Lionel Tertis;  Harriet Cohen;  George Reeves   (Yves St Laurent YSL 78-529)
Item# S0705
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Product Description

Lionel Tertis;  Harriet Cohen;  George Reeves   (Yves St Laurent YSL 78-529)
S0705. LIONEL TERTIS (Viola) & GEORGE REEVES (Pf.): Violin Sonata #2 in C (Delius-Tertis); HASSAN – Serenade (Delius); LIONEL TERTIS & HARRIET COHEN (Pf.): Sonata #1 in f, Op.120 (Brahms); LIONEL TERTIS & ALBERT SAMMONS (Vln), w.Harty Cond. London Phil.: Sinfonia concertante in E-flat, K.364 (Mozart). [It is quite unlikely that we'll ever hear Brahms' Sonata #1 in f played so eloquently and with such depth of feeling ever again!] (Canada) Yves St Laurent YSL 78-529, recorded 1929-33. Transfers by Yves St Laurent.


“Tertis made many more 78rpm records than most people realise, and the majority have never been reissued in any form….‘[Tertis] was a man of his time and his taste was that of a late Victorian and Edwardian musician; but if his recordings are heard in the right spirit, they have much to teach us about string-playing, tone-production and sheer musicianship'.”

- Tully Potter, quoted by Rob Cowan, GRAMOPHONE, March, 2006

“I heard Tertis for the first time in recital in 1934 when he would have been fifty-eight years old and just about at the peak of his career. For me, a young violinist struggling to master the instrument, this event was amazing, something unbelievable. Here was a small man playing on a large viola and producing the most lovely sound that I had ever heard from a stringed instrument. He had everything: beautiful sound, consistent intonation, fine technique and a lovely way of phrasing a melody. He was the complete musician and artist. During the course of that recital, my future plans as a string player were turned upside down, and I had to become a violist and study with the man who so enthralled me.

Tertis played on a large instrument with a back length of 17 1/6 inches which was attributed to Montagnana and from which he produced a beautiful sound. He also had a technique in both hands that was equal to anything written for the instrument; in fact, I always felt he had a hidden reserve supply that was rarely used. When listening to him either at a lesson or in concert, the overall impression was one of fine sound and interpretation. The undoubted technique he possessed was simply there to enable him to achieve these objectives.”