Mozart: Variations (12) in G major on 'La Bergère Célimène, K374a (K359)

The final two volumes in this benchmark survey of Mozart’s complete music for Keyboard and Violin, released together at a special priced 2 disc set.

‘(… ) So, my lasting impression, having dissected every note of the music, is of a cornucopia of hidden gems; hidden because history has under-rated, misunderstood and bowdlerized the collective meaning of these works by assuming that it is an uneven genre – but then so are the symphonies and even the operas! Finally, one asks why there hasn’t previously been a complete recording on historical instruments. From my ‘privileged’ position as listener-inchief, I can tell you it is because no pair can make such transparent and difficult music sound so effortless, elegant, witty, emotionally persuasive and enjoyable.’ Jonathan Freeman- Attwood, producer

These recordings dating from 1969 to 1973, were acclaimed by the critics at the time, and are still considered benchmark interpretations even in this age of period practice. Henryk Szeryng was born in 1918 in Warsaw, the son of a pianist mother and a wealthy industrialist father. By the age of 9 he had sufficient skill on the violin to play the Mendelssohn concerto for Huberman – a close friend of the family. Huberman recommended that the boy study with Flesch, which he did until he was 13. Flesch encouraged his pupils to establish their own musical personality upon their performances. In 1933, his big break came, performing the Beethoven concerto with Bruno Walter in Warsaw. Further study in Paris cemented his admiration for the French Violin School. ‘They don’t attack the violin, they don’t rape it, they treat it like a human being,’ he once remarked. He became friends with Enescu and Thibaud, and studied with Nadia Boulanger. His war years were spent in Mexico working for General Sikorski, and he succeeded in placing 4000 Polish refugees in the country.

Among his great recordings are the complete solo sonatas and partitas of Bach, the great concertos from Bach to Bartok and these recordings of the Mozart Sonatas with Ingrid Haebler. His playing is noble in style, almost aristocratic, and he adhered to the text – everything is scrupulously prepared and executed.

‘Its first movement has a tone of tenderness and elegance with a stylistic sophistication… when combined with a degree of technical brilliance, as they are. The movement is most expertly played here…Szeryng and Miss Haebler shape it exquisitely’ K378 Gramophone, May 1971

‘There is taste, humour and brilliance in these performances…a superlative record’ K301, 305, 376, 379 Gramophone, January 1975

It is particularly felicitous that Shumsky and Balsam, both very experienced chamber musicians, should have come together to record Mozart’s music for violin and piano. Their respective musical personalities, though very different, complemented each other, Shumsky’s bold lyricism illuminating Balsam’s stylish and fluent approach. Their playing is notable for its spontaneity, alertness and authority; note Shumsky’s deftly varied inflections when repeating the variations in the second movement of K377, the liberating sense of vitality in the first movement of K526 and both players’ sympathetic, clear-eyed approach to the Sonata in F, K547 and the two sets of variations. In all these works the interpreters’ mature artistry is completely at the service of the music.

Wolfgang Amadeus Mozart (1756-1791) started learning piano at the age of three and began composing two years later. What is less widely known is that he was also an accomplished violinist.

Pinchas Zukerman & Marc Neikrug recorded Mozart’s sonatas for violin and piano in 1990. Now, for the first time, the cycle is available in a complete edition. As a bonus to this 6CD set, a duo sonata by Mozart’s son, Franz Xaver, is included. (Franz Xaver was born on 26 July 1791, just five months before his father died).

Pinchas Zukerman (b. 1948) has remained a phenomenon in the world of music for over four decades. His musical genius, prodigious technique and unwavering artistic standards are a marvel to audiences and critics alike. Devoted to the next generation of musicians, he has continued to inspire younger artists with his talent and passion for the music.

The reissue of this unique collection of chamber music masterpieces, ranging from Baroque to 20-century, played by the legendary David Oistrakh, with his luminous, sonorous and deeply moving tone.

Partners include Sviatoslav Richter, Lev Oborin, Alexander Goldenweiser and Vladimir Yampolski. With his supreme technique, enormous precision in rhythm as well as extensive variety in sound, David Oistrakh is one of the most celebrated violinists of the 20th century.

This 10-CD release details some of his best chamber music recordings and is filled to the brim with first-rate performances. The compilation effectively documents the development of violin music, simultaneously revealing Oistrakh’s mastering of an extensive repertoire.

Beginning with J.S. Bach, who was one of the first composers to write for the instrument independently and whose works are given an overtly romantic appraisal by the Russian maestro, it also traverses a series of Classical compositions – including Mozart’s Sonata No.3 K306 and Beethoven’s ‘Kreutzer’ Sonata Op.47. Most of the collection’s space, however, is taken up by a large assortment of 19th- and 20th-century music; this is undoubtedly where Oistrakh’s heart lies, and the violinist shows a strong commitment to pieces from his native country.

What is particularly evident from this release is that no matter how big or small, famous or little-known, each work is treated as a masterpiece. With largely forgotten names such as Catoire and Vladigerov sitting alongside some of the greatest composers in musical history, the compilation represents a musical feast that is not to be passed up.