Johanna Martzy's Bach Unaccompanied Violin Sonatas Reissued by The Electric Recording Co.

Through her early EMI recordings, among others, the late Hungarian violinist Johanna Martzy has achieved fame, notoriety and a cult following that escaped her during her lifetime.

When she died of cancer in 1979 at age 54 it didn't exactly make news. Her career took off in 1947 after she won the Geneva Competition. Thereafter she achieved great success as a soloist and chamber music performer, though in the late '50s she performed with Leonard Bernstein and The New York Philharmonic.

This particular three record set originally issued in 1956 by EMI's Columbia division (not related to the American label of the same name) was well received both in Europe and America but it was not a big seller at the time, perhaps in part because of sexism.

However, since then a cult has developed around her generally and this recording specifically. Because of its scarcity, clean examples of the three record set regularly sell for $5000 plus. You can verify this on Popsike.com.

Enter Pete Hutchinson and his UK-based start-up record label The Electric Co.

Mr. Hutchinson has gone to fanatical lengths to reissue this and an entire catalog of early EMI and other label classical recordings from the early LP days using licensed master tapes.

In order to accomplish this correctly he's invested hundreds of thousands of dollars in a restored mastering chain overseen by veteran engineer Sean Davies that duplicates the original down to what seems to be the last nut and bolt using 1950s era Danish Lyrec and EMI vacuum tube tape machines and Ortofon DS522 cutter heads. More details are available on the company's website. But Mr. Hutchinson didn't stop there. He's re-created the exact original handcrafted artwork and jackets. That includes re-creating the paper stock originally used as well as the brass letterpress print process used at the time as well as the EMI "fold over" jacket construction. I have heard from someone who has seen the original and reissue side by side and he says that other than that one appears newer than the other, they appear to be identical!

The LP in the jacket is a 180 gram pressing fitted with the original label. Fortunately Mr. Hutchinson's attention to detail did not include using the old style lead out groove "swing back" designed to insure the tripping of record changer mechanisms!

Each of the records includes an "OBI" slipped over the jacket with information written in English, Chinese, Japanese and Korean, which reflects where lies much of the enthusiasm and fanaticism surrounding these records.

Instead of costing $5000+ for the original, these reissues cost approximately $450 each. Yes, a great deal, but also a great deal less than the scarce original and here with barely a pop or tick. Wherever these are pressed, they are dead quiet.

About the music: I don't claim to be a chamber music or Bach expert but even if solo Hendrix is your favorite, I don't hear how you cannot be moved, even mesmerized by Martzy's playing. It is appropriately precise and austere given Bach's almost mathematical compositions, yet rich with vibrato, though its a vibrato that is almost clinical. That may seem like a contradiction in terms but that's how it sounds.

Her approach is technically stern yet emotionally generous without being self-indulgent. Perhaps her newfound popularity is a result of that combination, which resonates with a 21st Century musical sensibility, even as some of the more flowery and "schmaltzy" interpreter sound old-fashioned and fall out of favor. Or, maybe I'm just talking out of my ignorant hat.

But rather than dwelling on the technical that's beyond my meager musical abilities or intellect, let me say that the result of her technique is hypnotic. Once the side starts, Martzy holds you captive. If you don't think one person sawing away on a violin can manage that (for you), this might change your mind.

The mono sound brings you into the recording space, not the violinist into your room. There's a slight aura of natural room sound surrounding the violin. Played back at the appropriate volume, especially with a mono cartridge (or at least a mono switch), the results are eerily real, particularly in terms of instrumental textures and overall depth. No CD reissue can come close to achieving what these LPs manage.

Yes, the set is expensive but if you've got the scratch it is one you'll long treasure and I have every confidence it will also make a solid investment sure to appreciate in value over time.

So engrossing and hypnotic is the spell Martzy casts, when a side ends, you'll snap out of it wondering where you've been, and how you managed to find your way back.

The label has also re-issued another iconic set, originally issued by the French Pathé Marconi label Mozart a Paris, a seven LP box set of Mozart's Paris output originally issued in 1956. An original copy of this set sold for $11,300 in 2007.

Again the attention to detail is fanatical (as opposed to the usual "bordering on the"). The white jackets reproduce the original Pathé embossing. The inner sleeves are fold over glassine like the originals and the reproduction of the book is nothing short of astonishing. Too bad it's in French. Please, can we have an online translation?

I'm going through that one now and will review soon. You can visit the company's website for more details including the price of that one. Meanwhile for those lucky enough to be able to afford the three LP Martzy set, you will be rewarded repeatedly and find yourself doing so often. What a treat!

COMMENTS
Dr Freejazz's picture

Imho Martzy plays those masterpieces in a too romantic way. Bach was not a romantic composer.

beaur's picture

Don't know if you were aware but Coup d'archet has a box of 10 Lps of Martzy 's EMI recordings.  Don't know if the provenance is the same but it would be interesting to compare the LPs of the same pieces.

Michael Fremer's picture

I compared them. No comparison. The Coup is thick and sludgy by comparison. Yes both are all analog but that's not everything....

vogelzang's picture
faskenite's picture

 

I have the all-analog (analog preview head) Coup d'Archet box of all of J Martzy's EMI studio recordings.  It is beautifully done and beautifully pressed.  With all due respect to The Electric Recording Co., the C d'A box can be had for around the price of a single ERC disc.  Highly recommended for the more budget-conscious.

Michael Fremer's picture

The Coup d'Archet box sound is pure sludge compared to The Electric Recording Co.'s all-tube production. It is not even close. However, yes, for the budget conscious the Coup edition is the one to have. 

Andrew L's picture

I couldn’t let MF’s ‘sludge’ comments about the Coup d’Archet issue of Martzy’s EMI recordings pass unchallenged having only recently read his review.
Not only have I and a few audio friends done the comparison with the ERC issue, but also with the original 33CX and the Japanese Lexington. Using a Lyra mono cartridge and some fairly tasty gear downstream we spent several hours comparing the four versions.
Without wishing to labour the point and to keep this comment brief, in comparison to the other three records the ERC pressing came a very poor fourth both sonically and musically. The sound was distant, with a misty patina, limited dynamic range and just lacking in flow. When we first heard the ERC issue of the Chaconne from Partita II we were shocked at how poor it sounded. Coup spreads this half hour of music over two sides where the 33CX, Lexington and ERC issue are compressed on to one side-and it shows in the stodgy, lumpen character of the latter.
As for the much lauded artwork, well we were somewhat nonplussed. The printed text is faint and scanned images of Martzy are poor and not even the same as on the original 33CX. Far from being a facsimile edition, the ERC issue is neither one thing nor another and certainly not worth the extravagant asking price.
BTW I have no connection with any of the above companies being just a music loving audiophile.

Michael Fremer's picture
Was to the Coup d'Archet of the same 1954 recording. No mistake. I did the comparison at home using a Lyra Titan i mono on Kuzma 4 Point mounted on Continuum Caliburn into Ypsilon VPS100 phono preamp and I did it again at ListenUp! in Denver using a VPI Classic 3 with printed tonearm and Lyra Atlas stereo cartridge. Everyone in the demos heard what I've reported without being prompted. The opinion was unanimous. I was somewhat surprised because in a room with 20 or so people these kinds of comparisons can sometimes be difficult but everyone agreed. I'm most surprised by your "lacking in flow" comment since the all tube chain is all about "flow". "Stodgy, lumpen" is how I'd describe the Coup solid state version. Calling the printed text "faint" given how it was produced leaves me incredulous.
Andrew L's picture

An afterthought:
I do hope MF hasn't made the same error as a recent TAS reviewer(#236) Mark Lehman, who mistakenly compared the ERC version with the original Coup 007 issue believing it to be the same EMI recording.
This earlier Coup issue is from two German Radio station broadcasts dated 1955 & 1962 and is sonically not the same as the EMI studio recordings being 'live' radio studio recordings dependent on the rooms and equipment available.

GaryRoberts's picture

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beetleything's picture

interesting - amazing attention to detail and quality....

the printing......

http://www.youtube.com/watch?v=UG7UQWP9uHw

 

the recording

http://www.youtube.com/watch?v=3YiYlKXUw6o

madfloyd's picture

Where can you buy these LPs?  I can't find them on the the major LP sites...

Michael Fremer's picture

http://www.theelectricrecordingco.com

Marcos's picture

While I have not had the opportunity to hear any of the ERC pressings, I would like to inform anyone interested in this type of music that I was fortunate enough to obtain two of the Coup D'archet EMI pressings of Shubert Sonatas with Martzy and Jean Antonietti on piano. While I don't profess to possess Micheal's experience or level of playback equipment, I can say that I found these to be wonderful recordings and analog fans should not be put off simply because Coup might not measure up to the level of ERC. Based on my experience with hifi, which goes back to my uncle's Paragon/Mac/Thorens setup I the 60's, I think the vast majority of people who enjoy this music would be extremely pleased with the Coup EMI releases. This is my first post, so I feel compelled to add the fact that I have no affiliation with Coup or anyone who benefits from the sale of Coup products. Just don't want you to miss out on a good thing.

Marcos's picture

Notwithstanding my last comment regarding the quality of the Coup EMI Schubert recordings, I must say that I am extremely disappointed with the quality of the Martzy Bach EMI Radio Recording. Distant and swamped with reverb, it absolutely pales in comparison to the Coup EMI recordings I mentioned previously. I am looking for a copy of the EMI Bach recording, but I have not been able to find any outside of buying the entire box set.

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