Doremi DHR 7783 60:51 (Distrib. Allegro) ***:
The obvious appeal of this historic reissue (Volume III of the Morini Edition) is the Beethoven Concerto from 17 September 1944, inscribed “live” by Erica Morini (1904-1995) for the Office of War Information and Distribution for Allied entertainment. Despite scratchy sound, this is a powerful rendition by a master violinist, whose staccato might have been the envy of virtually every other fiddler on the planet. While her tone was rather nasal and fluty, her intonation remained dead-on, and her bravura capacity for colors impressive. She takes the Joachim cadenza and applies her own lights, a real mix of contrived and improvisational talents.
According to another violin master, Joseph Silverstein, conductor Vladimir Golschmann (1893-1972) was not always reliable before an orchestra, but he is in fine form this evening. I found myself captivated by Morini’s deft negotiations of Beethoven half-step and scale passages – so that, when she suddenly shifts to a full arco and legato line, it sails into the stratosphere. The motor impulse of the Concerto reminds me of the Milstein predilection for speed and plastic energy; but the Larghetto permits us to savor Morini’s elegant pulsation. The Rondo is brilliant, again in spite of less than spectacular sonic restoration, likely the result of deteriorated acetates. The 1927 Spring Sonata is a much happier sound product, musically buoyant and polished. I do not know what the “N.” for pianist Schwalb stands for, but he is certainly a capable accompanist in a sonata Morini favored, recording it again years later with Firkusny. The appeal will be to collectors of this esteemed artist, who can overlook the noise limitations of this restoration.
–Gary Lemco
