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Wolfgang Amadeus Mozart (1756-1791): Violin Concerto No. 3 in G major, K. 216 23:53 ADD 1 I Allegro 8:23 Great Violinists • Menuhin 2 II Adagio 8:21 8.111135 3 III Rondo 7:09 Paris Symphony Orchestra • George Enescu Recorded in Paris by HMV, 19th December 1935 matrices 2LA 773-778, catalogue DB 2729-2731 MOZART Nicolò Paganini (1781-1840): Violin Concerto No. 1 in D major 36:02 Violin Concerto No. 3 4 I Allegro maestoso 21:31 5 II Adagio espressivo 5:26 6 III Rondo: Allegro spiritoso 9:05 Paris Symphony Orchestra • Pierre Monteux PAGANINI Recorded in Paris by HMV, 18th-19th May 1934 Violin Concerto No. 1 matrices 2PG 1592-1600; catalogue DB 2279-2283

Otakar Novácˇek (1866-1900): NOVÁCˇ EK 7 Perpetuum Mobile Paris Symphony Orchestra • Pierre Monteux 2:34 Perpetuum Mobile Recorded in Paris by HMV, 18th May 1934 matrix 2PG 1601; catalogue DB 2283 CHAUSSON Ernest Chausson (1855-1899): 8 Poème, Op. 25 Poème, Op. 25 London Philharmonic Orchestra • Adrian Boult 14:58 Recorded at Studio 1, Abbey Road, London, 15th February 1952 matrices 2EA 16299-302; catalogue DB 9759-9760 Yehudi Menuhin, Violin Paris Symphony Orchestra London Philharmonic Orchestra Enescu • Monteux • Boult

8.111135 4 Recorded 1934 - 1952 111135 bk MenuhinConcertos3 EU 9-10-2006 14:26 Pagina 2

Great Violinists • Yehudi Menuhin conducting, making numerous recordings in that rôle, The Mozart concerto must be seen as a staging-post MOZART: Violin Concerto No. 3, K. 216 • PAGANINI: Violin Concerto No. 1 in D major and although he never had much time available for along the road of Menuhin’s gradual mastery of this teaching, he founded schools in England and composer’s style. Frankly, not much Mozart was played NOVÁCˇ EK: Perpetuum Mobile • CHAUSSON: Poème, Op. 25 Switzerland. The public, nevertheless, continued to in the 1930s and most of the prominent violinists knew associate him with the violin, even when he had given one or two of the concertos at most. The first two Not often does a recording change the public perception of Paganini’s music, including three more versions of up playing it, and much of Menuhin’s later life was concertos were rarely heard at all, in fact they were not of a piece of music and its composer, but it happened the D major Concerto, and would play for the spent trying to reconcile his increasing musical mastery recorded until the LP era. But as it happened, the only when the 18-year-old Yehudi Menuhin set down soundtrack of a film about the Italian violinist (even with his diminishing control over his instrument. great violinist of the interwar years who played a lot of Paganini’s First Concerto in Paris in May 1934. Up to doing a screen test to see if he could act the rôle), but he Apart from the Paganini, the other gem here is the Mozart, including all five concertos and the Sinfonia then the work had been thought rather trivial and both would never again achieve such a fine fusion of the Chausson piece. We have all too few records of concertante, was Menuhin’s teacher Busch; and his August Wilhelmj and Fritz Kreisler had reduced it to carefree and the scholarly as in these 1934 sessions. Menuhin's teacher Enescu, but unquestionably the best love for the composer clearly rubbed off on his pupil. one movement. As a child, Menuhin had also played Born in New York on 22nd April 1916, Yehudi is his performance with piano of the Poème - he had Menuhin’s first recording of a ‘Mozart’ concerto, just the Allegro maestoso, programming it in some of Menuhin died in Berlin on 12th March 1999. Between known Eugène Ysaÿe, for whom it was composed. It however, was the so-called No.7, done with Enescu in his earliest public concerts; but as he grew older, he those dates he metamorphosed from the child of was only natural that Enescu should teach the piece to 1932, and his second was the ‘Princess Adelaide’ took the concerto more seriously - not that he played it obscure Russian immigrants into Baron Menuhin of Menuhin; and in fact it was the only work for which he Concerto, set down at the same sessions as the in a solemn way, but he dared to believe it was worth Stoke d’Abernon, perhaps the best-known musician in gave the prodigy his own fingerings and bowings. Their Paganini. He was to show a touching faith in this work, the effort to perform in its entirety. He himself gave the the world and a sort of international statesman. He was joint recording made in June 1933 has long been making a second recording in the 1970s even when it credit to his beloved teacher, saying: ‘Enescu brought up initially in San Francisco and, after two regarded as a classic; but here we have Menuhin's had been exposed as a modern forgery. The G major introduced me to Paganini, and he made me play his years of lessons with Siegmund Anker, began studies second attempt, in which he arguably digs even deeper. Concerto, K. 216, done with Enescu in 1935, shows a music at a time when the D major Concerto was only with Persinger in 1923. Two years later he gave his first This 78rpm recording from 1952 with Sir Adrian Boult, big advance, even though at his very first entry played in the first movement, and then only in an full solo recital. Then, in 1926, came his New York one of the violinist's favourite conductors, was Menuhin plays, not the usual short note, repeated, but arrangement by Wilhelmj. Enescu said I should play the début, his concerto début in San Francisco and his first supposed to be replaced the following year with an LP one long note. Perhaps this idea came from Enescu. whole thing. Of course, it was a colossal thing. I played trip to Europe, where he studied in Paris with Enescu version conducted by the former violinist Gaston Whatever the reason, by the time Menuhin made his a lot of Paganini, and I am grateful to Enescu for that apart from two summers in Basel with Adolf Busch. Poulet. In the event, the Poulet was shelved until the celebrated 1961 recording he had decided that Mozart introduction.’ While on holiday in the summer of 1933, From 1931 the family, who lived off Yehudi’s earnings, CD era and Menuhin made a stereo LP version in 1960 knew best - and had also slightly speeded up the final Menuhin studied a new edition of the concerto and established their home near Paris, and the following with John Pritchard. As for the Perpetuum mobile, Rondo, rather too dainty here. He stuck to the determined to record it. Backed by the best of the year the boy recorded Elgar’s Violin Concerto under the which originally took up the last side of the Paganini questionable cadenzas by Sam Franko all his life, conductors who collaborated with him in the 1930s, composer’s direction. He started playing sonatas with set, it is the one sure-fire hit left by the Czech violinist- however. What a shame he did not think of trying Pierre Monteux - himself a former string player - the his sister Hephzibah in 1933, recorded a Mozart work composer Otakar Novácˇek. Menuhin had already made Enescu’s, which have rarely been recorded. young violinist turned in a highly musical performance with her that September and - having made further one recording of it with piano, and he would make three which at once made the name Paganini mentionable in visits to the studios in the meantime - first appeared more, but this is his sole version with orchestra. Tully Potter polite society. Whether he investigated the concerto’s with her in public at the Salle Pleyel, Paris, on 13th background and discovered, for instance, that the slow October 1934. After a world tour in 1935 he took an movement portrayed a prisoner in his dungeon cell, is eighteen-month sabbatical and then entered on a doubtful, but he mastered both the fearsome technical disastrous first marriage: his parents had not prepared challenges of the work and its structure. He also dusted him for real life. Many wartime concerts and a 1945 off the immensely difficult cadenza composed for it by tour of the German death camps with Benjamin Britten Émile Sauret - Paganini had never written his own were followed by a successful second marriage and a cadenza down. Menuhin would make other recordings career lived in the limelight. In due course he took up

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Great Violinists • Yehudi Menuhin conducting, making numerous recordings in that rôle, The Mozart concerto must be seen as a staging-post MOZART: Violin Concerto No. 3, K. 216 • PAGANINI: Violin Concerto No. 1 in D major and although he never had much time available for along the road of Menuhin’s gradual mastery of this teaching, he founded schools in England and composer’s style. Frankly, not much Mozart was played NOVÁCˇ EK: Perpetuum Mobile • CHAUSSON: Poème, Op. 25 Switzerland. The public, nevertheless, continued to in the 1930s and most of the prominent violinists knew associate him with the violin, even when he had given one or two of the concertos at most. The first two Not often does a recording change the public perception of Paganini’s music, including three more versions of up playing it, and much of Menuhin’s later life was concertos were rarely heard at all, in fact they were not of a piece of music and its composer, but it happened the D major Concerto, and would play for the spent trying to reconcile his increasing musical mastery recorded until the LP era. But as it happened, the only when the 18-year-old Yehudi Menuhin set down soundtrack of a film about the Italian violinist (even with his diminishing control over his instrument. great violinist of the interwar years who played a lot of Paganini’s First Concerto in Paris in May 1934. Up to doing a screen test to see if he could act the rôle), but he Apart from the Paganini, the other gem here is the Mozart, including all five concertos and the Sinfonia then the work had been thought rather trivial and both would never again achieve such a fine fusion of the Chausson piece. We have all too few records of concertante, was Menuhin’s teacher Busch; and his August Wilhelmj and Fritz Kreisler had reduced it to carefree and the scholarly as in these 1934 sessions. Menuhin's teacher Enescu, but unquestionably the best love for the composer clearly rubbed off on his pupil. one movement. As a child, Menuhin had also played Born in New York on 22nd April 1916, Yehudi is his performance with piano of the Poème - he had Menuhin’s first recording of a ‘Mozart’ concerto, just the Allegro maestoso, programming it in some of Menuhin died in Berlin on 12th March 1999. Between known Eugène Ysaÿe, for whom it was composed. It however, was the so-called No.7, done with Enescu in his earliest public concerts; but as he grew older, he those dates he metamorphosed from the child of was only natural that Enescu should teach the piece to 1932, and his second was the ‘Princess Adelaide’ took the concerto more seriously - not that he played it obscure Russian immigrants into Baron Menuhin of Menuhin; and in fact it was the only work for which he Concerto, set down at the same sessions as the in a solemn way, but he dared to believe it was worth Stoke d’Abernon, perhaps the best-known musician in gave the prodigy his own fingerings and bowings. Their Paganini. He was to show a touching faith in this work, the effort to perform in its entirety. He himself gave the the world and a sort of international statesman. He was joint recording made in June 1933 has long been making a second recording in the 1970s even when it credit to his beloved teacher, saying: ‘Enescu brought up initially in San Francisco and, after two regarded as a classic; but here we have Menuhin's had been exposed as a modern forgery. The G major introduced me to Paganini, and he made me play his years of lessons with Siegmund Anker, began studies second attempt, in which he arguably digs even deeper. Concerto, K. 216, done with Enescu in 1935, shows a music at a time when the D major Concerto was only with Persinger in 1923. Two years later he gave his first This 78rpm recording from 1952 with Sir Adrian Boult, big advance, even though at his very first entry played in the first movement, and then only in an full solo recital. Then, in 1926, came his New York one of the violinist's favourite conductors, was Menuhin plays, not the usual short note, repeated, but arrangement by Wilhelmj. Enescu said I should play the début, his concerto début in San Francisco and his first supposed to be replaced the following year with an LP one long note. Perhaps this idea came from Enescu. whole thing. Of course, it was a colossal thing. I played trip to Europe, where he studied in Paris with Enescu version conducted by the former violinist Gaston Whatever the reason, by the time Menuhin made his a lot of Paganini, and I am grateful to Enescu for that apart from two summers in Basel with Adolf Busch. Poulet. In the event, the Poulet was shelved until the celebrated 1961 recording he had decided that Mozart introduction.’ While on holiday in the summer of 1933, From 1931 the family, who lived off Yehudi’s earnings, CD era and Menuhin made a stereo LP version in 1960 knew best - and had also slightly speeded up the final Menuhin studied a new edition of the concerto and established their home near Paris, and the following with John Pritchard. As for the Perpetuum mobile, Rondo, rather too dainty here. He stuck to the determined to record it. Backed by the best of the year the boy recorded Elgar’s Violin Concerto under the which originally took up the last side of the Paganini questionable cadenzas by Sam Franko all his life, conductors who collaborated with him in the 1930s, composer’s direction. He started playing sonatas with set, it is the one sure-fire hit left by the Czech violinist- however. What a shame he did not think of trying Pierre Monteux - himself a former string player - the his sister Hephzibah in 1933, recorded a Mozart work composer Otakar Novácˇek. Menuhin had already made Enescu’s, which have rarely been recorded. young violinist turned in a highly musical performance with her that September and - having made further one recording of it with piano, and he would make three which at once made the name Paganini mentionable in visits to the studios in the meantime - first appeared more, but this is his sole version with orchestra. Tully Potter polite society. Whether he investigated the concerto’s with her in public at the Salle Pleyel, Paris, on 13th background and discovered, for instance, that the slow October 1934. After a world tour in 1935 he took an movement portrayed a prisoner in his dungeon cell, is eighteen-month sabbatical and then entered on a doubtful, but he mastered both the fearsome technical disastrous first marriage: his parents had not prepared challenges of the work and its structure. He also dusted him for real life. Many wartime concerts and a 1945 off the immensely difficult cadenza composed for it by tour of the German death camps with Benjamin Britten Émile Sauret - Paganini had never written his own were followed by a successful second marriage and a cadenza down. Menuhin would make other recordings career lived in the limelight. In due course he took up

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Wolfgang Amadeus Mozart (1756-1791): Violin Concerto No. 3 in G major, K. 216 23:53 ADD 1 I Allegro 8:23 Great Violinists • Menuhin 2 II Adagio 8:21 8.111135 3 III Rondo 7:09 Paris Symphony Orchestra • George Enescu Recorded in Paris by HMV, 19th December 1935 matrices 2LA 773-778, catalogue DB 2729-2731 MOZART Nicolò Paganini (1781-1840): Violin Concerto No. 1 in D major 36:02 Violin Concerto No. 3 4 I Allegro maestoso 21:31 5 II Adagio espressivo 5:26 6 III Rondo: Allegro spiritoso 9:05 Paris Symphony Orchestra • Pierre Monteux PAGANINI Recorded in Paris by HMV, 18th-19th May 1934 Violin Concerto No. 1 matrices 2PG 1592-1600; catalogue DB 2279-2283

Otakar Novácˇek (1866-1900): NOVÁCˇ EK 7 Perpetuum Mobile Paris Symphony Orchestra • Pierre Monteux 2:34 Perpetuum Mobile Recorded in Paris by HMV, 18th May 1934 matrix 2PG 1601; catalogue DB 2283 CHAUSSON Ernest Chausson (1855-1899): 8 Poème, Op. 25 Poème, Op. 25 London Philharmonic Orchestra • Adrian Boult 14:58 Recorded at Studio 1, Abbey Road, London, 15th February 1952 matrices 2EA 16299-302; catalogue DB 9759-9760 Yehudi Menuhin, Violin Paris Symphony Orchestra London Philharmonic Orchestra Enescu • Monteux • Boult

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CMYK NAXOS Historical 8.111135 MOZART • PAGANINI Playing ADD NOVÁCˇ EK • CHAUSSON Time

BROADCASTING ANDCOPYING OF THIS COMPACT DISC PROHIBITED. UNAUTHORISEDTRANSLATIONS PUBLIC PERFORMANCE, RESERVED. ALL RIGHTS IN THIS SOUND RECORDING, ARTWORK, TEXTS AND 77:27 8.111135 Yehudi Menuhin (1916-1999) &

Not often does a recording change 2006 Naxos Rights International Ltd. 2006 Naxos RightsInternational Wolfgang Amadeus MOZART (1756-1791): the public perception of a piece of Violin Concerto No. 3 in G major, K. 216 23:53 music and its composer, but it 1 I Allegro 8:23 happened when the 18-year-old

2 II Adagio 8:21 Yehudi Menuhin set down this Violin Concertos MOZART •PAGANINI : MENUHIN: 3 III Rondo 7:09 recording of Paganini’s First Concerto in Paris in May 1934. Up Recorded in Paris, 19th December 1935 to then the work had been thought rather trivial and reduced to one Nicolò PAGANINI (1781-1840): movement. Backed by Pierre Violin Concerto No. 1 in D major 36:02 Monteux, one of the best of the conductors who collaborated with 4 I Allegro maestoso 21:31 him in the 1930s, the young violinist 5 II Adagio espressivo 5:26 turned in a highly musical 6 III Rondo: Allegro spiritoso 9:05 performance, a fine fusion of the Recorded in Paris, 18th-19th May 1934 carefree and the scholarly. Made at a time when little Mozart was played, this 1935 recording of the Otakar NOVÁCˇ EK (1866-1900): Violin Concerto No. 3 is best seen as 7 Perpetuum Mobile 2:34 a staging post along the road of Recorded in Paris, 18th May 1934 Menuhin’s gradual mastery of Mozart’s style. Menuhin’s 1933 recording of Chausson’s Poème, Ernest CHAUSSON (1855-1899): made with his teacher Enescu, has 8 Poème, Op. 25 14:58 long been regarded as a classic. Here we have his February 1952

MENUHIN: :• PAGANINI MOZART Concertos Violin Recorded in London, 15th February 1952 78rpm recording, made with Sir MADE IN Adrian Boult, one of the violinist’s Tracks 1-3: Paris Symphony Orchestra • George Enescu favourite conductors, in which he THE EU Tracks 4-7: Paris Symphony Orchestra • Pierre Monteux arguably digs even deeper. This is Track 8: London Philharmonic Orchestra • Adrian Boult its first CD re-issue. 8.111135 Producer and Audio Restoration Producer: Ward Marston www.naxos.com Cover Image: Nicolò Paganini, circa 1845

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