The first album of Postcards from Ukraine gave a potted history of Ukrainian music in the form of a series of miniatures for piano and violin, and the second presented four outstanding chamber works by important Ukrainian composers. This third instalment brings six new arrangements of Ukrainian folksongs, for violin and piano, by Markiyan Melnychenko, integrating them into a programme of folksong- and dance arrangements by some of his best-known virtuoso predecessors.

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.

With the advent of stereo recordings in the late 1950s, many important soloists, including Jascha Heifetz, began remaking many of their favorite compositions in stereo that they'd previously recorded only in mono. 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. The CD concludes with Tchaikovsky's Serenade Mélancolique op. 26, in a mono recording from 1954.

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.

A force to be reckoned with (The New York Times), violinist Miclen Laipang makes his solo recording debut on Delos with a very personal recital. Featuring music that has accompanied him over time, "Deep River" traces a path through styles and places that have been meaningful throughout his life. Like a flowing river, this program moves from it's source through different landscapes, crosses borders, and opens onto new encounters as it continues forward. It mirrors a life shaped by movement between countries, cultures, and musical worlds. Works such as Deep River and Nobody knows de trouble I've seen bring echoes of home, representing Miclen's childhood and the United States, while Widmung, Liebesleid and Der Rosenkavalier Waltzes are associated with his time in Germany and Austria, and Ravel's Violin Sonata No. 2 with his current home in France. Partnered by pianist Nigel Yandell, Miclen performs on the Antonio Stradivari "Charles Castleman, ex-Marquis de Champeaux," generously loaned by the Queen Elisabeth Music Chapel.

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 first volume from DOREMI of monumental historic broadcasts of Jascha Heifetz, made at the pinnacle of his artistry, and includes 1932 Bell Laboratories test recordings in superb sound. This album received the coveted Diapason d'Or in France.

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 fifth volume from DOREMI of historic Heifetz recordings, and features the newly discovered recordings of the ten-year-old Jascha, made in Russia in 1911. It is their first release in 105 years.

The rich musical heritage of the Litvaks is only just beginning to be explored. The music by Jewish composers who were born in, lived in, or emigrated from Lithuania has been lurking in the background for many years. This new creative chapter opens with an album that features two prominent musical figures, the Lithuanian violinist Dalia Dedinskaite and the Canadian pianist Walter Delahunt. Together, they present a musical journey showcasing the creativity of the Litvaks, from Lazdijai in Lithuania to Hollywood in the USA. The album's title, Estrellita (The Star), is not only an allusion to one of it's pieces, but also a multi-sensory symbol. Estrellita, also the Star of David, is a light in the darkness, a star of remembrance. It illuminates the paths of personalities, destinies, and creativity, from those who left to those who stayed. The album Estrellita draws parallels between the lives and works of two legendary 20th-century Litvaks, Jascha Heifetz (1901-1987) and Joseph Achron (1886-1943). It also opens up the musical world of Anatolijus Šenderovas (1945-2019), one of the most prominent Lithuanian composers of the second half of the 20th century and the early 21st century.

MusicWeb wrote of this new release: “This is a valuable addition to the discography. The Los Angeles concerts of 1963-1964 were given at the Hollywood Bowl, in which Heifetz and Piatigorsky played the Brahms Double with Leonard Bernstein, and at the Dorothy Chandler Pavilion where the violinist essayed the Beethoven with Zubin Mehta. Neither concert has apparently been issued before. There are two bonus tracks, previously released, that come from the Bell Telephone Hour with Donald Voorhees conducting in Radio City, New York in February 1950. The Evorak is tightly coiled, cloaked and hooded, full of inimitable tonal splendor and not remotely relaxed while the Sarasate Habanera is suave and bewitching. Cembal d’amour once issued this but their transfer is cloudy and palpably inferior to this one.”

"Sir Malcom Sargent generally plays the purely orchestral passages more swiftly than when he is accompanying Heifetz. This introduces an element of drama that is missing in performances that reduce the music to a syrupy wallow in slow romantic schmaltz...Despite the relatively rapid tempos, the music never sounds rushed. [T]his is the finest recording of Bruch’s masterpiece ever made in terms of both performance and sound."

-- Arthur Lintgen, Fanfare [7/2006]

"Except for the human voice itself, probably no instrument of music so intimately reflects the individuality of the musician as the violin. So this record gives us, in addition to the fabled Heifetz technical wizardry, the Heifetz personality. That personality is encountered here in its maturity—and in the A major Concerto perhaps something slightly beyond that. Throughout the D major, however, the justly famous powers of intonation are exhibited at their nearly supernatural best."

-- Gramophone [9/1972] Reviewing Mozart Concertos

Drawn from the worldwide holdings of Sony Classical Music and re-mastered in 24bit High Resolution Audio, these smart, desirable and collectible EU (Germany) pressed import multi-disc editions, replete with legendary artists, offer many of the finest, most sought-after recordings in the classical discography. The slender, shelf-friendly box frontages feature large, prominently displayed photos of the edition’s featured artist, work listings at the back, with the CDs themselves housed in protective sleeves that divulge the recording specifics for each performance. Violin legend Jascha Heifetz “represented a potent manifestation of musical integrity combined with tonal and intonational purity, technical discipline, virtuosity and intellectual honesty,” declared Gramophone in a 1994 assessment of his achievement, “whether in unaccompanied Bach … or in the countless miniatures that he infused with a wealth of wit and feeling.” Now Sony Classical has compiled a special 5-CD box of Heifetz playing his “Favourite Encore and Recital Pieces”. It includes sonatas by Beethoven (the “Kreutzer”), Franck, Saint-Saëns and Richard Strauss, as well as Schubert’s C major Fantasy and movements from Bach’s E major Partita and his D minor Chaconne – plus the great violinist’s own captivating transcriptions of miniatures: selections from Porgy and Bess, Carnival of the Animals and pieces by Debussy, Ravel, Prokofiev, Falla and Walton.