Smiley (1956) Anthony Kimmins, Colin Petersen, Bruce Archer, Ralph Richardson

Que voulait dire Einstein par E = mc2 ?
Comment un trou noir se forme-t-il ?
À quoi sert une quatrième dimension ? …

The first pleasant surprise here is the brightness and clarity of the radio broadcast sound; indeed, it is a bit too bright and harsh but better that than muddiness. There is evidently an audience who applaud at the end but otherwise there is no extraneous noise throughout. Secondly, there is the spring and bounce of the English Chamber Orchestra, alertly directed by Baroque specialist Sir Anthony Lewis. Thirdly we hear a first rate cast of splendid voices headed by Janet Baker, an array of voices unequalled in any of the other nine extant recordings.

Elgar’s Violin Concerto has a certain mystique about it independent of the knee-jerk obeisance it has received in the British press. It probably is the longest and most difficult of all Romantic violin concertos, requiring not just great technical facility but great concentration from the soloist and a real partnership of equals with the orchestra. And like all of Elgar’s large orchestral works, it is extremely episodic in construction and liable to fall apart if not handled with a compelling sense of the long line. In reviewing the score while listening to this excellent performance, I was struck by just how fussy Elgar’s indications often are: the constant accelerandos and ritards, and the minute (and impractical) dynamic indications that ask more questions than they sometimes answer. No version, least of all the composer’s own, even attempts to realize them all: it would be impossible without italicizing and sectionalizing the work to death.

Jennifer Vyvyan is the star of Handel’s Semele in an early recording of the opera conducted by Anthony Lewis and recorded for L’Oiseau-Lyre in 1956; this pioneering Handel recording of the 1950s in a new digital remastering, released on Decca CD for the first time.

The Modern Jazz Quartet - Germany 1956-1958. Lost Tapes (2013) {Jazzhaus}
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Jazz / Cool / Third Stream / Bop

At the time of these recordings, John Lewis was still in the process of developing the unique concept of MJQ as a jazz chamber group, for which he often scored even the bass and drum parts. Every track of this pioneering early phase exemplifies how Lewis, to quote Andre Francis, turned four musicians into 'a sensitive instrument which vibrates in the same universe of sound, achieving a communion unique in the world of jazz.'