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.”


“Each of these disks, from Canadian engineer Yves St Laurent… [feature] St Laurent's natural transfer – made without filtering, like all his dubbings – it is easy to listen to, despite the surface noise.”

- Tully Potter, CLASSICAL RECORD QUARTERLY, Summer, 2011