''Rudolf Serkin—The First Recordings'', proclaims EMI's two-disc set, but in fact seven of the nine items contained therein feature the Czech-born pianist in a subsidiary role to that of the violinist Adolf Busch. The exceptions are a strong, beautifully judged account of the Appassionata Sonata, and a lively, elegant performance of Mozart's Piano Concerto No. 24 with the Adolf Busch Chamber Players. Neither of these items is particularly well transferred: the Beethoven, already rather distantly recorded, has some curious background noises and heavy surfaces, while the Mozart has a confined, slightly muffled quality. These defects amount to little, however, when compared with the extraordinary crackling distortions which afflict all the Busch/Serkin items. I do not understand how such effects could be created on EMI's sophisticated transfer equipment, let alone tolerated and passed as suitable for public consumption.
In these circumstances I shall move on swiftly to the Pearl issue, but for those who are intrepid enough to investigate the EMI set I should add that my remarks about the Busch/Serkin performances on Pearl's disc also apply to the items on EMI. There are in fact two duplications—the Beethoven and Bach sonatas. I'm somewhat bewildered to find that the engineer who produced such poor results for EMI was also responsible for the transfers on Pearl's disc, which are clear, open and very faithful (except in the Brahms Sonata, where one or two slightly damaged originals have been used). The same gentleman has also supplied a good insert-note for Pearl, and I believe that he hits the nail on the head in the following comment. ''Busch had in fact no tremendous ambitions to be a virtuoso soloist. His technique was very adequate but not outstanding; many felt him to be at his best in chamber music where, unencumbered by technical considerations he could devote himself entirely to the spirit of the music.''
Adolf Busch was an important teacher. He founded a great string quartet and also formed a chamber orchestra whose performances led to important reforms in the playing of baroque and classical music. But as a soloist he was clearly not in the front rank. His tone was somewhat unappealing and uneven, and difficult passages obviously placed a strain on his fingering ability and also his bowing arm. These problems are such as to affect all the performances recorded here: one feels that Busch is never sufficiently free of technical constraints to be able to let his imagination dwell on matters of interpretation. His performances are obviously worth investigating, and each item has some good features. But don't expect too much.'