EMI Classics Icon: Alicia De Larrocha

[ravel30]

Hi,

I love Alicia De Larrocha's playing of Albeniz, Granados and De Falla with a passion. For example, Granados' Goyescas played by her on EMI classics, Decca and RCA is the only piece that I have in three different versions by the same artist. Her recording on EMI Classics is probably my favorite version and it is one of the few recordings that I have where I actually think that the fact that it is an older recording (late 50s) add to the enjoyment of the music . I enjoyed that recording so much that I one thought to myself that it would be nice if there were some sort of EMI recording from the same time of Granados' 12 Spanish Dances.

While doing research on the subject, I found out what seems like an extraordinary set



My ears are filled with excitement just by looking at the listing of the pieces in this set.

Does anyone here have a copy of this set ? If so, what are your thoughts of it ?

Question for Lance (or anyone else). A while ago you mentionned an old recording under a spanish label of some of these pieces by De Larrocha. Is it this one ? A reviewer on Amazon.com mentionned that this was recorded by a spanish label named Hispavox. Is it true ? And is it the one you were refering to ?

I hope that I am not the only one here who has a passion for Granados, De Falla and Albeniz.

Definitively on my wishlist.

All the best,

Matt.

[dirkronk]

A customer review on Amazon indicates that almost all of the recordings on the EMI box are NOT recorded by EMI (only a handful of them are) but are instead the Hispavox recordings of the '50s and '60s, whose archives were acquired by EMI a while back. Truth in labeling notwithstanding, this is not a bad thing. That was a great catalog of recordings and I would expect the divine Alicia to be terrific here. Most of her early recordings in my collection are. I too am salivating.

Cheers,

Dirk

[Bösendorfer]

I too am potentially interested. Does anyone know how these particular recordings rate among Larrocha's output?

Florian

[Chalkperson]

She has three period's, Early, Middle and Late...I like the early ones...

[Lance]

I have this marvelous set of eight (8) CDs [EMI 29486], all of which were licensed by Spanish Hispavox to EMI-Odeon/Madrid, Spain with the exception of the Montsalvatge Piano Concerto (r. 1992, Barcelona by EMI-Odeon), and the live Hunter College/New York City recital with soprano Victoria de los Angeles in 1971, recorded by EMI-Angel. The Hispavox records were made in the early to mid-1960s prior to the pianist's contract arrangement with British Decca. De Larrocha's recordings of Spanish music—regardless of the times/locations—remain wonderful and no doubt the most "authentic" documents of this music, which ran through the pianist's veins. She was noted internationally for her natural flair for Spanish music. There is a spontaneity and joy in her earliest recordings that makes the greatest musical impressions, at least to my ears. The pianos used (Steinways) in the Spanish-derived recordings, while well prepared, had a quality of sound that was sometimes very strange (example: Granados Goyescas, especially in their "voicing;" the acoustics of the Spanish venues may not always conveyed a beautifully "round" sound, but they offered a clarity and brilliance that was not found in her later recordings for Decca-London and particularly the RCA recordings. British Decca provided de Larrocha with the artist's best-sounding later stereophonic inscriptions. One cannot help to become exceedingly attached, nonetheless, to the Spanish-made recordings regardless of sound or pianos. All of these recordings have been issued previously on CD by EMI though some were very hard to locate at times. This is a superlative package in honour of Ms. de Larrocha.

I also very much loved de Larrocha's American Decca recordings made in New York City, which eventually found their way to budget-priced MCA "twofer" sets, now collector's items and it would not surprise me if Universal eventually comes out with their own reissue of these early Decca mono recordings. ♪

[val]

I have the first version of Iberia, recorded by Larrocha for HISPAVOX (1962) (now under EMI label). Regarding the dynamic and the balance I think it is her best version.
However, her 2nd version, for DECCA (1973), has a very beautiful colour.

I also love, among her recordings for HISPAVOX a remarkable version of the Suite española (1959), and Falla's "Noches" with Arambarri (a better interpretation that the one she recorded for DECCA with Frühbeck de Burgos.

[Bösendorfer]

Thanks for your responses, Lance especially! This sounds great then! I found a review of Jed Distler on arkiv too, and he seems to agree exactly with Lance's comments.

At JPC the set is listed for just 23 euros! (and they have generous sound samples, as usual) Has anyone seen it cheaper elsewhere?

Florian

[Lance]

Many thanks! You are sure to enjoy this wonderful reissue. It's a bargain-and-a-half. The 23 euros sounds about right. If you can get the EMI Icon series for the American equivalent of $4/disc or less (more for a few of the sets, but still close in price), you are getting a good bargain in this day and age. If you are into the VOCAL EMI collections, be sure to check out the Nicolai Gedda. There's some great material in that box that has heretofore not been issued on CD.

Thanks for your responses, Lance especially! This sounds great then! I found a review of Jed Distler on arkiv too, and he seems to agree exactly with Lance's comments.

At JPC the set is listed for just 23 euros! (and they have generous sound samples, as usual) Has anyone seen it cheaper elsewhere?

Florian

[ravel30]

Yes indeed. Many thanks to you Lance for your comments on that set. Thanks to you, my mind is pretty much set. While on the topic of EMI Classics Icon, what do you think of the Icon boxset of Giesekind, Samson Francois and Richter ? I don't have anything from these pianists and it seems like it would be a good place to start.

Matt.

[Lance]

Regarding the Gieseking and Schnabel sets, I already have the entire contents on previous CD (and LP) releases by EMI. I don't believe anything in those two CD boxed sets have been remastered again so I didn't see a need to acquire them. The Richter boxed set is a must as is the Samson François set, especially the latter since many of Samson's discs were difficult to find outside of France. Richter collectors probably have most—if not all—of his EMI recordings, but if you're a newbie to Richter, this is a very special set, as is the David Oistrakh and Fritz Kreisler sets. I imagine that once all these Icon sets go out of print they will be highly coveted; I also doubt they would be reissued again to a newer generation who consistently seems to be uninterested in hearing deceased artists in favour of up-to-date sound. I understand, though, they are selling extremely well at the present.

Yes indeed. Many thanks to you Lance for your comments on that set. Thanks to you, my mind is pretty much set. While on the topic of EMI Classics Icon, what do you think of the Icon boxset of Giesekind, Samson Francois and Richter ? I don't have anything from these pianists and it seems like it would be a good place to start.

Matt.

[fmnewyork]

I have the first version of Iberia, recorded by Larrocha for HISPAVOX (1962) (now under EMI label). Regarding the dynamic and the balance I think it is her best version.
However, her 2nd version, for DECCA (1973), has a very beautiful colour.

I also love, among her recordings for HISPAVOX a remarkable version of the Suite española (1959), and Falla's "Noches" with Arambarri (a better interpretation that the one she recorded for DECCA with Frühbeck de Burgos.

I don't have this box yet, but it does look like they've left off her first recording of Iberia. The 1962 mentioned above by Val is Larrocha's second recording of Iberia. She also recorded it in mono for Hispavox (also issued on Columbia LPs) and that is her first Iberia. Does the booklet claim this set to contain her complete Hispavox recordings? If so, they missed an important one.

[Lance]

I can't see where EMI mentions that ALL the de Larrocha Hispavox recordings are included in the set. It's like many of the EMI Icon series sets (Fischer, Schnabel, Solomon, etc.) where they are not meant to be complete but to offer, instead, a good overview, which, of course, is true of these sets. Naturally, there will be items we all know that we WISH were within those boxes. It would have been nice to have all the Op. 119 Beethoven Bagatelles in the Schnabel set or all the Handel recordings in the Edwin Fischer set.

I have the first version of Iberia, recorded by Larrocha for HISPAVOX (1962) (now under EMI label). Regarding the dynamic and the balance I think it is her best version.
However, her 2nd version, for DECCA (1973), has a very beautiful colour.

I also love, among her recordings for HISPAVOX a remarkable version of the Suite española (1959), and Falla's "Noches" with Arambarri (a better interpretation that the one she recorded for DECCA with Frühbeck de Burgos.

I don't have this box yet, but it does look like they've left off her first recording of Iberia. The 1962 mentioned above by Val is Larrocha's second recording of Iberia. She also recorded it in mono for Hispavox (also issued on Columbia LPs) and that is her first Iberia. Does the booklet claim this set to contain her complete Hispavox recordings? If so, they missed an important one.

[dirkronk]

I can't see where EMI mentions that ALL the de Larrocha Hispavox recordings are included in the set.

True. The odd thing is that the box promises the "Complete EMI Recordings"...which, apparently, isn't quite true either, but hey...


Dirk

[Lance]

Other than the Hispavox recordings, I think EMI/Angel only recorded de Larrocha in the Hunter College recital with soprano Victoria de los Angeles. Decca and RCA seem to have made the bulk of her recordings with American Decca also making some early mono recordings in the 1950s. Decca should have issued a complete de Larrocha set, though they did issue a very nice boxed set [473 813, 7 CDs] of much of her material. She's a pianist who really carved out a nitch for herself and, near as I know, there's nobody to take her place, particularly in the Spanish repertoire. Australian Eloquence also issed some material, most of which did not appear in Decca's 7-CD set mentioned above. I thought her Schumann recordings (Decca) to be in a class by themselves, and her Beethoven concerto recordings (RCA) to be top-drawer. Her Mozart traversal on RCA was also excellent but I was not as enamoured with the sound.

I can't see where EMI mentions that ALL the de Larrocha Hispavox recordings are included in the set.

True. The odd thing is that the box promises the "Complete EMI Recordings"...which, apparently, isn't quite true either, but hey...


Dirk

[CharmNewton]

I have the first version of Iberia, recorded by Larrocha for HISPAVOX (1962) (now under EMI label). Regarding the dynamic and the balance I think it is her best version.
However, her 2nd version, for DECCA (1973), has a very beautiful colour.

I also love, among her recordings for HISPAVOX a remarkable version of the Suite española (1959), and Falla's "Noches" with Arambarri (a better interpretation that the one she recorded for DECCA with Frühbeck de Burgos.

I don't have this box yet, but it does look like they've left off her first recording of Iberia. The 1962 mentioned above by Val is Larrocha's second recording of Iberia. She also recorded it in mono for Hispavox (also issued on Columbia LPs) and that is her first Iberia. Does the booklet claim this set to contain her complete Hispavox recordings? If so, they missed an important one.

It is possible that the stereo Iberia published in 1962 is the earlier recording. Even an A-B comparison between the two might not tell the whole story as different takes may have been edited into the two releases.

That being said, EMI made what I think is an egregious error in its complete Casals set by not including his recordings as a conductor (Beethoven Symphonies 1, 4 and Coriolan Overture and Brahms Haydn Variations) made in the 1920s.

John

[fmnewyork]

Her first Iberia recording had already been published before she even went into the studio in 1962 to record Iberia again. I don't follow your logic about them mixing takes between the recordings. There'd be no reason to do that and they're not going to mix mono with stereo or vice versa. She recorded Iberia in the late 1950s in mono and then redid it in stereo in 1962. Those are her first two of what would eventually be four Iberia recordings by de Larrocha.

[CharmNewton]

Her first Iberia recording had already been published before she even went into the studio in 1962 to record Iberia again. I don't follow your logic about them mixing takes between the recordings. There'd be no reason to do that and they're not going to mix mono with stereo or vice versa. She recorded Iberia in the late 1950s in mono and then redid it in stereo in 1962. Those are her first two of what would eventually be four Iberia recordings by de Larrocha.

That a recording was first issued in mono doesn't mean it wasn't recorded in stereo. The EMI Icon box does not list a recording date, just a publication date and that publication date could be the stereo release of an earlier recording. An example is Rubinstein's 1954 recording of Brahms' Concerto No. 1 conducted by Reiner with the CSO. Long available only in mono as LM-1831, it made its first appearance in stereo around 1975. That recording was made on two different machines (with two producers) at the same time and a few different takes were used for the stereo recording than were used for the earlier LP (this was noted by reviewers at the time).

If there are two recordings, do you know the session dates?

John

[ravel30]

I have another question for Lance (or anyone else). On ClassicsOnline.com, you can find a recording of Goyescas by De Larrocha dating from 1956 and a recording of the Spanish Dances from 1954.

Do you know if these recordings would be the same by Hispanovox ? Or perchaps they are live recordings ? In any cases, listening to the excerpts, I mush say that they sound amazing.

Matt.

[fmnewyork]

Those are neither Hispavox nor live performances. They were on American Decca and were reissued on now very hard to find MCA CDs. The Goyescas is just five of the pieces so it's not complete.

As far the the other question about whether there are one or two recordings of Iberia for Hispavox. No, I do not have session dates. I do however own both recordings and they are clearly different performances. While you can find a few instances of a mono recording later being issued in stereo, the other scenario where an artist is invited to make a stereo recording of something they previously recorded in mono is far more common.

[CharmNewton]

As far the the other question about whether there are one or two recordings of Iberia for Hispavox. No, I do not have session dates. I do however own both recordings and they are clearly different performances. While you can find a few instances of a mono recording later being issued in stereo, the other scenario where an artist is invited to make a stereo recording of something they previously recorded in mono is far more common.

Excerpts from the earlier recording are available from Denon. Here is a link to MP3 downloads.

http://www.amazon.com/Albeniz-Iberia-Su ... B002EDOIY0

The timings vary considerably from the EMI for some pieces. The earlier recording also like genuine stereo.

John

[fmnewyork]

Is there a link that provides some details about the recording? All I can see is one user review saying it's from 1959. Where is he getting that information from? Apparently this series is available on itunes, but I don't have itunes installed on my pc, and you can't search the itunes store without it (a direct itunes link might work though). The amazon link doesn't give any recording details. Also, unfortunate that they didn't issue the complete Iberia. Very annoying. A French label did that with the Yvonne Loriod Iberia. There you have a recording issued on two nearly impossible to find French LPs, and the CD reissue is incomplete.

[ravel30]

How would you guys rate the 4 recordings of Goyesca by Mrs. De Larrocha ?

Personnally, I think that the three that I have (I do not have the first Decca recording) all have goods. For example, I like the EMI Classics one because of its imperfections, the sound of the piano and the brilliance of playing. But overall, I rating would be:

-Decca (1977) Amazing clear sound and wonderful playing
- EMI Classics Technically brilliant with little sounds here and there that we do not hear on the other recordings
- RCA My first exposure that got me hook to Granados.

And I cannot comment of the first Decca recording.

Matt.

[Chalkperson]

I like the later Decca Recording...

[CharmNewton]

Is there a link that provides some details about the recording? All I can see is one user review saying it's from 1959. Where is he getting that information from? Apparently this series is available on itunes, but I don't have itunes installed on my pc, and you can't search the itunes store without it (a direct itunes link might work though). The amazon link doesn't give any recording details. Also, unfortunate that they didn't issue the complete Iberia. Very annoying. A French label did that with the Yvonne Loriod Iberia. There you have a recording issued on two nearly impossible to find French LPs, and the CD reissue is incomplete.

I did quite a bit of searching for details on de Larrocha's recordings of Iberia, but it proved futile as far as recording details. One Spanish discography lists a recording for American Decca during the 1954-56 period, but if that recording was made it doesn't look to have been released. That same discography lists only one version for Hispavox--the 1962 recording. An Albeniz discography couldn't clarify the question either.

The timings of some of the movements are considerably slower in the earlier recording while others are fairly close. Until exact details emerge, there are a number of possibilities surrounding these recordings. The Epic release of the 1962 recording leaves no doubt there are two different recordings as it states "Newly recorded in stereo" on the box.

I've written to EMI in the past, but they've stopped responding. It can't hurt to try again.

John

[fmnewyork]

The 2-LP set I have containing her first Iberia is Columbia M2L 268. It says Recorded in Spain by Hispavox. This LP set is already listed in the 1960 Schwann Artist issue so it predates the 1962 recording, and I believe I narrowed that down to a 1959 release when I put together an Iberia discography for IPQ years ago.

Years ago I transferred this to CD for a friend who wanted to hear it. It's not a professional transfer by any means, but I kept a copy of the CD transfer. I could make that available to anyone that wants to do more detailed comparison work against the later recording or the Denon CD. It's more than 50 years old so I'm not concerned about copyright.

One more odd thing I just realized. The entire early Iberia easily fits on one CD so why doesn't the Denon CD contain all 12 pieces?

Here are the timings:
1) 5:28
2) 4:03
3) 8:19
4) 7:09
5) 8:31
6) 4:59
7) 7:06
8) 6:26
9) 5:56
10) 4:27
11) 8:57
12) 5:14
Total 76:42

[Lance]

I did some research on what I have on discs of IBERIA w/de Larrocha. The 2-LP set referred to by Farhan [American Columbia M2L 268] was a mono-only recording originally made in Spain by Hispavox. While I have all of de Larrocha's America Decca LPs, I did not find an early "mono" Iberia so that cannot have been released by American Decca, even under license. 1959 saw record companies already into stereophonic recording techniques. I'm surprised that American Columbia did not issue this Iberia in stereo unless it was recorded by Hispavox in mono only prior to the American Columbia release.

I also found I have a German Sony CD [71001, 63:08] of Albeniz's Iberia. The disc is marked "DDD," which may or may not be erroneous and it does NOT say "Recorded by Hispavox," nor does it indicate any date of actual recording or venue. I have a feeling this may be the same version Epic Records issued in stereo, which certainly was not recorded digitally! [Note: This last sentence was added next day and before I realized Farhan had written his comment about the MHS release, shown below. We are on the same mental track!]

On LPs, the Musical Heritage Society issued quite a number of early de Larrocha material. There was an Iberia (and a Navarra) issued on MHS 1307/08. Those LPs are stored in my garage and are not immediately accessible (too much junk in front of the cabinets!), but if memory recalls, I believe all the MHS issues were licensed from Hispavox. When possible, I will check to see if these are in mono only.

It looks like Farhan has de Larrocha's first recording on his Columbia LP set ... lucky man! CMGers, please continue to shed any light you can on this subject!

[CharmNewton]

The 2-LP set I have containing her first Iberia is Columbia M2L 268. It says Recorded in Spain by Hispavox. This LP set is already listed in the 1960 Schwann Artist issue so it predates the 1962 recording, and I believe I narrowed that down to a 1959 release when I put together an Iberia discography for IPQ years ago.

Years ago I transferred this to CD for a friend who wanted to hear it. It's not a professional transfer by any means, but I kept a copy of the CD transfer. I could make that available to anyone that wants to do more detailed comparison work against the later recording or the Denon CD. It's more than 50 years old so I'm not concerned about copyright.

One more odd thing I just realized. The entire early Iberia easily fits on one CD so why doesn't the Denon CD contain all 12 pieces?

Here are the timings:
1) 5:28
2) 4:03
3) 8:19
4) 7:09
5) 8:31
6) 4:59
7) 7:06
6:26
9) 5:56
10) 4:27
11) 8:57
12) 5:14
Total 76:42

The timings for what is listed as the Denon MP3 downloads (it wouldn't be the first time I've found these to be incorrectly linked to a recording) are different from those listed above:

1. 6:00
2. 4:10
3. 9:00
4. 7:24
5. 9:49
6. 5:06
7. 7:27
8. 7:02
9. 6:54

In an earlier post, you mentioned a re-issue of part of a recording of Yvonne Loriod. Could that be what we have here? The downloads sound like genuine stereo.

A link to Denon Music Licensing lists the contents of the de Larrocha CD and they are only the nine movements of the first three Books.

http://www.denonmusiclicensing.com/classicalcatalog.asp

John

[fmnewyork]

The Denon CD timings match her 1986 Decca recording almost to the second. Only track nine is different by about 11 seconds (Decca is longer). Seems very likely that the Denon is just a licensing of the Decca recording.

[fmnewyork]

Just want to tie up a couple of loose ends. The MHS LPs Lance mentions are all stereo recordings. For Iberia they used the stereo Hispavox recording that was issued here on Epic LPs.

Regarding a possible stereo version of her first Iberia recording, after thinking about it some more I realize that it would be very very unlikely to exist. Although labels were making stereo recordings in 1959, that was mostly for orchestral recordings. Solo piano recordings in stereo came a bit later. Columbia and even RCA were not doing solo piano in stereo back in 1959.

We also don't know the exact recording year of that first Iberia. All we know is the year the Columbia LPs were issued. It's very possible that a local Hispavox release preceded the Columbia LPs, which would put the recording date a year or more before 1959 thus making a stereo version even less likely.

[maestrob]

I've got the MCA Classics CD releases of De Larrocha's early Decca recordings that were, IIRC, initially released here on Columbia LPs in 1959: the recording dates range from 1954-1956, and they are, of course MONO.

Here's a listing:

Disc One:

Granados: Goyescas, Part One: May 16, 1955

Escenas Romanticas: March 28, 1956

Disc Two:

Oscar Espla: Sonata Espanola, Op. 53: March 28, 1956

Rodrigo: Danzas de Espana: March 28, 1956

Granados: Danzas Espanolas: November 17, 1954

Hope this helps clarify matters.

[Lance]

Yes, I have enjoyed those recordings as well. They appeared on MCA 9824A/B in an early "twofer" CD set. I believe the mastering was AAD rather than ADD.

I've got the MCA Classics CD releases of De Larrocha's early Decca recordings that were, IIRC, initially released here on Columbia LPs in 1959: the recording dates range from 1954-1956, and they are, of course MONO.

Here's a listing:

Disc One:

Granados: Goyescas, Part One: May 16, 1955

Escenas Romanticas: March 28, 1956

Disc Two:

Oscar Espla: Sonata Espanola, Op. 53: March 28, 1956

Rodrigo: Danzas de Espana: March 28, 1956

Granados: Danzas Espanolas: November 17, 1954

Hope this helps clarify matters.

[forlino]

From what I understand, Larrocha's (early 60's stereo) Epic version of the Goyescas was recorded by Spanish Hispavox. I prefer this to the 1970's London (less fussy and less mannered). But I really like best of all her playing in the 1950's. I have the American-Decca mono Goyescas on the original LP (DL-9779) (I don't have the second LP, which included the last two pieces: "El Amor y la Muerta" and "Epilogo" -- but a friend of mine taped me those final two pieces for me). But one side of my DL-9779 record has groove damage -- very bad damage -- for some reason, and I don't know how it happened; it's like a very loud, scratchy, "whushy" sound each time the record revolves. I've tried scrub-cleaning it three times on my Nitty-Gritty, to no avail. I would do ANYTHING to get a copy of that MCA CD of her mono Goyescas and whatever else is on the MCA set, and would be more than happy to reciprocate in any way! I've been collecting records since the early 1960's and specialize in past pianists (also famous conductors), but I love all periods and styles of classical music.

Paul (forlino@ca.rr.com)

[Lance]

Paul: We are delighted to see you on CMG once again. I note you joined in December 2007. We hope you will visit our site more frequently. You sound like a man after our own heart(s). In any event, I am sending you a PM (private message). Just click on it.

From what I understand, Larrocha's (early 60's stereo) Epic version of the Goyescas was recorded by Spanish Hispavox. I prefer this to the 1970's London (less fussy and less mannered). But I really like best of all her playing in the 1950's. I have the American-Decca mono Goyescas on the original LP (DL-9779) (I don't have the second LP, which included the last two pieces: "El Amor y la Muerta" and "Epilogo" -- but a friend of mine taped me those final two pieces for me). But one side of my DL-9779 record has groove damage -- very bad damage -- for some reason, and I don't know how it happened; it's like a very loud, scratchy, "whushy" sound each time the record revolves. I've tried scrub-cleaning it three times on my Nitty-Gritty, to no avail. I would do ANYTHING to get a copy of that MCA CD of her mono Goyescas and whatever else is on the MCA set, and would be more than happy to reciprocate in any way! I've been collecting records since the early 1960's and specialize in past pianists (also famous conductors), but I love all periods and styles of classical music.

Paul (forlino@ca.rr.com)

[forlino]

Thanks for the very kind words, Lance..

By the way, in regards to:
-- "When she started to play, Mr. Steinway came down and personally
rubbed his name off the piano [speaking about pianist &*$#@+#]".....
Wasn't that a comment that Bob Hope made about Phyllis Diller?

[Lance]

My pleasure - and thank you for your PM response!

Truthfully, I never found out WHO the pianist was supposed to be. It could be you're right about Bob Hope making the comment as it sounds like something he would say. I absolutely love this quite because I can envision Henry Z. Steinway doing such a thing (and he really was a fine, friendly gentleman!). That's the reason I've left it up so long. There was a similar story about Dwight Hamilton Baldwin—of Baldwin piano fame—making a similar comment about a very well known person who was playing Baldwin concert grand pianos. Carl Bechstein had his problems, too, with a few pianists in Germany and throughout Europe.

I remember Victor Borge—on one of his shows—was looking at the fallboard of his piano and commented: "Steinway & Sons ... I didn't know he was married!

Thanks for the very kind words, Lance..

By the way, in regards to:
-- "When she started to play, Mr. Steinway came down and personally
rubbed his name off the piano [speaking about pianist &*$#@+#]".....
Wasn't that a comment that Bob Hope made about Phyllis Diller?

[forlino]

Very funny -- the Borge quote.
On playing one night to a half-filled house in Flint, Michigan, he said, "Flint must be a very wealthy town. I see that each of you bought two or three seats!"
I also have a very funny list of things Ormandy was heard to say during rehearsals with the Philadelphia, which I can e-mail to you as an attachment.

I'm sure the Bob quote is correct (about Phyllis).

[stenka razin]

For those members of CMG who have not seen this other recent, related De Larrocha post. Link below:


http://www.classicalmusicguide.com/view ... 10&t=36633

[AntonioA]

Larrrochas recordings introduced me the music of my native country.
When i received the news of Larrochas death, i tuned in to www.rne.es hoping that the Spanish radio would celebrate her memory. But they disappointed me and (a lot of other Spanish piano lovers too, i suppose). The EMI box seem to be a great buy. I have most of the contents on old beatuful Hispavox lp:s but only her first mono Iberia (i had her digital Decca/London recording for a while). Some of the Hispavox recordings were released in France on Erato and in USA on Columbia (at least her first Iberia and Falla´s solo piano lp) and later on MHS. I suppose her Iberia released on Columbia/Epic was a licensed Hispavox recording, but i may be wrong.

The few american Decca LP:s she made before the Hispavox ones are wonderful too and i belive DG (they have resleased old Segovia Deccas) own the master tapes today, but i have no idea if they are availible today.

[stenka razin]

Larrrochas recordings introduced me the music of my native country.
When i received the news of Larrochas death, i tuned in to http://www.rne.es hoping that the Spanish radio would celebrate her memory. But they disappointed me and (a lot of other Spanish piano lovers too, i suppose). The EMI box seem to be a great buy. I have most of the contents on old beatuful Hispavox lp:s but only her first mono Iberia (i had her digital Decca/London recording for a while). Some of the Hispavox recordings were released in France on Erato and in USA on Columbia (at least her first Iberia and Falla´s solo piano lp) and later on MHS. I suppose her Iberia released on Columbia/Epic was a licensed Hispavox recording, but i may be wrong.

The few american Decca LP:s she made before the Hispavox ones are wonderful too and i belive DG (they have resleased old Segovia Deccas) own the master tapes today, but i have no idea if they are availible today.

Antonio, Larrocha recorded performances are so treasurable. I just finished listening to her new EMI Icon box set and
the melodies of Granados and Albeniz linger in my heart...........She will be sadly missed.......What a truly great artist...

[AntonioA]

stenka razin

I love the piano music of Granados, especially Goyescas. And Albeniz Iberia is pure magic.The Corpus Cristi en Sevilla is the Ibeira piece (the same melody can be found in a Spanish folk tune called la Tarara) i like most. Rubinstein was also great interpreter of Spanish music, but he didn't record much of that repertoire. My two favorite Nights in the Gardens are Rubinstein /Golschmann on RCA and Larrocha/Arambarri. A pity Larocha never recorded Fallas Harpschicord concerto.