These 1960/70s BBC recordings are a lovely celebration of the British tenor Ian Partridge
ARCHIVE CHOICE
Schubert
Stimme der Liebe (The Voice of Love) – Im Frühling, D882; Nacht und Traüme, D827; Der Einsame, D800 etc
Ian Partridge (tenor, piano), Jennifer Partridge (piano), Ernest Lush (piano)
SOMM Recordings SOMMCD0670 (Live: 1968-72) 67:36 mins
Although he sang Schubert throughout his long career, British tenor Ian Partridge actually recorded very little, so this compilation of 20 lieder, taken from live recordings originally broadcast by the BBC from 1968-72, goes some way to rectifying that omission. What stands out immediately is the sheer beauty of his tone, and its controlled variety, from the mezza voce in ‘Nähe des Geliebten’ to the full-throated passion in ‘An mein Herz’. Then there are the legato lines, with words – always clear and meaningful – suspended from them, but never interrupting the smooth flow. Most of the lieder are slow and reflective, and Partridge illuminates Schubert’s musical response to the contrasts inherent in the texts: the outer sections of ‘Vor meiner Wiege’ are perfectly balanced with the change of tonality and mood in the central stanzas. When there is more perkiness, as in ‘Der Einsame’, he catches that as well, and his sister Jennifer is at one with him all the way on the piano. Even more special are the three self-accompanied songs, particularly ‘Ihr Bild’, where you can almost hear the piano breathing with him. This is a fitting tribute for Partidge’s 85th birthday. ★★★★★
September round-up
Jascha Heifetz’s 1947 Carnegie Hall performance of Korngold’s Violin Concerto, shortly after he’d given its premiere, has greater urgency than his later studio recording, especially in the luscious slow movement. From the same concert comes Mozart’s ‘Turkish’ Concerto, where his constant use of vibrato now sounds dated, and the finale rushed rather than poised. On the other hand, taking the first moment of the Beethoven at a decent Allegro does it the world of good, and this 1959 performance holds its own with his studio versions. Sound is generally acceptable, but execrable in bootleg audience recordings of Conus’s Concerto, and the Brahms Double with Piatigorsky. (Rhine Classics RH 025) ★★★ Also sonically challenged, but historically fascinating, are two off-air recordings of Rachmaninov from 1937. The energetic first British performance of the Third Symphony with Thomas Beecham and the LPO isn’t always tidy, but features the original version. Compared to the published score, there are a few extra bar
