SZIGETI The Complete European Columbia Recordings (1926-46) - PABX042
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Overview
BACH Violin Sonatas 1 & 2
BACH Concerto for Two Violins
HANDEL Violin Sonata No. 4
TARTINI Violin Sonata in G
TARTINI Violin Concerto in D minor
MOZART Violin Sonata No. 21
MOZART Violin Concerto No. 4
short works by BACH, EXAUDET, TARTINI, VERACINI
BEETHOVEN Violin Concerto
WEBER Violin Sonata No. 3
PAGANINI Caprices
SCHUBERT Rondo
MENDELSSOHN Violin Concerto
BRAHMS Violin Concerto
BRAHMS Violin Sonata No. 3
Music by Berlioz, Hubay, Elgar, Kreisler, Dvořák, Chabrier, Rimsky-Korsakov, Falla
WARLOCK Capriol Suite
PROKOFIEV Violin Concerto
BARTÓK Hungarian Folk Tunes
BARTÓK Romanian Folk Dances
IVES Violin Sonata No. 4
BLOCH Violin Concerto
music by Debussy, Ravel, Milhaud, Lie, Szymanowski, Scriabin, Stravinsky
- Producer's Note
- Full Track Listing
- Cover Art
Joseph Szigeti was born in Budapest in 1892. After showing promise on the violin at a very young age, he was accepted as a student by Jenő Hubay and made his Berlin debut at thirteen. Shortly thereafter, he settled in England for several years. It was during this period that he met Ferruccio Busoni, who was to become a major influence in moving the young prodigy from being merely a talented virtuoso toward becoming a more intellectual and analytical musician.
A stay in a Swiss sanatorium in 1913 to treat his tuberculosis introduced Szigeti to a fellow Hungarian who was to become another major influence on him as a musician and a lifelong friend, Béla Bartók. Szigeti remained in Switzerland for several years, teaching and expanding his facility in playing chamber works. In 1925, he played for a visiting Leopold Stokowski, and was quickly invited to make his American debut. He shortly became established internationally as a concert artist. He settled in the USA in 1940, and continued his concert career for another twenty years before retiring to write and teach. He died in 1973.
Szigeti’s earliest recordings were made in England for the Gramophone and Typewriter Company between 1908 and 1913. He made no further discs during the acoustic era, save for a handful recorded in Russia in either 1924 or 1926. In the latter year, he began an association with English Columbia that lasted for eleven years, with one session for their Japanese affiliate in 1931 that produced four sides. In 1938, he began recording for American Columbia, where he remained until 1956, with one set (the Bloch Concerto) done for French Columbia in 1939, a single disc made for the American New Music Quarterly label in 1941, and a return to English Columbia for four sides in 1946-47. His final recordings were made for Mercury in 1959-61.
This series will present all of the Columbia recordings he made in Britain, France and Japan, as well as the one New Music Quarterly disc, as a complement to Sony’s upcoming set comprising his American Columbia recordings. From the 1940s onward, Szigeti began to experience increasing technical problems. American Columbia passed on releasing his 1955-56 recordings of Bach Sonatas and Partitas as well as several contemporaneous LPs’ worth of Mozart Sonatas, which were only issued later by Vanguard. Szigeti himself ruefully referred to his final Mercury LPs as his “posthumous recordings”. The performances featured here and in the coming volumes are generally judged to be his finest on disc.
Our first volume focuses on Baroque and Classical repertoire. Among the works he recorded at his very first session in 1908 had been the Preludio from Bach’s Partita No 3; and Szigeti continued to champion the composer and contemporaries like Handel and Tartini throughout his career. After the two Bach Sonatas presented here, he recorded the Third Sonata for American Columbia in 1949; but only excerpts from the Partitas appeared on disc before his late LP set of the complete Sonatas and Partitas. Szigeti recorded remakes of the Handel Sonata as well as the Tartini Sonata and Concerto in 1954, and re-recorded the Mozart Sonata with Horszowski the following year. The LP remakes feature broader tempos, a wider vibrato and more problematic intonation than the earlier 78s.
The Bach Double Concerto was recorded with Szigeti’s elder Hungarian compatriot, Carl Flesch (1873-1944), who was esteemed as both a violinist and pedagogue. The Mozart Concerto was the first of three classic disc collaborations with Sir Thomas Beecham. Szigeti would return to neither of these works later in his recording career, so their presence here is doubly valuable.
Joseph Szigeti was born in Budapest in 1892. After showing promise on the violin at a very young age, he was accepted as a student by Jenő Hubay and made his Berlin debut at thirteen. Shortly thereafter, he settled in England for several years. It was during this period that he met Ferruccio Busoni, who was to become a major influence in moving the young prodigy from being merely a talented virtuoso toward becoming a more intellectual and analytical musician.
A stay in a Swiss sanatorium in 1913 to treat his tuberculosis introduced Szigeti to a fellow Hungarian who was to become another major influence on him as a musician and a lifelong friend, Béla Bartók. Szigeti remained in Switzerland for several years, teaching and expanding his facility in playing chamber works. In 1925, he played for a visiting Leopold Stokowski, and was quickly invited to make his American debut. He shortly became established internationally as a concert artist. He settled in the USA in 1940, and continued his concert career for another twenty years before retiring to write and teach. He died in 1973.
Szigeti’s earliest recordings were made in England for the Gramophone and Typewriter Company between 1908 and 1913. He made no further discs during the acoustic era, save for a handful recorded in Russia in either 1924 or 1926. In the latter year, he began an association with English Columbia that lasted for eleven years, with one session for their Japanese affiliate in 1931 that produced four sides. In 1938, he began recording for American Columbia, where he remained until 1956, with one set (the Bloch Concerto) done for French Columbia in 1939, a single disc made for the American New Music Quarterly label in 1941, and a return to English Columbia for four sides in 1946. His final recordings were made for Mercury in 1959-61.
This series will present all of the Columbia recordings he made in Britain, France and Japan, as well as the one New Music Quarterly disc, as a complement to Sony’s recent set comprising his American Columbia recordings. From the 1940s onward, Szigeti began to experience increasing technical problems. American Columbia passed on releasing his 1955-56 recordings of Bach Sonatas and Partitas as well as several contemporaneous LPs’ worth of Mozart Sonatas, which were only issued later by Vanguard. Szigeti himself ruefully referred to his final Mercury LPs as his “posthumous recordings”. The performances featured here and in the coming volumes are generally judged to be his finest on disc.
Our second volume focuses on Classical and early Romantic repertoire. Szigeti recorded the Beethoven concerto three times, twice with Bruno Walter conducting. Their New York remake of fifteen years later is quite similar in concept to the 1932 London version presented here, even down to the timings (the last two movements are each within a second of each other, while the first differs by a few more seconds due to a variant at the end of the cadenza). Szigeti’s earlier performance has a headlong forward momentum which was somewhat lacking in the later, somewhat more cautious version.
The Paganini Caprices come from a transitional period when violinists were beginning to leave behind the Ferdinand David-composed piano accompaniments and to play them as the composer originally intended. Both versions of Caprice No. 24 used the piano arrangement. The first from 1926 was shorn of repeats in order to fit it on two ten-inch sides. Two years later, Szigeti would remake it complete on a twelve-inch disc. The other two Caprices made a few years later were played without accompaniment. Szigeti would not return to this repertoire subsequently in his recording career, so their presence here is doubly valuable.
Joseph Szigeti was born in Budapest in 1892. After showing promise on the violin at a very young age, he was accepted as a student by Jenő Hubay and made his Berlin debut at thirteen. Shortly thereafter, he settled in England for several years. It was during this period that he met Ferruccio Busoni, who was to become a major influence in moving the young prodigy from being merely a talented virtuoso toward becoming a more intellectual and analytical musician.
A stay in a Swiss sanatorium in 1913 to treat his tuberculosis introduced Szigeti to a fellow Hungarian who was to become another major influence on him as a musician and a lifelong friend, Béla Bartók. Szigeti remained in Switzerland for several years, teaching and expanding his facility in playing chamber works. In 1925, he played for a visiting Leopold Stokowski, and was quickly invited to make his American debut. He shortly became established internationally as a concert artist. He settled in the USA in 1940, and continued his concert career for another twenty years before retiring to write and teach. He died in 1973.
Szigeti’s earliest recordings were made in England for the Gramophone and Typewriter Company between 1908 and 1913. He made no further discs during the acoustic era, save for a handful recorded in Russia in either 1924 or 1926. In the latter year, he began an association with English Columbia that lasted for eleven years, with one session for their Japanese affiliate in 1931 that produced four sides. In 1938, he began recording for American Columbia, where he remained until 1956, with one set (the Bloch Concerto) done for French Columbia in 1939, a single disc made for the American New Music Quarterly label in 1941, and a return to English Columbia for four sides in 1946. His final recordings were made for Mercury in 1959-61.
This series presents all of the Columbia recordings he made in Britain, France and Japan, as well as the one New Music Quarterly disc, as a complement to Sony’s recent set comprising his American Columbia recordings. From the 1940s onward, Szigeti began to experience increasing technical problems. American Columbia passed on releasing his 1955-56 recordings of Bach Sonatas and Partitas as well as several contemporaneous LPs’ worth of Mozart Sonatas, which were only issued later by Vanguard. Szigeti himself ruefully referred to his final Mercury LPs as his “posthumous recordings”. The performances featured in this series are generally judged to be his finest on disc.
The Berlioz which begins our program devoted to works of the Romantic era was one of two discs Szigeti recorded during his return to Britain after the war. It is the latest recording in this series. While Szigeti made three recordings of the Beethoven and Brahms concertos (one each for English Columbia, American Columbia and Mercury), he only made one of the Mendelssohn, the classic account with Beecham presented here. The additional version of the Adagio from the Brahms sonata was made as the filler to Szigeti’s recording of the Brahms concerto with Harty. He would do the same for his later remake with Ormandy, even after having recorded the sonata complete with Petri.
Szigeti re-recorded the Dvorak/Kreisler Slavonic Dance in E minor less than two years after his initial version, presumably to broaden the tempo. Both were released under the same catalog number in the UK with no take numbers shown, and the only way to tell them apart is by listening and comparing copies. Both takes are being reissued together here for the first time. This volume also includes two recordings of works by Szigeti’s teacher, Hubay, one of them from the violinist’s only Japanese session. The two Elgar works (in Szigeti’s own arrangements) were recorded as a tribute only four days after the composer’s death.
Joseph Szigeti was born in Budapest in 1892. After showing promise on the violin at a very young age, he was accepted as a student by Jenő Hubay and made his Berlin debut at thirteen. Shortly thereafter, he settled in England for several years. It was during this period that he met Ferruccio Busoni, who was to become a major influence in moving the young prodigy from being merely a talented virtuoso toward becoming a more intellectual and analytical musician.
A stay in a Swiss sanatorium in 1913 to treat his tuberculosis introduced Szigeti to a fellow Hungarian who was to become another major influence on him as a musician and a lifelong friend, Béla Bartók. Szigeti remained in Switzerland for several years, teaching and expanding his facility in playing chamber works. In 1925, he played for a visiting Leopold Stokowski, and was quickly invited to make his American debut. He shortly became established internationally as a concert artist. He settled in the USA in 1940, and continued his concert career for another twenty years before retiring to write and teach. He died in 1973.
Szigeti’s earliest recordings were made in England for the Gramophone and Typewriter Company between 1908 and 1913. He made no further discs during the acoustic era, save for a handful recorded in Russia in either 1924 or 1926. In the latter year, he began an association with English Columbia that lasted for eleven years, with one session for their Japanese affiliate in 1931 that produced four sides. In 1938, he began recording for American Columbia, where he remained until 1956, with one set (the Bloch Concerto) done for French Columbia in 1939, a single disc made for the American New Music Quarterly label in 1942, and a return to English Columbia for four sides in 1946. His final recordings were made for Mercury in 1959-61.
This is the final volume in a series presenting all of the Columbia recordings he made in Britain, France and Japan, as well as the one New Music Quarterly disc, as a complement to Sony’s recent set comprising his American Columbia recordings. From the 1940s onward, Szigeti began to experience increasing technical problems. American Columbia passed on releasing his 1955-56 recordings of Bach Sonatas and Partitas as well as several contemporaneous LPs’ worth of Mozart Sonatas, which were only issued later by Vanguard. Szigeti himself ruefully referred to his final Mercury LPs as his “posthumous recordings”. The performances featured here and in the prior volumes are generally judged to be his finest on disc.
Szigeti championed contemporary works throughout his career, and so it is appropriate that the present program focuses mainly on Twentieth Century music. Some words are in order about a few of the works. Peter Warlock’s “Capriol” Suite was composed only ten years before Szigeti recorded his transcription of three of its movements; yet it almost seems to come from the time of the Renaissance dances which were its inspiration, save for its dissonant conclusion.
Bartók’s Portrait No. 1 had originally been written as the first movement of his first Violin Concerto; but the composer left it unpublished and repurposed this movement as the first of his two Portraits. The concerto in its original form was only first performed in 1958.
Szigeti gave the world première of the Bloch concerto in 1938 with Mitropoulos conducting the Cleveland Orchestra. Broadcast performances have been released of his performances the following year under Mengelberg and Beecham (the latter on
JOSEPH SZIGETI The European Columbia Recordings, Volume 1
CD 1 (73:13)
J. S. BACH Violin Sonata No. 1 in G minor, BWV1001
1. 1st Mvt. – Adagio (4:37)
2. 2nd Mvt. – Fuga: Allegro (5:17)
3. 3rd Mvt. – Siciliana (4:24)
4. 4th Mvt. – Presto (2:26)
Recorded 2 February 1931 in the Columbia Petty France Studio, London ∙
Matrices: WAX 5958-1, 5959-1, 5960-3 & 5961-2 ∙ First issued on
Columbia LX 127/8
J. S. BACH Violin Sonata No. 2 in A minor, BWV1003
5. 1st Mvt. – Grave (4:58)
6. 2nd Mvt. – Fuga (7:17)
7. 3rd Mvt. – Andante (3:19)
8. 4th Mvt. – Allegro (2:29)
Recorded 2 June 1933 in Abbey Road Studio No. 3, London ∙ Matrices: CAX
6855-1, 6856-1, 6857-2 & 6858-1 ∙ First issued on Columbia LX 259/60
9. J. S. BACH Bourée from Violin Partita No. 1 in B minor,
BWV1002 (2:40)
Recorded 1 July 1927 in the Columbia Petty France Studio, London ∙ Matrix:
WA 5807 ∙ First issued on Columbia D 1633
10. J. S. BACH Gavotte from Violin Partita No. 3 in B
minor, BWV1006 (3:09)
Recorded 18th or 19 June 1931 in Tokyo ∙ Matrix: NE 35244 ∙ First issued on
Columbia J 5169
11. J. S. BACH (arr. Szigeti) Arioso from Cantata No. 156, BWV156 (Sinfonia) (3:45)
Recorded 6 December 1937 in Abbey Road Studio No. 1, London ∙ Matrix: CAX
8133-2 ∙ First issued on Columbia LX 711
J. S. BACH Concerto in D minor for Two Violins, BWV1043
12. 1st Mvt. – Vivace (3:59)
13. 2nd Mvt. – Largo ma non tanto (6:58)
14. 3rd Mvt. – Allegro (4:48)
with
Carl Flesch
, violin
Recorded 30 August 1937 in Abbey Road Studio No. 1, London ∙ Matrices: CAX
8060-1, 8061-1, 8062-1 & 8063-1 ∙ First issued on Columbia LX 659/60
HANDEL Violin Sonata No. 4 in D major, Op. 1, No. 13, HWV371
15. 1st Mvt. – Adagio (4:07)
16. 2nd Mvt. – Allegro (2:35)
17. 3rd Mvt. – Larghetto (3:24)
18. 4th Mvt. – Allegro (3:02)
Recorded 2 March 1937 in Abbey Road Studio No. 3, London ∙ Matrices: CA
16265-1, 16266-1, 16267-1 & 16268-1 ∙ First issued on Columbia LB 36/7
Walter Goehr
∙ Orchestra
(Tracks 11 – 14)
Nikita Magaloff
, piano
(Tracks 15 – 18)
CD 2 (65:57)
1. VERACINI (arr. Corti) Largo (from Violin Sonata Op. 2, No. 6 in A major) (3:47)
Recorded 1 July 1927 in the Columbia Petty France Studio, London ∙ Matrix:
WAX 2923-1 ∙ First issued on Columbia L 2097
TARTINI Violin Sonata in G major, Op. 2, No. 12, B.G19
2. 1st Mvt. – Andante (2:34)
3. 2nd Mvt. – Allegro (2:05)
4. 3rd Mvt. – Presto assai (1:52)
Recorded 29 June 1927 in the Columbia Petty France Studio, London ∙
Matrices: WA 5789/91 ∙ First issued on Columbia D 1629/30
5. TARTINI (arr. Ondřiček ) Adagio (3:47)
Recorded 6 March 1936 in Abbey Road Studio No. 3, London ∙ Matrix: CAX
7750-1 ∙ First issued on Columbia LX 630
TARTINI (ed. Pente; arr. Szigeti) Violin Concerto in D minor D.45
6. 1st Mvt. – Allegro (5:14)
7. 2nd Mvt. – Grave (3:43)
8. 3rd Mvt. – Presto (4:08)
Recorded 6 December 1937 in Abbey Road Studio No. 1, London ∙ Matrices: CAX
8130-1, 8131-1 & 8132-2 ∙ First issued on Columbia LX 710/1
9. EXAUDET (arr. Nachèz) Minuet and Dance of the Auvergne
(3:46)
Recorded 1 July 1927 in the Columbia Petty France Studio, London ∙ Matrix:
WAX 2929-2 ∙ First issued on Columbia 7152-M
MOZART Violin Sonata No. 21 in E minor, KV304
10. 1st Mvt. – Allegro (4:26)
11. 2nd Mvt. – Tempo di Menuetto (4:57)
Recorded 2 March 1937 in Abbey Road Studio No. 3, London ∙ Matrices: CAX
7953-1 & 7954-1 ∙ First issued on Columbia LX 604
MOZART Violin Concerto No. 4 in D major, KV218
(Cadenzas: Joachim)
12. 1st Mvt. – Allegro moderato (9:26)
13. 2nd Mvt. – Andante (8:30)
14. 3rd Mvt. – Rondo: Allegro (7:41)
Recorded 8 October 1934 in Abbey Road Studio No. 1, London ∙ Matrices: CAX
7288-2, 7289-1, 7290-1, 7291-2, 7292-2 & 7293-2 ∙ First issued on
Columbia LX 386/8
Kurt Ruhrseitz
, piano
(Tracks 1 – 4 and 9)
Nikita Magaloff, piano
(Tracks 5, 10 and 11)
Walter Goehr ∙ Orchestra
(Tracks 6 – 8)
Sir Thomas Beecham ∙
London Philharmonic Orchestra
(Tracks 12 – 14)
Joseph Szigeti, violin
Producer and Audio Restoration Engineer:
Special thanks to Nathan Brown and Charles Niss for providing source
material
Cover Artwork based on a photograph of Joseph Szigeti
Total duration: 2hr 19:10 CD1: 73:13 CD2: 65:57
JOSEPH SZIGETI The European Columbia Recordings, Volume 2
BEETHOVEN Violin Concerto in D major, Op. 61
(Cadenzas: Joachim)
1. 1st Mvt. – Allegro ma non troppo (22:19)
2. 2nd Mvt. – Larghetto (9:48)
3. 3rd Mvt. – Rondo: Allegro (9:37)
Recorded 14 April 1932 in Central Hall, Westminster ∙ Matrices: CAX 6388-3,
6389-2, 6390-2, 6391-1, 6392-2, 6393-2, 6394-2, 6395-2, 6396-1 & 6397-2
∙ First issued on Columbia LX 174/8
4. BEETHOVEN (arr. Burmeister) Minuet in G G167, No. 2
(2:27)
Recorded 9 July 1926 in the Columbia Petty France Studio, London ∙ Matrix: WA
3540-3 ∙ First issued on Columbia D 1527
5.
BEETHOVEN Allegro vivace from Violin Sonata No. 8 in G major, Op. 30,
No. 3
(3:12)
Recorded 30 June 1927 in the Columbia Petty France Studio, London ∙ Matrix:
WA 5802 ∙ First issued on Columbia D 1630
6.
SCHUBERT (arr. Friedberg) Rondo from Piano Sonata No. 17 in D
major, Op. 53 (D850)
(4:53)
Recorded 31 May 1933 in Abbey Road Studio No. 3, London ∙ Matrix: CAX
6850-1 ∙ First issued on Columbia LX 630
WEBER (arr. Szigeti) Violin Sonata No. 3 in D minor, Op. 10
7. 1st Mvt. – Air Russe: Allegretto moderato (1:43)
8. 2nd Mvt. – Rondo: Presto (2:12)
Recorded 6 March 1936 in Abbey Road Studio No. 3, London ∙ Matrix: CAX
7748-1 ∙ First issued on Columbia LX 575
9. PAGANINI Caprice in B minor, Op. 1, No. 2 (2:41)
Recorded 24 August 1935 in Abbey Road Studio No. 3, London ∙ Matrix: CAX
7588-1 ∙ First issued on Columbia LX 435
10. PAGANINI Caprice in E major, Op. 1, No. 9 ‘La chasse’
(3:06)
Recorded 29 September 1933 in Abbey Road Studio No. 3, London ∙ Matrix: CAX
6939-1 ∙ First issued on Columbia LX 263
11. PAGANINI Caprice in A minor, Op. 1, No. 24 – first
recording (5:15)
Recorded 21 September 1926 in the Columbia Petty France Studio, London ∙
Matrices: WA 3968-3 & 3969-2 ∙ First issued on Columbia D 1581
12. PAGANINI Caprice in A minor, Op. 1, No. 24 – second
recording (7:04)
Recorded 7 June 1928 in the Columbia Petty France Studio, London ∙
Matrices: WAX 3744/5∙ First issued on Columbia L 2207
Bruno Walter ∙ British Symphony Orchestra
(Tracks 1 – 3)
Kurt Ruhrseitz, piano
(Tracks 4, 5, 11 and 12)
Nikita Magaloff, piano
(Tracks 6 – 8)
Joseph Szigeti, violin
Producer and Audio Restoration Engineer:
Special thanks to Nathan Brown and Charles Niss for providing source
material
Total timing: 74:23
JOSEPH SZIGETI The European Columbia Recordings, Volume 2
CD 1 (73:46)
1. BERLIOZ Reverie and Caprice, Op. 8 (9:12)
Recorded 26 August 1946 in Abbey Road Studio No. 1, London ∙ Matrices: CAX
9678-2 & 9679-1 ∙ First issued on Columbia LX 946
MENDELSSOHN Violin Concerto in E minor, Op. 64
2. 1st Mvt. – Allegro molto appassionato – Presto (12:21)
3. 2nd Mvt. – Andante (8:18)
4. 3rd Mvt. – Allegro non troppo – Allegro molto vivace (6:32)
Recorded 27-28 September 1933 in Abbey Road Studio No. 1, London ∙
Matrices: CAX 6932-2, 6933-2, 6934-1, 6935-2, 6936-1, 6937-1 & 6938-1 ∙
First issued on Columbia LX 262/5
BRAHMS Violin Concerto in D major, Op. 77
5. 1st Mvt. – Allegro ma non troppo (Cadenza: Joachim) (20:56)
6. 2nd Mvt. – Adagio (8:59)
7. 3rd Mvt. – Allegro giocoso, ma non troppo vivace (7:26)
Recorded 3-5 December 1928 in Free Trade Hall, Manchester ∙ Matrices: WAX
4420-2, 4421-3, 4422-3, 4423-3, 4424-2, 4425-2, 4426-1, 4427-2 & 4428-2
∙ First issued on Columbia L 2265/9
Constant Lambert ∙ Philharmonia Orchestra
(Track 1)
Sir Thomas Beecham ∙ London Philharmonic Orchestra
(Tracks 2 – 4)
Sir Hamilton Harty ∙ Hallé
Orchestra
(Tracks 5 – 7)
CD 2 (73:19)
BRAHMS Violin Sonata No. 3 in D minor, Op. 108
1. 1st Mvt. – Allegro (8:44)
2. 2nd Mvt. – Adagio (4:45)
3. 3rd Mvt. – Un poco presto e con sentimento (3:08)
4. 4th Mvt. – Presto agitato (6:21)
Recorded 8 December 1937 in Abbey Road Studio No.3, London ∙ Matrices: CAX
8134-1, 8135-1, 8136-2, 8137-2, 8138-3 & 8139-2 ∙ First issued on
Columbia LX 699/701
5. 2nd Mvt. – Adagio (4:46)
Recorded 1 July 1927 in the Columbia Petty France Studio, London ∙ Matrix:
WAX 2930-2 ∙ First issued on Columbia L 2269
6. DVOŘÁK (arr. Kreisler) Slavonic Dance in G minor, Op. 46, No. 2
(3:09)
Recorded 29 June 1927 in the Columbia Petty France Studio, London ∙ Matrix:
WAX 2913-2 ∙ First issued on Columbia L 2097
7. DVOŘÁK (arr. Kreisler) Slavonic Dance in E minor, Op. 72, No. 2
– first recording (3:41)
Recorded 20 September 1926 in the Columbia Petty France Studio, London ∙
Matrix: WAX 1773-5 ∙ First issued on Columbia L 1963
8. DVOŘÁK (arr. Kreisler) Slavonic Dance in E minor, Op. 72, No. 2
– second recording (4:12)
Recorded 6 June 1928 in the Columbia Petty France Studio, London ∙ Matrix:
WAX 1773-8 ∙ First issued on Columbia L 1963
9. HUBAY Zephyr, Op. 30, No. 5 (3:29)
Recorded 9 July 1926 in the Columbia Petty France Studio, London ∙ Matrix:
WAX 1789-2 ∙ First issued on Columbia L 1788
10. HUBAY Scenes from the Czardas No. 3, Op. 18, “Maros vize”
(6:22)
Recorded 18-19 June 1931 in Tokyo ∙ Matrices: NE 35246/7 ∙ First issued on
Japanese Columbia J 5175
11.
RIMSKY-KORSAKOV (arr. Hartmann) Flight of the Bumblebee from Tsar
Sultan, Op. 57
(1:15)
Recorded 1 June 1933 in Abbey Road Studio No. 3, London ∙ Matrix: CAX
6852-1 [part] ∙ First issued on Columbia LX 307
12.
FALLA (arr. Kreisler) Danza española No. 1 from La vida breve
(3:11)
Recorded 18-19 June 1931 in Tokyo ∙ Matrix: NE 35245 ∙ First issued on
Japanese Columbia J 5169
13. CHABRIER (arr. Loeffler) Scherzo-valse from Pièces pittoresques (4:30)
Recorded 31 May 1933 in Abbey Road Studio No. 3, London ∙ Matrix: CAX
6849-2 ∙ First issued on American Columbia 68162-D
14. ELGAR (arr. Szigeti) Adieu (2:49)
Recorded 27 February 1934 in Abbey Road Studio No. 3, London ∙ Matrix: CA
14361-1 ∙ First issued on Columbia LB 14
15. ELGAR (arr. Szigeti) Serenade (2:31)
Recorded 27 February 1934 in Abbey Road Studio No. 3, London ∙ Matrix: CA
14362-1 ∙ First issued on Columbia LB 14
16.
KREISLER Sicilienne et rigaudon (in the style of Francoeur)
(3:26)
Recorded 9 July 1926 in the Columbia Petty France Studio, London ∙ Matrix:
WAX 1788-1 ∙ First issued on Columbia L 1788
17. KREISLER Liebesleid (3:27)
Recorded 7 June 1928 in the Columbia Petty France Studio, London ∙ Matrix:
WAX 3742-2 ∙ First issued on Columbia L 2225
18. KREISLER Tambourin chinois, Op,. 3 (3:24)
Recorded 30 June 1927 in the Columbia Petty France Studio, London ∙ Matrix:
WAX 2917-4 ∙ First issued on Columbia L 2037
Egon Petri, piano (Tracks 1 – 4)
Kurt Ruhrseitz, piano
(Tracks 5 – 9, 16 – 18)
Nikita Magaloff, piano
(Tracks 10 – 15)
Joseph Szigeti, violin
Producer and Audio Restoration Engineer:
Special thanks to Nathan Brown and Charles Niss for providing source
material
Total duration: 2hr 27:05
SZIGETI The European Columbia Recordings, Volume 4
CD 1 (53:48)
WARLOCK (arr. Szigeti) “Capriol” Suite
1. Basse-Danse: Allegro moderato(1:31)
2. Pavane: Allegretto, ma un poco lento (2:48)
3. Mattachins: Allegro con brio (1:04)
Recorded 6 March 1936 in Abbey Road Studio No. 3, London ∙ Matrices: CA
15651-1 & 15652-1 ∙ First issued on Columbia LB 32
4. DEBUSSY (arr. Dushkin)
Menuet(No. 3 from Petite suite, L 65) (3:05)
Recorded 29 June 1927 in the Columbia Petty France Studio, London ∙ Matrix:
WAX 2912-2 ∙ First issued on Columbia L 2037
5. RAVEL (arr. Leduc) Piè
ce en forme de habanera (2:33)
Recorded 6 March 1936 in Abbey Road Studio No. 3, London ∙ Matrix: CAX
7749-1 [part] ∙ First issued on Columbia LX 575
6. MILHAUD Le printemps, Op. 18
(2:52)
Recorded 20 September 1926 in the Columbia Petty France Studio, London ∙
Matrix: WAX 1929-1 ∙ First issued on Columbia L 1963
7. MILHAUD (arr. Lévy)
Corcavado(No. 7 from Suadades do Brasil, Op. 67)(2:14)
Recorded 9 July 1926 in the Columbia Petty France Studio, London ∙ Matrix:
WA 3587 ∙ First issued on Columbia D 1527
8. MILHAUD (arr. Lévy)
Tijuca(No. 8 from Suadades do Brasil, Op. 67)(2:20)
Recorded 29 June 1927 in the Columbia Petty France Studio, London ∙ Matrix:
WA 5792 ∙ First issued on Columbia D 1633
9. LIE (arr. Szigeti)
Sne(Snow)(1:44)
Recorded 2 March 1937 in Abbey Road Studio No. 3, London ∙ Matrix: CA
16269-1 [part] ∙ First issued on Columbia LB 38
10.
SZYMANOWSKI Le fontaine d’Arth
éuse(No. 1 from Mythes, Op. 30)(5:38)
Recorded 1 June 1933 in Abbey Road Studio No. 3, London ∙ Matrices: CAX
6851-1 & 6852-1 [part] ∙ First issued on Columbia LX 307
11.
SCRIABIN (arr. Szigeti) Etude in D flat major,
Op. 8, No. 10 (“Etude in Thirds”) (1:48)
Recorded 6 March 1936 in Abbey Road Studio No. 3, London ∙ Matrix: CAX
7749-1 [part] ∙ First issued on Columbia LX 575
12.
STRAVINSKY (arr. Stravinsky/Dushkin) Pastorale
(1:15)
Recorded 1 June 1933 in Abbey Road Studio No. 3, London ∙ Matrix: CAX
6852-1 [part] ∙ First issued on Columbia LX 307
13.
STRAVINSKY (arr. Dushkin) Danse Russe from Petrushka
(2:44)
Recorded 2 March 1937 in Abbey Road Studio No. 3, London ∙ Matrix: CA
16270-2 ∙ First issued on Columbia LB 38
14.
PROKOFIEV (arr. Grunes) Gavotte from the “Classical” Symphony,
Op. 25
(1:34)
Recorded 2 March 1937 in Abbey Road Studio No. 3, London ∙ Matrix: CA
16269-1 [part] ∙ First issued on Columbia LB 38
PROKOFIEV Violin Concerto No. 1
in D major, Op. 19
15. 1st Mvt. – Andantino – Andante assai
(9:12)
16. 2nd Mvt. – Vivacissimo (3:57)
17. 3rd Mvt. – Andante – Allegro moderato
(7:21)
Recorded 23 August 1935 in Abbey Road Studio No. 1, London ∙ Matrices: CAX
7583-2, 7584-3, 7585-2, 7586-2 & 7587-2 ∙ First issued on Columbia LX
433/5
Nikita Magaloff, piano (Tracks 1 – 3, 5, 9 – 14)
Kurt Ruhrseitz, piano (Tracks 4, 6 – 8)
Sir Thomas Beecham ∙ London Philharmonic Orchestra (Tracks 15 – 17)
CD 2 (71:10)
BARTÓK
(arr. Szigeti) Hungarian Folk Tunes(after For
Children)
1. 1st Mvt. – Parlando (1:02)
2. 2nd Mvt. – Andante non molto (1:10)
3. 3rd Mvt. – Allegro vivace (1:36)
4. 4th Mvt. – Andante sostenuto (1:31)
5. 5th Mvt. – Allegro (0:37)
6. 6th Mvt. – Andante (0:46)
7. 7th Mvt. – Poco vivace (0:52)
Recorded 7 January 1930 in the Columbia Petty France Studio, London ∙
Matrices: WAX 5322-3 & 5323-2 ∙ First issued on Columbia LX 31
BARTÓK
(arr. Székely) Romanian Folk Dances,Sz.56
(BB 68)
8. 1st Mvt. – Jocul cu bâtǎ (Stick
Dance) (1:09)
9. 2nd Mvt. – Brâul (Sash Dance) (0:24)
10. 3rd Mvt. – Pe loc (In One Spot) (0:52)
11. 4th Mvt. – Buciumeana (Song of Buchumi)
(1:29)
12. 5th Mvt. – Poarga Româneascǎ (Romanian
Dance) (0:31)
13. 6th Mvt. – Mǎrunţel (Fast Dance)
(1:00)
Recorded 7 January 1930 in the Columbia Petty France Studio, London ∙
Matrices: WA 9908-3 & 9909-4 ∙ First issued on Columbia LB 6
14. BARTÓK
Portrait No. 1 –Egy idealis (One Ideal), Op. 5, Sz.37 (9:05)
Recorded 22 June 1946 in in Abbey Road Studio No. 1, London ∙ Matrices: CAX
9568-1 & 9569-2 ∙ First issued on Columbia LX 1531
IVES Violin Sonata No. 4,
“Children’s Day at the Camp Meeting”
15. 1st Mvt. – Allegro (1:54)
16. 2nd Mvt. – Largo – Allegro (5:12)
17. 3rd Mvt. – Allegro (1:37)
Recorded 14 February 1942 in New York City ∙ Matrices: ARS 2457A &
2458A ∙ First issued on New Music Quarterly Recordings 1612A/B
18. BLOCH Nigun
(Improvisation)(No. 2 from Baal Shem, B.47) (5:23)
Recorded 5 July 1926 in the Columbia Petty France Studio, London ∙
Matrices: WA 3537-1 & 3538-1 ∙ First issued on Columbia D 1557
BLOCH Violin Concerto
in A minor
19. 1st Mvt. – Allegro deciso (18:15)
20. 2nd Mvt. – Andante (6:14)
21. 3rd Mvt. – Deciso (10:22)
Recorded 22-23 March 1939 in Studio Albert, Paris ∙ Matrices: CLX 2134-1,
2135-1, 2143-1, 2144-1, 2145-2, 2146-1, 2147-1 & 2148-2 ∙ First issued
on Columbia LX 819/22
Constant Lambert · Philharmonia Orchestra (Track 14)
Andor Foldes, piano (Tracks 15 – 17)
Kurt Ruhrseitz, piano (Track 18)
Charles Munch · Orchestre de la Société des Concerts du Conservatoire (Tracks 19 – 21)
Joseph Szigeti, violin
Producer and Audio Restoration Engineer:
Special thanks to Nathan Brown, Charles Niss and James H. North for providing source material
Total duration: 2hr 4:59