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

Nelli Shkolnikova, Vol. 1: Mendelssohn & Tchaikovsky Violin

Erica Morini, Vol. 1: Wieniawski, Mozart & Sarasate

Ida Haendel, Vol. 3: 1980 Toronto Recital (Live)

Erich Kleiber Archives, Vol. 1

Richter Archives, Vol. 15: 1965 Carnegie Hall Recital (Live)

A survey of early 20th century classical guitar artists from South America. Most are first time releases since they were first issued on 78 rpm. Featured artists include Andres Segovia, Nelly Ezcaray, Maria Luisa Anido, Agustin Barrios, Julio Martinez Oyanguren, Lalyta Almiron, Abel Carlevaro, Miguel Llobet, Maria Angelica Funes, and Ramon Ayestaran: guitars.

David Oistrakh Collection, Vol. 12: Trios

Oistrakh Collection, Vol. 7: String Quartets

Creston:
Violin Concerto No. 2, Op. 78
(World Premiere) November 17, 1960
Los Angeles Philharmonic Orchestra, Georg Solti
Engel, Carl:
Sea-Shell
arr. Zimbalist. Australian tour, Sydney Town Hall. July 1952
Glazunov:
Violin Concerto in A minor, Op. 82
March 3, 1968
Radio-Orchester Beromester, Zurich, Erich Schmid
Godowsky:
Triakontameron No. 11 'Alt Wien'
arr. Heifetz
Kreisler:
Tambourin Chinois, Op. 3
Mendelssohn:
Song without Words, Op. 19b No. 1 in E major 'Sweet Remembrance'
arr. Heifetz. Australian tour, Sydney Town Hall. July 1952
Mozart:
Violin Concerto No. 4 in D major, K218
February 9, 1960
The Denver Symphony Orchestra, Saul Caston
Paganini:
Caprice for solo violin, Op. 1 No. 9 in E major 'The Hunt'
January 20, 1970, New York WQXR Radio (The listening room)
The Bell Telephone Hour Orchestra, Donald Voorhees
Caprice for solo violin, Op. 1 No. 21 in A major
Caprice for solo violin, Op. 1 No. 11 in C major
Caprice for solo violin, Op. 1 No. 16 in G minor
Prokofiev:
The Love for Three Oranges: March
arr. Heifetz. Australian tour, Sydney Town Hall. July 1952
Ravel:
Tzigane
Saint-Saëns:
Etude en forme de valse Op. 52 No. 6

Richter Archives, Vol. 18: 1958 Budapest Recital (Live)

Aida Stuckie was a Swiss violinist and teacher whose career began when she won the Geneva Competition in 1940. After this initial success she toured Europe and performed under the most famous conductors including Pina Pozzi, Walter Frey, Christoph Lieske, and Elly Ney. Dedicated to education, she began teaching in 1948, and continued throughout the rest of her life, taking a position at Zurcher Hochschule der Kunste in 1992, where she remained until her retirement. Anne-Sophie Mutter is her most famous student. She wrote of her teacher: "Aïda Stucki's recognition as an artist is both inevitable and overdue. Her artistry is a timeless inspiration. Her interpretation incorporates bewitching sound, personal instinct coupled with great insight to the wishes of the composer. I admire this great violinist deeply. These recordings are a must for any string player and music lover." (Anne-Sophie Mutter) This album won the German Record Critics' Award, 2010.

Carl Czerny: A Rediscovered Genius (Live)

Claudio Arrau in Moscow: Brahms Concertos (Live)

Richter Archives, Vol. 20: Janácek & Hindemith (Live)

Emil Gilels Legacy, Vol. 8: Studio & Live Recordings (1950-1

Franck, Vierne & Kuerti: Cello Sonatas

Bach: The Harpsichord Partitas

Includes work(s) by Francisco Tarrega. Soloists: Andrés Segovia, Regino Sainz de la Maza.

Lillian Fuchs (1903–1991) was considered the “first lady of the viola,” and enjoyed a very successful career as a performer, composer, and teacher. Her students at Juilliard and the Manhattan School of Music became the elite players of the viola in the US and her influence is still very much alive, 14 years after her death. The Bach suites that she recorded in the beginning of the 1950s were received with unanimous praise by her contemporaries, but since then they have disappeared from the market, and have become collectors’ items. So I was piqued to find out what the fuss was all about.

Yes, it is a dated performance in many senses. Fuchs plays with the kind of unrelenting legato that we would bash in any aspiring musician of today. Her interpretation is overly Romantic, phrases long, and breaths almost non-existent. Yet, I could not stop listening, and after the first CD ended, I was still curious to hear more. Why was that? Part of the reason is the lush, flexible sound produced by the artist, the interesting inflections, the unerring sense of direction, the overall technical achievement. Notable also is the very spare use of vibrato, pointing to a more “modern” conception (that is, one which is closer to our notions about authentic-performance practices) than was the norm at the time. But the main reason is that intangible charisma, the star quality that makes us follow every mood change, every nuance in dynamics, every twist in the musical plot.

...I was left with the sensation of having shared a unique moment, of the kind that transcends fashion or trends, and that can rightfully be called a legendary performance.

Laura Rónai, FANFARE

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 second volume from DOREMI of monumental 1940s historic broadcasts of Jascha Heifetz, made at the pinnacle of his artistry. This is their first release, and this album was awarded a coveted Diapason d’Or award in France.

Daniel Shafran, Vol. 2: Bach's 6 Suites for Cello Solo

Mendelssohn: Works for Piano

Schubert-Liszt Lieder, Vol. 2

This is DOREMI's 11th volume featuring rare recordings by David Oistrakh (1908-1974), the most loved and admired violinist of all time. Here he is with the great pianist Lev Oborin (1907-1974). Oborin was the 1st prize winner of the first Chopin competition in Warsaw (1927). Aram Khachaturian dedicated to him his famous piano concerto of 1936. Oborin began his close artistic collaboration with Oistrakh in 1935. Their long association in concerts and recordings, as duo partners and in the David Oistrakh Trio, lasted throughout their lives. The complete set of Beethoven violin sonatas presented here is a set of LIVE PERFORMANCES given by David Oistrakh and Lev Oborin in Paris in 1962. It is not the studio recording of the Beethoven sonatas they made in the same year and which was released by Philips and other labels. This live set is marked by its superior, highly intense music making and a magic appeal that makes it clearly preferable to the one made in the studio.