Ivan Davis

First there was rhythm - pulsing, driving, primal rhythm. And a new word in musical terminology: Barbaro. As with sticks on skins, so with hammers on strings. The piano as one of the percussion family, the piano among the percussion family. The first and second concertos were written to be performed that way. But the rhythm had shape and direction, myriad accents, myriad subtleties. An informed primitivism. A Baroque primitivism. Then came the folkloric inflections chipped from the music of time: the crude and misshapen suddenly finding a singing voice. Like the simple melody - perhaps a childhood recollection - that emerges from the dogged rhythm of the First Concerto's second movement. András Schiff plays it like a defining moment - the piano reinvented as a singing instrument. His "parlando" (conversational) style is very much in Bartók's own image. But it's the balance here between the honed and unhoned, the brawn and beauty, the elegance and wit of this astonishing music that make these readings special.

It would be a sad day if Haydn and Mozart symphonies were only to be heard on period instruments, but with Sir Georg Solti and Sir Colin Davis jointly perpetuating the tradition of Haydn performances which Beecham created in the 78rpm era, with its combination of elegance and warm humanity, we need have no fears on this score.

This set documents over three decades of exceptional artistry by Sir Colin Davis, one of the musical pillars of the Philips label, who died on Sunday 14th April 2013. He was a musician of incomparable integrity and class.
After signing to Philips exclusively in the mid-1960s, Davis produced work for the label of the highest quality and range over the next three decades: the first Berlioz cycle , pioneering Tippett, superb Haydn and Mozart, top-rank Sibelius, Beethoven, Stravinsky, Dvorak and Britten, and much else.

Decca/London introduced Phase 4 Stereo in 1961. For classical music, the Phase 4 approach was based on miking every orchestra section individually, along with mics for selected instruments – up to a maximum of 20 channels, which were then mixed via a recording console. This resulted in a dynamic, in your face sound with relatively little hall ambience. The quality of the sound mostly depended on how skillfully the recording engineer balanced each channel – and the results were not always consistent. Thus, the Phase 4 sound was the antithesis of the minimally miked, “simplicity is wisdom” approach of the RCA’s early Living Stereo and Mercury’s Living Presence recordings, along with Telarc’s early digital recordings.

Decca’s first FFRR concerto recording available for the first time: Eileen Joyce / Tchaikovsky 2nd Piano Concerto – never released on 78rpm and long thought lost, the test pressings were recently found at the International Piano Archives in Maryland.

"Between 1972 and 1982 Maazel was Music Director of The Cleveland Orchestra and between 1973-79 made a series of recordings for Decca – all of which are collected here. The repertory includes many orchestral spectaculars and Decca’s first recording in Cleveland, Prokofiev’s Romeo and Juliet, is one of the very best and a recording which has achieved reference status. “…. The precision of The Cleveland Orchestra is little short of miraculous… the recording is one of Decca’s most spectacular, searingly detailed but atmospheric too.”

"Between 1972 and 1982 Maazel was Music Director of The Cleveland Orchestra and between 1973-79 made a series of recordings for Decca – all of which are collected here. The repertory includes many orchestral spectaculars and Decca’s first recording in Cleveland, Prokofiev’s Romeo and Juliet, is one of the very best and a recording which has achieved reference status. “…. The precision of The Cleveland Orchestra is little short of miraculous… the recording is one of Decca’s most spectacular, searingly detailed but atmospheric too.” [The Penguin Guide]

This release features a collection of what might be called piano orphans: commercial and non-commercial recordings of great pianists that simply have never found their way onto compact disc. Among these treasures are fifteen minutes of Dinu Lipatti playing Scarlatti and Brahms that have only recently surfaced; an unpublished disc of Alfred Cortot playing the “Russian Dance” from Petroushka; and previously unpublished excerpts of the Tchaikovsky first piano concerto played by Vladimir Horowitz with the Philadelphia Orchestra, recorded during a 1932 concert conducted by Fritz Reiner and recorded as an experiment by the Bell Telephone Laboratory. This is Horowitz's earliest known concert performance and is in amazing sound for that time. It is unfortunate that the entire concerto was not recorded, but hearing these excerpts will be a revelation for Horowitz fans. Also included are live concerto performances by Lev Puishnov and Guiomar Novaes. We feel certain that piano enthusiasts worldwide will treasure this 2-CD set as nothing like it has been heard since Gregor Benko produced his acclaimed Landmarks of Recorded Pianism LP forty years ago.