\u003eFirst issued on Columbia 50156-D\u003c\/p\u003e\n\u003cp\u003e• \u003cb\u003ePOPPER\u003c\/b\u003e: Gavotte in D major\u003cbr\u003eRecorded 15 June 1928 in New York City\u003cbr\u003eMatrix no.: W 98553-2\u003cbr\u003eFirst issued on Columbia 50156-D\u003c\/p\u003e\n\u003cp\u003e• \u003cb\u003eGRIEG\u003c\/b\u003e: To Spring, Op. 43, No. 6\u003cbr\u003eRecorded 25 October 1927 in New York City\u003cbr\u003eMatrix no.: W 98401-6\u003cbr\u003eFirst issued on Columbia 67363-D in Set 78\u003cbr\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eGRIEG  \u003c\/b\u003eCello Sonata in A minor, Op. 36\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cp\u003eRecorded 13 and 17 May 1927 in New York City\u003cbr\u003e Matrix nos.: W 98345-3, 98346-2, 98347-1, 98348-1, 98349-2, 98350-3 \u0026amp; 98351-4\u003cbr\u003e First issued on Columbia 67360-D through 67363-D in Set 78\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eFelix Salmond\u003c\/b\u003e   cello\u003cbr\u003e\u003cb\u003eSimoen Rumschisky\u003c\/b\u003e   \u003cspan\u003epiano\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM095.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM095.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003eBeethoven Cello Sonata No. 3 (original 78rpm issue)\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBeethoven’s \u003cem\u003eSonata in A\u003c\/em\u003e for ’cello and piano, op. 69, was\ndown on the list of works to be done by Columbia for the Beethoven\ncentenary. Whether it actually appeared with the rest of the centenary\nrecords I cannot say, but in any case it is only now that the discs have\nreached me. The \u003cem\u003eSonata \u003c\/em\u003eoccupies six sides (L. 1935—7, three\n12in. records, 19s. 6d.) and is admirably played (complete, of course)\nby Felix Salmond and Simeon Rumschisky. The ’cello \u003cem\u003eSonatas\u003c\/em\u003e are\nprobably less familiar to most people than those for piano or for\nviolin, but they form nevertheless a distinguished series in which the A\nmajor stands out much as the \u003cem\u003eKreutzer\u003c\/em\u003e does among those for violin or the \u003cem\u003eAppassionata\u003c\/em\u003e\namong the piano works. It is, that is to say, a good example of\nBeethoven’s “ middle period ” at its best, and as it is the middle\nperiod that has found most favour with the general public Columbia have\ndone wisely in selecting it for recording. The broad, spacious first\nmove­ment and the characteristic \u003cem\u003eScherzo\u003c\/em\u003e are on the usual Beethoven plan. But the slow movement after a promising start is suddenly abandoned (as happens also in the \u003cem\u003eWaldstein)\u003c\/em\u003e and we pass at once to the brilliant \u003cem\u003eFinale.\u003c\/em\u003e\nThe performers are fully competent technically to tackle what is by no\nmeans an easy work, and they deserve high praise for the manner in which\nthey have struck immediately the right mood for each move­ment and\nnever lost sight of it amid the mass of detail. The “ brassy ” quality\nof the Columbia ’cello tone, concerning which I have previously\ncomplained in these pages, has not quite disappeared, but it is far less\nmarked than it was, and is confined to a few loud passages in the tenor\nregister. Elsewhere and in other respects I found nothing to criticise\nand a great deal to admire. The work presents some difficult problems of\nbalance, especially perhaps in those passages where the ’cello part\nlies very low and the piano is busy above it. But all these have been\nsuccessfully negotiated, and we have on the whole a set of records\nworthy to rank with the other Columbia centenary issues. I can offer no\nhigher praise.\u003c\/p\u003e\u003cp\u003eP.L.\u003c\/p\u003e\u003cp\u003eThe Gramophone, September 1927\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":44064788742234,"sku":"qjg1789305051332","price":9.06,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":44064788775002,"sku":"vnd1789305051333","price":6.68,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/salmond-plays-beethoven-grieg-cello-sonatas-1926-29---pacm095_1.jpg?v=1789305058","url":"https:\/\/vestorawear.shop\/products\/salmond-plays-beethoven-grieg-cello-sonatas-1926-29-pacm095","provider":"My Store","version":"1.0","type":"link"}