Nathan Milstein : Encores

Nathan Milstein (violin), Leon Pommers (piano)

Capitol SP-8536

Analogphonic Records : LP 180 gram

Brand New and Sealed Record

  • Contents & Details

    Fritz Kreisler (1875-1962) :
    1. Praeludium And Allegro ("In the style of Pugnani")
    Robert Schumann (1810-1856) :
    2. Abendlied
    Karol Szymanowski (1882-1937) :
    3. Nocturne And Tarantella
    George Frideric Handel (1685-1759) :
    1. Larghetto
    Jean-Marie Leclair (1697-1764), Arr. Kreisler :
    2. Tambourin
    Fritz Kreisler (1875-1962) :
    3. Siciliano And Rigaudon ("In the style of Francoeur")
    Felix Mendelssohn (1809-1847), Arr. Kreisler :
    4. Song Without Words
    Brahms (1833-1897) :
    5. Waltz In A Major
    Poldini (1869-1957), Arr. Kreisler :
    6. Dancing Doll

    Recorded March & April 1959 at Capitol Studio A, New York.

    What the short story is to the novel, the 'encore' is to the standard work in the concert repertoire. It's plot, so to speak, is simple, its content concise, its point quickly made. And among its attributes is the fact, well illustrated by Milstein's choices here, that it may be drawn from almost anywhere. It may be one movement of a longer work for the instrument, or a transcription of a piece originally composed for another instrument, or it may be - as in the curious case of the Kreiser "Classical Manuscripts" - what has been delicately termed an "impersonation".

    Among other things, a collection of encores offers a bird's eye view of a performer's capabilities. In the case of Nathan Milstein, of course, any need for an evaluation of that kind has long since become superfluous. A recital such as the present one simply creates the opportunity of enjoying old favorites played by one of the great violists of our time.

    "The execution is without doubt superb. Milstein here is on top of his form, playing with a verve, sparkle and studied virtuosity that is most invigorating. The recording in both mono and stereo versions is excellent, with very forward violin tone – sufficiently forward for one to feel that in all probability one will never get physically closer to Milstein’s violin in one’s life." — Gramophone

    Nathan Milstein (1904-1992)'s American debut with the Philadelphia Orchestra in 1929 served notice throughout the nation that a young artist of special consequence had arrived. He was 25 that season, already a veteran of the European concert stage, and accolades. Master classes with Auer and Ysaye readied Milstein for a stellar career.

    He performed at the highest level into his mid 80s, retiring only after suffering a broken hand. After playing many different violins in his earlier days, Milstein finally acquired the 1716 "Goldman" Stradivarius in 1945 which he used for the rest of his life. He renamed this Stradivarius the "Maria Teresa" in honour of his daughter Maria.

    The "golden age" of recordings was from 1955 to 1965, at the beginning of the LP and the stereo era, where pure vacuum tube amplification helped produce recordings demonstrating unparalleled fidelity and warmth, lifelike presence and illumination.

    This Analogphonic record was mastered from the original Deutsche Grammophon master tapes by Maarten De Boer, using pure analogue audiophile equipment, cut at Emil Berliner Studio Berlin, and pressed at Pallas GmbH in Germany.

     

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