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Hi all

This is going to be a tough one, but I would really appreciate all the help and advice I can get re tracking down this recording. And extracting a copy of the recording - preferably in cd format, but whatever.

It is of a romantic violin concerto by a hopelessly obscure virtuoso composer. Thank the deity that Russian nationalism during the post-1917 traumas survived enough to allow resurrection of some 19th century oddities.

Details as follows:

Nicolai Yakovlevich Afanasyev (Afanasiev also). Dates 1820/1821 to 1898.

Concerto for Violin and Orchestra - no other details known (he composed nine).

Soloist: Eduard Grach (well known maestro - now aged 80).

USSR State Symphony Orchestra, conductor Ivanov.

Recording data: Mezhdunarodnaya Kniga DO 362.

Date of recording: possibly 1960s - certainly before 1971.

This is a project that will involve some pooling of knowledge bases and ideas. Who would hold a copy of the recording? What archives and where in Russia?

Any suggestions and initiatives would be helpful. There could be a couple of other 'finds' coming up. Discography research basically confirms what we already knew. Only a handful of 19th century violin concertos were recorded before the CD revolution. There has been a mini-explosion since, but very mini. That won't change much, so all the more reason to work hard tracking down 'lost' recordings of yesteryear.

regards
Peter 
 

Hi all

Am opening this one up for general interest, and to seek additional insights. There was a 'concerto explosion' regarding two instruments in the romantic era, the piano and violin. There is no doubt that by the 1840s just about all other musical instruments had been shoved into the shade, with the possible exception of the cello. A few others were kept 'alive' till later in the concert halls (works in concerto form) by individual virtuosos (eg, Bottesini- double bass; Briccialdi - flute). But in general terms, the dominance of the piano and violin became pretty obvious. It is still that way in regard to standard concert fare.

That dominance does not trouble me greatly, because I am keen on both instruments. But it might be worth considering how/why it happened. I won't go on about it too much myself, although I will offer a few possible starters: technological advances (Broadwood pianos etc); the appearance of really outstanding and flamboyant superstars who played to the Walter Scott, Byron and Goethe crazes; an increase in middle class patronage to supplement that of the aristocracy; Beethoven's serious attitude to his art, and his achievements; availability of more teaching pros and more schools of music. Perhaps also the decades of relative peace in Western Europe after 1815.

Will be interested in other views, insights and ideas. Am pretty sure there is a lot more to it than the handful of issues I raised! Also, why did the concerto form develop and retain such wide appeal from way back. Have been thinking about that for years and still have'nt come up with any firm conclusion.

regards
Peter

Hi all

It is a fair question,. and a lively one. We are all here because of the once-neglected but now 'emerging' fame of Joachim Raff. He is the alpha and omega of these fora (forums, whatever).

And as an important side issue, the music of - (no beating around the bush here, as the parameters are clearly and desirably laid down at the point of entry) - other neglected composers of the romantic era. Large numbers of them. That means up to the late 19th and early 20th centuries, with some elasticity into later times, depending on the tolerance/patience of the forum moderators.

Whatever, we all got here via different pathways. In my case, the interest in classical music began early. It was not an inherited thing, simply something that was incorporated in life from day one - ie, because of a fairly musical union of families with minor pro musicians and an equally minor composer or two.

The cd revolution sealed things up. That is, I no longer had to tolerate the yapping and baloney of musical academics and subsidised 'progressive' composers when life circumstances made it possible to go out and explore forbidden territory. That meant Raff and co. My earliest Cd purchasing experiences were in about 1991, and involved a couple of interesting decisions and choices - and a revolt against 'dominant paradigms'.

How was it with other folk?

regards
Peter

Hi all

A state of play posting. Alan, I think you in particular may be able to supply answers to a couple of things.

Previously news was filtering through about recordings of concertos by Frederick Cliffe, August Klughardt and Herzogenberg. Correct me if I am wrong Alan , but as I recall the latter has been recorded by CPO but not released yet.

The above works count as very desirable 'core' material for the romantic era, but I also understand concertos 17, 18 and 19 by the late classical master R.Kreutzer are about ready for release by Naxos. Any further news on that? A recording of numbers 9 and 13 has just been released on another label.   

regards
Peter