Antal Dorati in London – The Mercury Masters Vol.2

Volume 2 of Antal Dorati’s London recordings for Mercury covers sessions between June 1960 (Tchaikovsky’s Pathetique Symphony) and August 1966 (Tchaikovsky’s Orchestral Suites)

By way of a bonus, the set concludes with a rarity issued on Philips and scarcely seen since, an album of neoclassical works by Julian Orbon (Cantigas del Rey, sung by Heather Harper) and Manuel de Falla (the Harpsichord Concerto, with Rafael Puyana).

Dorati’s ear for colour, his rhythmic discipline and knife-edged attack were complemented by the high-definition, pin-point detail of Mercury’s 35mm stereo engineering. Works by Dorati’s countryman Bartok came to life on record as never before.

The box brings together the Mercury/Dorati versions of Bartok’s principal works for the stage, Bluebeard’s Castle (now with the spoken introduction included on CD for the first time) and The Miraculous Mandarin, as well as a definitive recording of The Wooden Prince.

Volume 2 of Dorati’s sessions in London draws on repertoire affinities established in the years covered by Volume 1. There is more sparking Haydn (Symphonies Nos. 59 & 81), the completion of symphony cycles by Brahms and Tchaikovsky, and another three concerto albums with the violinist Henryk Szeryng.

The Mercury sessions in London expanded to include ensembles beyond the London Symphony Orchestra. The box features the Bath Festival (‘Festival Chamber Orchestra’) and BBC Symphony orchestras, as well as the New Philharmonia Orchestra in a complete cycle of the orchestral suites by Tchaikovsky which became an instant classic on its release in 1967. By then, Dorati and Mercury had parted ways, but between them they left a lasting legacy of orchestral and engineering excellence.

The legacy has been lovingly restored and revived in this pair of boxes from Eloquence, featuring Original Jacket album covers, and new essays on the historical context and significance of these recordings by David Patmore as well as remastering and mastering supervision by Thomas Fine, heir to the Mercury legacy.

“Dorati has the right idea here. His performances are characteristically brilliant, disciplined, red-blooded … The London Symphony responds with verve and style to their leader’s direction, while Mercury’s engineers have taken it all down with mirror-like clarity.” High Fidelity, April 1964 (Liszt: Hungarian Rhapsodies)

“Starker’s razor-sharp, ultra-brilliant cellism is coupled with brisk, no-nonsense conducting from Dorati, solid playing from the London orchestra, and vivid close-up engineering from Mercury.” High Fidelity, January 1965 (Saint-Saens/Tchaikovsky)

“Dorati was never one to overlook the detail of the score and his recording is beautifully, even surgically laid out.” Gramophone, November 2000 (Bartok: Bluebeard’s Castle)

“Dorati’s recording with the LSO still sounds tremendously vivid and is wholeheartedly recommended as the best available performance.” Gramophone, August 1979 (Bartok: The Wooden Prince)