Richter Archives, Vol. 1: Beethoven Late Piano Sonatas (Live

Jewels: Treasures, Old & New, for the Harpsichord

Emil Gilels Legacy, Vol. 3: 1975 Helsinki Recital (Live)

In 1967, New York Impresario Sol Hurok presented Mstislav Rostropovich in 8 monumental evenings in Carnegie Hall from Feb. 23 to March 12, 1967. Rostropovich performed 30 cello concertos - offering standard concerto repertoire and new works, several of which were written for him and two were world premieres. From these, a selection of 22 concertos from the actual 1967 performances are presented in this set. This marathon program features works from Elgar, Brahms, Tchaikovsky, Prokofiev, Shostakovich, Respighi, Hindemith, Honegger, Britten, Khrennikov, and more.

Colin Tilney Plays Mozart, Vol. 4

Jascha Heifetz (1901-1987) was a Lithuanian-born violinist, who is considered by many music scholars to have been the greatest violinist of all time. He moved to the United States as a teenager, where his Carnegie Hall debut was famously well-received. A virtuoso since childhood, Fritz Kreisler, another leading twentieth century violinist, wrote upon hearing Heifetz’s debut: “We might as well take our fiddles and break them across our knees.” This is the third volume from DOREMI of momentous 1930s and 1940s broadcasts of Jascha Heifetz, recorded at the pinnacle of his artistry. The New York 1935 Brahms violin concerto performance with Arturo Toscanini conducting is arguably the finest performance of this concerto since its composition in 1878. This album won the coveted Diapason d’Or award in France.

BEETHOVEN Piano Trios: in B?, “Archduke”; 1 in E?, WoO 38. 1 MOZART Piano Trios: in B?, K 254; 1 in G, K 564. 1 HAYDN Piano Trios: 1 in D, Hob XV:16; in g, Hob XV:19. TCHAIKOVSKY Piano Trio in a, op. 50. 1 SHOSTAKOVICH Piano Trio in e, op. 67. 1 SAINT-SAËNS Piano Trio in F, op. 18. 1 SCHUMANN Piano Trio in d, op. 63. 1 BORODIN Piano Trio, in D. 2 FAURÉ Piano Quartet, op. 15. 3 BRAHMS Trio for Piano, Violin, and Horn, op. 40 4 • Emil Gilels (pn); 1,2,3,4 Leonid Kogan (vn); 1,3,4 Mstislav Rostropovich (vc); 1,3 Dmitry Tziganov (vn); 2 Sergei Shirinsky (vc); 2 Rudolf Barshai (va); 3 Yakov Shapiro (hn) 4 • DOREMI 7921 (5 CDs: 344:47)


This impressive five-CD set from DOREMI presents a fascinating portrait of a splendid Soviet-era ensemble, whose members—pianist Emil Gilels, violinist Leonid Kogan, and cellist Mstislav Rostropovich—collaborated for more than a decade beginning in 1949. They are joined by violist Rudolf Barshai (with whom Kogan and Rostropovich formed a String Trio during the 1950s) in the first Fauré Quartet, and the horn-player Yakov Shapiro joins Gilels and Kogan in the Brahms Trio. The Borodin Trio that rounds out the set features Gilels with two of his earlier chamber music partners, violinist Dmitry Tziganov and cellist Sergei Shirinsky, both members of the Beethoven Quartet.


The least of these performances are very good and the best of them nothing short of brilliant. The “Archduke” Trio must be one of the finest on record. In the first movement development, the juxtaposition of string pizzicatos with the piano’s trills creates an uncanny, otherworldly atmosphere. When the recapitulation finally arrives, it seems not just a satisfying homecoming, but a deliverance from the outer realms of abstraction. The ensemble finesse in the Scherzo is breathtaking, while the spiritual depths of the unique Andante cantabile are plumbed with grace and reverence. The same sort of Apollonian approach that makes this reading of the “Archduke” so successful is applied to the Tchaikovsky trio, with stunning results. Even some of the most celebrated performances of this difficult work (the Rubinstein/Heifetz/Piatigorsky, RCA 63025 among them) narrowly skirt the maudlin. Here, however, the three Russians bring a sincerity and simplicity to Tchaikovsky’s every gesture, allowing his elegy for Nicolas Rubinstein to speak with eloquence, at once dignified, restrained, and heartfelt.


In the Schumann Trio, Gilels, Kogan, and Rostropovich achieve a prodigy of imaginative interpretation, all within the context of the most sophisticated and refined ensemble-playing. It is hard to imagine a more compelling conception of this impassioned score. They also approach Shostakovich’s eerily atmospheric Second Trio with the utmost conviction. The hectic second movement is a kinesthetic tour de force , while the finale’s unconventional oriental textures are deftly maneuvered to great effect.


Predictably, the Haydn and Mozart readings are less satisfactory. Generalizations are always dangerous, but perhaps it is not inaccurate to say that, prior to the inevitable cross-pollination with the West occurring during later decades through travel and recordings, Soviet musicians approached Haydn and Mozart with a prettified delicacy. The results can often sound mannered, if not downright bloodless, and light years away from what we consider appropriate late-18th century style today. One case in point is the weepy vibrato Kogan employs in the sustained passages of the plaintive Andante opening of the Haydn G-Minor Trio; another is the flaccid Allegretto of the Mozart G-Major Trio, where phrase shapes are obliterated by an anachronistic effort to achieve the late-19th century ideal of the “long line.” Despite these reservations, even the 18th-century repertoire is of historical interest: this is the way this music was played behind the Iron Curtain in the years following WW II.


The sound of these recordings is consistent with the technological resources of Melodiya (the original issuing label) during the 1950s. Most were studio recordings, but some were live performances. One can discern the improvement of equipment and recording techniques between the earliest of the performances (the Tchaikovsky Trio, 1950) and the latest (the Shostakovich, 1959). Though the sound is flattened-out relative to modern standards, balances are superb, and no detail seems lost. The accompanying leaflet contains thumbnail bios of the principal artists as well as the works and timings, but no information on the matrices (beyond photographic reproductions of the record labels) or the transfer process. All in all, fascinating performances of representative repertoire by master musicians. Highly recommended.


FANFARE: Patrick Rucker

Schubert: Piano Sonatas Nos. 14 & 21

Martha Argerich is one of the most respected and popular classical artists of the 20th and 21st centuries. This fourth volume in DOREMI's series devoted to the pianist includes previously unreleased tracks from over 50 years ago, with most items coming from the 1965 Chopin Competition in Warsaw.

In 1906, Nathan “Tossy” Spivakovsky was born in Odessa. A child prodigy, with his elder brother Jascha, a pianist, they toured Europe as the Spivakovsky Duo. At only 18, Spivakovsky was spotted by Wilhelm Furtwängler, and he became the youngest concertmaster of the Berlin Philharmonic. In 1940, Spivakovsky emigrated to the U.S and made his New York debut at Town Hall. Two years later he became concertmaster of the Cleveland Orchestra under Artur Rodzinski. Obviously he was one of the top violinists of the Twentieth Century. Since childhood, Spivakovsky had a special interest in the way Bach repertoire for solo violin should be played. Although most violinists arpeggiate chords, Spivakovsky had become convinced early on that this was not what Bach intended. Upon realizing that Bach wanted certain chords in his solo violin works played without arpeggiation, he wrote an article entitled "Polyphony in Bach’s Works for solo Violin," published in 1967 in The Music Review, Vol. 28, No. 4., in which he provided the evidence for Bach’s preference. He later acquired a curved Vega Bach Bow from Knud Vestergaard, of Denmark, which enabled him to perform with increased ease, sonority and smoothness of tone. The New York Times, describing Spivakovsky's performance of the Bach on April 1, 1963, wrote: "Tossy Spivakovsky demonstrated again his impressive artistry, and his use of the curved bow gave his performances unusual interest. ... The violinist's use of the curved bow had its most persuasive results in the great Chaconne." This set contains a distinctive performance: Spivakovsky’s interpretation of the Bach Chaconne using the VEGA BACH-Bow had never been released or available on record until now. We are therefore pleased to present here a brilliant live broadcast by Radio Stockholm from 1969. His playing is simply magnificent and attests to Spivakovsky’s genius as a magical new dimension is added to Bach’s violin music.

Sviatoslav Richter (1915-1997) was one of the most respected pianists of the 20th century. Known for his depth of interpretation, virtuoso technique, and vast repertoire, he is possibly the most popular Russian pianist of recent generations. He gave his first recital in 1934 at the Engineers Club of Odessa, three years before he began formally studying piano. He is now an icon for record collectors. Included in this new release from DOREMI are Beethoven works from broadcasts recorded in 1963, 1973, and 1986. These live performances are presented here in excellent remastered sound. All items presented on this album are first release ever.

The eminent Martha Argerich is one of the most loved and admired classical pianists of all time. She quickly gained worldwide reputation for her exciting performances. This release is the fifth in DOREMI’s special series of rare archival broadcasts featuring the artistry of the young Argerich from early in her spectacular career which spanned more than five decades. This release features Mozart’s Concerto No. 20, recorded on June 16, 1966, and Bach’s Toccata in C minor, Schumann’s Fantasie in C Major, and Chopin’s 3 Mazurkas, recorded in Milan on March 14, 1966.

Leonard Shure (1910-1995), an Artur Schnabel student, was one of the most respected American pianist and pedagogs of the 20th century. This new release presents live performances, including his 1960 collaboration with Leonard Bernstein and the New York Philharmonic on the Brahms' first piano concerto. "Shure played with a thrilling blend of insight, breadth, authority and daring,” wrote The New York Times. Also included is his Carnegie Hall Recital from February 1956, which features his Encores, and his Symphony Hall Boston concert from February 1936. This is the first release of each of these recordings.

Hungarian violinist Johanna Martzy (1924 - 1979) was one of the most admired and respected violinists of the 20th century. She is a record collector’s icon and a legend. She toured extensively throughout the 1940s and 1950s. Each track on this release is a live broadcast or live performance from the 1950s and early 1960s, when Martzy’s career was at its peak. All of these broadcasts are receiving here their first release. Featured works include Bartok’s Rhapsody No. 1 for Violin and Orchestra, Mozart’s Violin Concerto No. 3 in G major, Vivaldi’s Violin Sonata in D major, and more.

Tatiana Nikolayeva was one of the most illustrious and respected pianists of the 20th century. Born in Bezhitz, Russia in 1924, she began to play the piano at age three. She soon became a student of Alexander Goldenweiser (1875–1961), the leading piano pedagogue in Russia. From 1947 she toured extensively in the USSR. Her recognition outside of the USSR was boosted as she became the 1st prize winner of the 1950 Leipzig Bach competition. There she met Shostakovich who served on the Jury. They became friends and associates. Shostakovich considered her the ideal interpreter of his piano works and wrote for her the 24 Preludes & Fugues, Op. 87 which she premiered in 1952. Nikolayeva frequently toured Europe, America, and Japan. She had an unusually large repertory including most of the keyboard works of Bach and Beethoven. She was also a highly esteemed composer with several symphonies, chamber music and a piano concerto to her credit. In 1959 she began teaching at the Moscow conservatory, becoming a professor in 1965. She suffered a cerebral hemorrhage at a concert she gave in San Francisco on November 13, 1993. Tatiana Nikolayeva, the great pianist, composer and teacher died on November 22, 1993. This album features Tatiana performing the Bach Piano Concertos, works for which she was widely known.

When Dino Ciani died in 1974 in a car accident in Rome at age 32, the world lost a great pianist. He was described by his teacher Alfred Cortot as "a youth possessing the rarest gifts bestowed by nature." He is now considered an icon among classical record collectors, and has a piano competition dedicated to his memory which is held each year at Teatro alla Scala. During his too short career Ciani collaborated with some of the world’s finest conductors including Claudio Abbado, Riccardo Muti, Carlo Maria Giulini, and others. Each track featured on this new release is a live or studio performance recorded between the years 1965 and 1973. All tracks are available here for the first time.

This release features three of the greatest musicians of the twentieth century, and some would even argue of all time: violinist Isaac Stern, cellist Leonard Rose, pianist Eugene Istomin, and conductor Georg Szell. These musicians, in addition to their illustrious solo careers, formed a trio which performed all over the world for many years. These live performances from July 13, 1966 include Beethoven’s Triple Concerto for Violin, Cello and Piano in C major, Op. 56, as well as Brahms Double Concerto for Violin and Cello in A minor, Op. 102. The capable Cleveland Orchestra paints a beautiful backdrop for these musicians without overcoming them in any way. Leonard Rose is without a doubt one of the most prominent cellists and pedagogues of the twentieth century. After completing his schooling at Philadelphia’s Curtis Insitute of Music, he joined the NBC Symphony Orchestra under Arturo Toscanini and almost immediately became associate principal. At 21 he became principal of the Cleveland Orchestra, and just five years later principal of the New York Philharmonic. American pianist Eugene Istomin was a child prodigy. When he was only twelve years old he entered the Curtis Institute, and at seventeen won the Philadelphia Youth Award. He debuted with the Philadelphia Orchestra and the New York Philharmonic the same week in 1943. Ukranian born Isaac Stern moved to San Francisco when he was only 14 months old. He enrolled at the San Francisco Conservatory where he studied under Naoum Blinder. At fifteen he made his public debut with the San Francisco Symphony performing Sant-Saens’ Violin Concerto no. 3.

Franco Gulli (1926-2001) was one of the finest violinists of the 20th century. He began his violin studies at five at his father's music school in his native Trieste, Italy. After graduation from the Conservatory of Trieste in 1944, he debuted at the Teatro Verdi, performing Beethoven's Violin Concerto. He was the concertmaster of the Milan Chamber Orchestra and soloist with I Virtuosi di Roma. He performed all over the world with leading orchestras with such artists as Menuhin and Rostropovich. In addition to his solo career, he was dedicated to chamber music. In the 1940s he formed a duo with his pianist wife, Enrica Cavallo, and their collaboration extended for many years. He formed the Trio Italiano d'Archi with violist Bruno Giuranna and cellist Giacinto Caramia. Gulli's discography as soloist and chamber musician is extensive. Equally renowned as a teacher, he taught at Indiana University in Bloomington from 1972 until his death. Born in Milan in 1933, the violist Bruno Giuranna has had a very distinguished career as a soloist and chamber musician. He debuted in 1954 under Herbert von Karajan and further performed with renowned orchestras under such conductors as Riccardo Muti, Sergiu Celibidache, Claudio Abbado, Carlo Maria Giulini, and Sir John Barbirolli. Giuranna was a co-founder of I Musici, and the violist of the Trio Italiano d'Archi from its inception in 1957. Like his chamber partner Franco Gulli, he has recorded widely both as soloist and chamber musician. He has had a distinguished teaching career at such leading music schools as London's Royal Academy of Music and Berlin's Hochschule fur Musik. In 1987 he was named Cavaliere di Gran Croce a Merito della Repubblica Italiana. Giacinto Caramia (1923-2015) was a native of Naples and studied with Enrico Mainardi, graduating from the Academy of Santa Cecilia. He performed and recorded widely in many musical contexts, including performances with I Virtuosi di Roma and the Naples Radio Orchestra under Sergiu Celibidache. He became the cellist of the Trio Italiano d'Archi in 1962.

Sviatoslav Richter is considered one of the greatest pianists of all time. This 23rd volume of the Richter Archives series on DOREMI presents a recital held in Warsaw in 1982 to commemorate the 100th anniversary of Karol Szymanowski's birth.

Martha Argerich is universally recognized as one of the preeminent pianists of all time. This disc includes broadcasts from 1957 and 1960, before she won the Chopin International Competition, and most are being released on CD for the first time.

Volume 3 in the Legendary Treasures series further expands Martha Argerich’s discography with two important works: five unreleased radio, live and studio recordings, mainly solo works, stand alongside one of the earliest versions of Argerich’s signature work with orchestra. Surprisingly Argerich’s Schumann Toccata has never been released on disc. Her clarity, lightness and speed on this recording may well be compared to the famous recordings by Barere, Cziffra and Horowitz.

Recorded between 1957 and 1965.

Daniel Shafran, Vol. 1: Shostakovich & Davidov

Antonio Janigro, Vol. 1: Bach & Boccherini

Mravinsky, Vol. 1: The Brahms Symphonies

Ida Haendel, Vol. 4 (Live)