Michael Rabin 1936-1972 Box Set 6 Discs (EMI)

Michael Rabin 1936-1972 Box Set 6 Discs (EMI)
Michael Rabin 1936-1972 Box Set 6 Discs (EMI)
Michael Rabin 1936-1972 Box Set 6 Discs (EMI)
Michael Rabin 1936-1972 Box Set 6 Discs (EMI)
Michael Rabin 1936-1972 Box Set 6 Discs (EMI)

Michael Rabin 1936-1972 Box Set 6 Discs (EMI)

This set is in excellent condition! Label: Emi Classics Catalog #: 64123 Spars Code: ADD. Composer: Niccolò Paganini, Henri Wieniawski, Peter Ilyich Tchaikovsky, Felix Mendelssohn..

Performer: Michael Rabin, Leon Pommers. Conductor: Lovro von Matacic, Sir Eugene Goossens, Sir Adrian Boult, Alceo Galliera..

Orchestra/Ensemble: Philharmonia Orchestra, Hollywood Bowl Symphony Orchestra. Length: 7 Hours 14 Mins. In 1947, Ruggiero Ricci became the first to scale Paganini's slippery precipice by recording all 24 Caprices... But if they began to seem like his own, that proprietorship was soon challenged by the young Michael Rabin...

Few followed him; later violinists instead revealed, as Rabin had done, more of Paganini's expressive quicksilver (Perlman's performances on LP, digitally remastered in 2000 for EMI's "Great Recordings of the Century" seriesEMI 7243 5 67257 2 0sound, at the same time warmer and grittier, partly on account of more resonant recorded sound, but they don't generate Rabin's voltage in, for example, the Third Caprice; by comparison with Rabin's, even Accardo's celebrated reading, available on Deutsche Grammophon 429 714-2, seems lamentably earthbound, though undeniably lyrical and convincing on its own terms)... Rabin had established a landmark, one that has remained undated and undiminished to this day except in recorded sound.

Has turned its attention to Rabin's caprices. The jewelbox proclaims the "first release on compact disc of original master tapes"; in fact, the 1958 issue sounds several generations younger. Some of the dryness and flatness that David K. The effect is downright visceral, like having Rabin himself in the room. Few recordings more richly deserve a drink at the fountain of youth.

And there's more magisterial Rabin, already available in EMI's six-disc set, notably the Wieniawski First Concerto, which inspired Elman to remark that that's the way the violin should be played, and a stunning Paganini Concerto that would make perfect candidates for a face-lift. But if I had chosen any of Rabin's recordings for an afterlife, they would be just the ones EMI has remastered, particularly the Caprices.

One of the greatest violin recordings of all time has just grown a few inches in stature. Reviewing the Paganini Caprices, previously released as EMI 67462. Michael Rabin was born in 1936 and died, possibly addled by drugs, in a fall in 1972.

A short life, but his artistic career was even shorter, as he was essentially inactive for his last decade. The recordings with piano are in stereo and date from 1959; EMI has taken that Capitol recital disc, kept the title and cover art, and added monaural unaccompanied Bach andYsaýe from 1955.

The playing is stunning; Rabin was Ivan Galamian's star pupil: Purely as display of brilliant technique, rich tone, and fierce, crushing virtuosity, it is hard to think of a subsequent talent who had quiet this combination of talents, and to quite this degree. The catapulting drive and verve and sheer crunch of the showpieces, such as the Wieniawski, Sarasate, Suk, and Szigeti's mind-boggling transcription of the Scriabin (maybe the toughest encore piece in the literature) exist at a level all their own. The beautiful tone and polished control in the quieter, more songful works by Engel (a simple but gorgeous and, I find, addicting, song transcription), Debussy, Ravel, and Chopin are impressive, but one senses that true repose, while easily within his grasp, was not in Rabin's inner nature. As I remarked when reviewing Electrola/EMI's multidisc set of Rabin's complete Capitol/EMI recordings (Fanfare 15:5; Rabin recorded for Columbia as a child prodigy), one senses in the young Rabin an unendingly enthusiastic but knowing imitator, now of Heifetz, now of Francescatti, now of Milstein (his Heifetz was better than his Milstein). The one personal and distinctive feature of his music-making was the wolfish animality of it, and while he had a good grasp of larger formshe played major concertos by Bruch, Tchaikovsky, Mendelssohn, and Glazunov brilliantlyit is no surprise that the quiet pleasures of chamber music and sonatas did not appear to loom large in his repertoire.

The solo Bach, smoothly legato, is awesomely executed but interpretively generic. The two Ysaÿe sonatas were more congenial to Rabin's natural style, and they and the concertos point to the directions Rabin was going to have to travel if he was to grow as an artist beyond carnal sensuality.

We probably do not want to know what the demons were that curtailed this career and life. Purely as artifacts of that life these are among the most splendidly played of violin recordings, from a violinist who always sought to win his musical bouts with the clean knockout punch rather than on finesse. Those items with piano, very closely micophoned, were stuffy and among the worst-sounding things in that Electrola/EMI set; these are new transfers that sound much clearer.

The item "Michael Rabin 1936-1972 Box Set 6 Discs (EMI)" is in sale since Monday, December 3, 2018. This item is in the category "Music\CDs". The seller is "spiritwings2" and is located in Raleigh, North Carolina.

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Michael Rabin 1936-1972 Box Set 6 Discs (EMI)


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