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The results offer a fascinating transatlantic perspective on a titan of British music while revealing his musical legacy in a country he visited annually from 1905-07 and again in 1911. The featured recordings date from the first half of the 1940s and have been restored and remastered by the multi-award-winning audio restoration engineer Lani Spahr, who also provides informative booklet notes. Menuhin, long associated with Elgar since his 1932 recording of the Violin Concerto, is heard here in a 1945 performance of the work, abbreviated to fit radio constraints of time. It is conducted by Sargent who also leads an account of Cockaigne (In London Town) Concert-Overture from the same year. Toscanini’s 1940 performance of the Introduction and Allegro for Strings marks the only time he conducted it with the NBC SO, joined here by Mischa Mischakoff and Edwin Bachmann violins, Carlton Cooley viola, Frank Miller cello. Elgar from America, Volume I (ARIADNE 5005) was hailed by Classical Music Daily as “a fine start to this historic cycle” while MusicWeb International called it “a model of one of the things the album should be doing: filling the medium to capacity with engaging and\/or controversial interpretations that one cannot simply over-hear... 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Between 1961-62, as heard on this Idis CD, Heifetz came back to the studio to re-make three of his most famous pieces he'd previously recorded in mono during the '40s and '50s: Bruch's Concerto no. 1 and the Scottish Fantasy, and Vieuxtemps's Concerto No 5. 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The collection is very important for collectors because it has never been released before onto the market. Following the archive's launch in October 2017 with releases featuring Beecham, Bohm, Cantelli, Karajan, du Pre, Klemperer and Rostropovich, it has received universal praise from both the classical media and record collectors for the excellent sound and performances. Robert Casadesus was a renowned 20th century French pianist and composer who knew and worked with Ravel. He was especially known for his celebrated performances of the Mozart Concertos accompanied on record by George Szell- the Gramophone called it 'exquisite Mozart playing,' as well as his recordings of Ravel, Faure and Debussy. He recorded Beethoven's First, Fourth, and Fifth Concertos, the latter two multiple times, though these were all made in the studio. 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Influences from modern jazz and classical traditions are woven seamlessly into performances that balance structure with spontaneity. The album includes one original composition, \"Kelita,\" alongside fresh interpretations of well-known repertoire, all shaped by a reflective and intimate approach to solo playing. Rather than emphasizing virtuosity for it's own sake, Solo Motions invites focused listening and rewards repeated engagement, highlighting nuance, restraint, and the expressive power of a single instrument. 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