Jorge Bolet – Liszt: Trois études de concert S. 144 No. 3 'Un sospiro' | Colpix CP 415 (1960)

Jorge Bolet – Liszt: Trois études de concert S. 144 No. 3 ‘Un sospiro’ [5:13] | Colpix CP 415 (1960) What makes Bolet so compelling in Un sospiro is the way he renders its crossed-hand virtuosity almost invisible: the melody floats freely above the arpeggiated texture, shaped in exquisite detail in long, breathing spans and coloured by a touch at once full, supple and refined; the central expansion grows naturally from the opening intimacy, attaining ardour and amplitude without heaviness or indulgence, so that the étude emerges not as a display piece but as an utterance of exceptional poise, warmth and nobility. Never reissued since 1961, the rare and long-overlooked Colpix LP CP 415 preserves a Jorge Bolet whom the commercial studio otherwise very seldom if ever caught: quicker than was generally his way, more volatile and willing to court danger, yet still commanding the singing line, aristocratic shaping, tonal finesse and nobility of utterance for which he was prized - qualities not compromised by the added heat, but intensified by it. It was perhaps typical of Bolet’s ill fortune prior to his final two decades that this LP remained long in the shadow of another Colpix release, CP 506, the official soundtrack album of ‘Song Without End’ (1960), the widespread assumption being that CP 415 merely presented in complete form the performances that were heavily abridged, or omitted altogether, on the soundtrack disc. In fact, CP 415 comprises entirely separate performances, recorded expressly for Colpix rather than drawn from the soundtrack sessions. And they find Bolet in the form of his life. Historical, discographical and programme notes accompanying this 2026 remastered edition (PDF): https://files.catbox.moe/sp5cmc.pdf (A note on the sound: The original mono pressing is notably constricted, with curtailed upper frequencies, a boxy tone and limited definition. In these remasterings I have sought discreetly to mitigate those shortcomings and to recover something of the piano’s natural breadth, colour and presence.)