Artykuł <b> KREISLER </b> <br /> I violini di Cremona – Ommagio a Kreisler <br /><b><font size=4>Salvatore Accardo, Laura Manzini </font> pochodzi z serwisu Cleartone.

What the short story is to the novel, the ‚encore‘ is to the standard work in the concert repertoire. It’s plot, so to speak, is simple, its content concise, its point quickly made. And among its attributes is the fact, well illustrated by Milstein’s choices here, that it may be drawn from almost anywhere. It may be one movement of a longer work for the instrument, or a transcription of a piece originally composed for another instrument, or it may be – as in the curious case of the Kreiser „Classical Manuscripts“ – what has been delicately termed an „impersonation“.

Among other things, a collection of encores offers a bird’s eye view of a performer’s capabilities. In the case of Nathan Milstein, of course, any need for an evaluation of that kind has long since become superfluous. A recital such as the present one simply creates the opportunity of enjoying old favorites played by one of the great violists of our time.

„The execution is without doubt superb. Milstein here is on top of his form, playing with a verve, sparkle and studied virtuosity that is most invigorating. The recording in both mono and stereo versions is excellent, with very forward violin tone ? sufficiently forward for one to feel that in all probability one will never get physically closer to Milstein?s violin in one?s life.“ ? Gramophone

Nathan Milstein, violin
Leon Pommers, piano

Artykuł KREISLER, SCHUMANN, SZYMANOWSKI, HANDEL<br />Encores<br />Nathan Milstein, Leon Pommers pochodzi z serwisu Cleartone.

Mischa Elman, who was born at Talnoy, Kiev, made his first public appearance as a violinist at a village concert when he was five years old. His prodigious talents soon came to the notice of Leopold Auer, who adopted him as a pupil at St. Petersburg in 1901. Elman’s Berlin debut took place in 1904, with immediate and outstanding success, which was repeated in the following year on his first appearance in London when he played the Tchaikovsky concerto at the Queen’s Hall. With this same concerto, three years later, he introduced himself to America (New York, December 1908). Since then he has been recognized as one of the world’s foremost violinists, and is particularly renowned for his beautiful tone and technical mastery. In the present recording, Mischa Elman presents some of the shorter pieces with which he has captivated audiences all over the world.

„Elman still plays with charm and elegance… In this batch of pieces, where the encore wags the concert, so to speak, Elman and Seiger combine war-horses and novelties in captivating manner. I was charmed by the exotic From San Domingo, by Arthur Benjamin, with its echoes of guitars and popular songs. Charles Miller?s Cubanaise… (its) vivacious rhythms and sonorous middle section are most appealing. Perhaps the item that most listeners will fall for is Elman?s arrangement of the so-called Canto Amoroso by Sammartini, an encore which Elman has made peculiarly his own.“ – Gramophone

Artykuł DVORAK, MENDELSSOHN, KREISLER, WIENIAWSKI, SMETANA<br />encores<br />Mischa Elman with Joseph Seiger pochodzi z serwisu Cleartone.

„The good Arthur Grumiaux was in a very sentimental mood when he chose the twenty-nine works for this pair of discs. The prevailing pace is andante, the prevailing mood one of heavy sweetness… a Mozart Rondo is bright, articulate, and well planned: Granados‘ Danza espanola No. 5 (Andaluza) is warm and compelling, with its minor -major cadence as magical as ever: Kreisler’s Schon Rosmarin is beguiling.“ – High Fidelity

Artykuł KREISLER, FAURE, ALBENIZ, MOZART, PERGOLES<br />Encore! Bravo! Da capo! <br />Arthur Grumiaux plays his best loved encores Vol. 2 pochodzi z serwisu Cleartone.

Unlike most ‚cellists whose bowing sounds like a runner’s breathing after the 100 yard dash, Pierre Fournier possess an unusual and almost uniquely mellifluous tone which, combined with his supremely cultivated musicianship indicates immediately, that he is one of the very few good ‚cellists one may hear today…… The majority of his “’Cello Recital“ consists of works not intended for that instrument, but in no instance, if one did not know the origins of the works, would there probably be any doubt that they were all ‚cello masterpieces. His version of the Bach Sonata, when compared with Casals‘, leaves the impression that where Casals is playing the cello, Fournier is playing the Sonata. The New Records

• From the original masters of Universal Music.
• Audiophile analogue mastering by Rainer Maillard at Emil Berliner Studios.
• 180g audiophile virgin vinyl pressed by Pallas Group GmbH in Germany.
• LXT-2766

Artykuł BACH, BLOCH, KREISLER, FAURE, DEBUSSY<br /> Cello Recital by Pierre Fournier<br />Pierre Fournier, Ernest Lush pochodzi z serwisu Cleartone.