The Complete Deutsche Grammophon Recordings

The Masters (1840–1893) JOHANNES BRAHMS (1833–1897)

Concerto for Violin and Orchestra in D major op. 35 Concerto for Violin and Orchstra in D major op. 77 1 I AllegroAllegro moderatomoderato 117:027:02 7 I AllegroAllegro nonnon ttropporoppo 221:041:04 2 IIII Canzonetta.Canzonetta. AAndantendante 66:14:14 : NATHAN MILSTEIN 8 3 IIIIII Finale.Finale. AllegroAllegro vivacissimovivacissimo 88:57:57 IIII AdagioAdagio 99:01:01 9 IIIIII AllegroAllegro giocoso,giocoso, mmaa nnonon ttropporoppo vvivaceivace – PPocooco ppiùiù pprestoresto 88:08:08 FELIX MENDELSSOHN (1809–1847) NATHAN MILSTEIN for Violin and Orchestra in E minor op. 64 WWieneriener PPhilharmonikerhilharmoniker 4 I AAllegrollegro mmoltoolto aappassionatoppassionato 111:291:29 EUGEN JOCHUM 5 IIII AAndantendante 77:49:49 6 IIIIII AllegroAllegro nonnon troppotroppo – AllegroAllegro mmoltoolto vvivaceivace 66:26:26 2 · RECORDING: VIENNA, KONZERTHAUS, GROSSER SAAL, 12/1974 PRODUCER AND RECORDING SUPERVISOR: GÜNTHER BREEST RECORDING ENGINEER (TONMEISTER): GÜNTER HERMANNS NATHAN MILSTEIN violin 1975 DEUTSCHE GRAMMOPHON GMBH, BERLIN WWieneriener PhilharmonikerPhilharmoniker

2 · RECORDINGS: VIENNA, MUSIKVEREIN, GROSSER SAAL, 9/1972 [1–3], 3/1973 [4–6] PRODUCER AND RECORDING SUPERVISOR: RAINER BROCK RECORDING ENGINEER (TONMEISTER): GÜNTER HERMANNS 1973 DEUTSCHE GRAMMOPHON GMBH, BERLIN

2 (1685–1750)

Sonatas and Partitas for Solo Violin BWV 1001–1006

Sonata No. 1 for Solo Violin in G minor BWV 1001 Sonata No. 2 for Solo Violin in A minor BWV 1003 10 I AAdagiodagio 33:56:56 22 I GraveGrave 44:01:01 11 IIII Fuga.Fuga. AAllegrollegro 55:01:01 23 IIII FugaFuga 77:22:22 12 IIIIII SicilianaSiciliana 33:11:11 24 IIIIII AndanteAndante 44:35:35 13 IIVV PPrestoresto 22:33:33 25 IIVV AllegroAllegro 66:09:09

Partita No. 1 for Solo Violin in B minor BWV 1002 Partita No. 2 for Solo Violin in D minor BWV 1004 14 I AAllemandallemanda 44:06:06 26 I AllemandeAllemande 44:05:05 15 IIII DDoubleouble 22:13:13 27 IIII CouranteCourante 33:33:33 16 IIIIII CouranteCourante 22:35:35 28 IIIIII SarabandeSarabande 44:01:01 17 IIVV DDouble.ouble. PPrestoresto 22:47:47 29 IIVV GigueGigue 44:13:13 18 V SarabandeSarabande 22:10:10 30 V ChaconneChaconne 113:563:56 19 VVII DDoubleouble 11:26:26 20 VIIVII TempoTempo didi BoreaBorea 22:02:02 Sonata No. 3 for Solo Violin in C major BWV 1005 21 VVIIIIII DoubleDouble 11:55:55 31 I AdagioAdagio 44:22:22 32 IIII FugaFuga 99:46:46 33 IIIIII LargoLargo 33:15:15 34 IIVV AllegroAllegro aassaissai 33:33:33

3 Partita No. 3 for Solo Violin in E major BWV 1006 FRANCESCO GEMINIANI (1687–1762) 35 I PreludioPreludio 33:36:36 Sonata for Violin and Piano in A major op. 1/1 36 IIII LoureLoure 44:12:12 ARRANGED BY NATHAN MILSTEIN 37 I IIIII GGavotteavotte eenn RRondeauondeau 33:08:08 42 I AndanteAndante 22:47:47 38 IIVV MenuetMenuet I 11:56:56 43 IIII VivaceVivace 22:06:06 39 V MenuetMenuet IIII – MenuetMenuet I ddaa ccapoapo 22:02:02 44 IIIIII AllegroAllegro 22:01:01 40 VVII BourréeBourrée 11:30:30 41 VIIVII GigueGigue 11:59:59 FRANZ SCHUBERT (1797–1828)

NATHAN MILSTEIN violin Rondeau brillant in B minor D 895 45 AAndantendante 33:01:01 2 · RECORDING: LONDON, CONWAY HALL (WENBLEY, BRENT TOWN HALL), 2/1973 & 4/1974 46 AAllegrollegro – PPiùiù mmossoosso 110:410:41 PRODUCER AND RECORDING SUPERVISOR: WERNER MAYER RECORDING ENGINEER (TONMEISTER): KLAUS HIEMANN 1975 DEUTSCHE GRAMMOPHON GMBH, BERLIN NATHAN MILSTEIN (1904–1992)

47 Paganiniana 77:32:32 TThèmehème – VariationVariation II:: AAnimatonimato – VVariationariation IIII – VVariationariation IIII:II: MMaestosoaestoso – VVariationariation IIV:V: LLentoento – VVariationariation VV:: MMarcatoarcato – VVariationariation VVI:I: AAmorosomoroso – VVariationariation VVIIII – LLiberamenteiberamente – PiùPiù mossomosso

FRANZ LISZT (1811–1886)

48 Consolation in D flat major S 172/3 33:15:15 ARRANGED BY NATHAN MILSTEIN LLentoento pplacidolacido

4 (1882–1971) NATHAN MILSTEIN 49 Chanson russe 33:25:25 ARRANGED BY IGOR STRAVINSKY & SAMUEL DUSHKIN By any standard of appraisal, Nathan took him to Buenos Aires and Montevideo.

ZOLTÁN KODÁLY (1882–1967) Milstein was among the great violinists of After an ill-attended but infl uential Vienna the twentieth century. His pedigree was début and a summer spent with Eugène 50 Il pleut dans la ville 11:31:31 impeccable: he began his training under Ysaÿe in Belgium – the master told him “Go, ARRANGED BY NATHAN MILSTEIN, AFTER OP. 11/3 Pyotr Stolyarsky, whose other notable pupil there is nothing I can teach you” – in 1928 he AAllegrollegro malinconicomalinconico was , and he ended it with emigrated to the United States, making his , who also taught Mischa MODEST MUSSORGSKY (1839–1881) début in Philadelphia in 1929 and appearing Elman, Efrem Zimbalist and Jascha Heif- in New York in 1930. After that he divided 51 Hopak 11:53:53 etz. But it is often forgotten that Milstein his life between the new world and the old, ARRANGED BY SERGEI RACHMANINOV was left to his own devices at the age of 13 except for the war years, when he stayed in VVivaceivace – ScherzandoScherzando and eff ectively educated himself: the dap- America. Although he became an American per, polished persona of later years was citizen in 1942, he was based alternately in NATHAN MILSTEIN violin forged in a sometimes cruel crucible. Paris and London after the Second World piano War. He was still playing to a high standard He was born on 13 January 1904 into a in his early 80s – his last recital, which was 2 · RECORDING: MUNICH, RESIDENZ, ALTER HERKULESSAAL, 11/1975 PRODUCER AND RECORDING SUPERVISOR: WERNER MAYER mercantile family in that teeming cultural fi lmed, was given in Stockholm in 1986. In RECORDING ENGINEER (TONMEISTER): HEINZ WILDHAGEN PUBLISHERS: MANUSCRIPT (GEMINIANI/MILSTEIN); G. SCHIRMER, NEW YORK (MILSTEIN); melting pot of the , , and at his later years he also taught, both privately UNIVERSAL EDITION, WIEN (LISZT/MILSTEIN); BOOSEY & HAWKES, INC., LONDON (STRAVINSKY/DUSHKIN); seven went to Stoliarsky’s school. In 1915 and at the Juilliard School and the Zurich MANUSCRIPT (KODÁLY/MILSTEIN) · 1984 DEUTSCHE GRAMMOPHON GMBH, BERLIN he played the Glazunov Concerto under the Conservatoire. “What I feel I can off er these composer’s direction. From 1916 to 1917 he young musicians,” he said, “is simply what was with Auer in St Petersburg, then took I have learned myself through experience. any work he could find. In 1921 he met I try not to impose my way on them, not to in Kiev and they formed teach them to play, even, but to help teach a duo, emigrating at the end of 1925 to tour them to think.” He died in London on 21 Europe. Milstein’s fi rst transatlantic tour December 1992.

5 Critics and audiences liked to compare Piatigorsky. Away from the concert stage, Brahms features Milstein’s own cadenza violist William Primrose – Milstein loved Milstein with Heifetz, yet the two men he had a well developed taste in the fi ne and has that great Brahmsian Eugen the unaccompanied music of Paganini, were very different. Heifetz excelled in arts: he and his wife Thérèse liked to sur- Jochum in charge, while the Mendelssohn which he considered second only to Bach’s such composers as Bruch, Vieuxtemps and round themselves with beautiful things. and Tchaikovsky gain from the charm and – and his sole recording of Schubert’s Wieniawski and was a marvellous minia- When it came to , he was a Stradi- ease of Claudio Abbado’s approach. The Rondeau brillante. The other pieces are all turist, while Milstein surpassed him in the vari man through and through: from 1934 recital disc with Georges Pludermacher staples of his encore repertoire. Italian Baroque composers, Bach, Mozart, he had the 1710 “Dancla” which he sold in includes the violinist’s own Paganinana, Beethoven and Mendelssohn. Honours were 1946, a year after acquiring the 1716 “Maria which he originally compiled for the TULLY POTTER even in Lalo, Brahms and Tchaikovsky, but Teresa”, named after his daughter and Milstein, having known the composer well, wife. His playing always had a deceptive was the better in Glazunov. He played such air of simplicity. works as Prokofiev’s First Concerto – of which he had given the Russian première Milstein’s Deutsche Grammophon record- in 1923 with Horowitz at the piano – and ings, though made at the end of his career, Dvořák’s Concerto which Heifetz did not caught his artistry still in a miraculous touch. He had a soft spot for Goldmark’s state of preservation. In his youth, Bach Concerto. He shared with Heifetz a con- was not high on the list of composers stud- servative taste, a rather old-fashioned ied in , and Milstein eventually came attitude to recitals and a tendency to to the solo Sonatas and Partitas via Max appear with pianists below him in rank, Reger’s similar music. Yet he developed although he made records with such art- into one of the most acclaimed exponents ists as and . of them, witness two complete recorded THIS EDITION & 2019 DEUTSCHE GRAMMOPHON GMBH, STRALAUER ALLEE 1, 10245 BERLIN Just one recording, of Brahms’s D minor cycles – this one, his second, shows the PROJECT MANAGER: ANDREAS FISCHER Sonata, had his old friend Horowitz at the benefi ts of added wisdom. The three con- COMPILATION: ALAN NEWCOMBE BOOKLET EDITOR: ANNETTE NUBBEMEYER piano – despite his prowess in the Violin certos, all being recorded for the fourth ARTWORK: LE_PALMIER DESIGN Concerto, Milstein felt rather equivocal time, are enhanced by the mellow quality COVER PHOTO CHRISTIAN VON ALVENSLEBEN WWW.DEUTSCHEGRAMMOPHON.COM about Brahms and learnt the Double Con- of the Vienna Philharmonic’s accompani- certo only to please another friend, Gregor ments under two notable conductors: the

6 TTheheViio-o- MMastersasters

SHLOMO GIL MINTZ SHAHAM 15 CDs 22 CDs

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