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TCHAIKOVSKY: Violin Concerto in D major, Op. 35 31:24 GLAZUNOV: 1 I Allegro moderato 17:22 0 Méditation in D major, Op. 32 3:26 2 II Canzonetta: Andante 6:07 Recorded 26th February, 1949 in RCA Victor Studio No. 2, New York City 3 III Finale: Allegro vivacissimo 7:55 Matrix: D9-RC-969 • First issued on RCA Victor 12-0965 TCHAIKOVSKY Violin Concerto Boston Symphony Orchestra • Charles Munch Recorded 29th March, 1953 in Symphony Hall, Boston STRAVINSKY (arr. Dushkin): First issued on RCA Victor LM-1760 ! Russian Maiden’s Song 3:34 ENCORES Recorded 26th February, 1949 in RCA Victor Studio No. 2, New York City MENDELSSOHN (arr. Leroy Anderson): Matrix: D9-RC-970 • First issued on RCA Victor 12-1017 4 On wings of song, Op. 34, No. 2 3:04 Recorded 19th January, 1950 in Manhattan Center, New York City WIENIAWSKI: AN MILS TH TE Matrix: E0-RC-54 • First issued on RCA Victor LM-77 @ Mazurka in D major, Op. 19, No. 2, ‘Dudziarz’ 3:36 A IN Recorded 26th February, 1949 in RCA Victor Studio No. 2, New York City N FOSTER (arr. Leroy Anderson): Matrix: D9-RC-971 • First issued on RCA Victor 12-1017 5 Old folks at home 3:41 Recorded 19th January, 1950 in Manhattan Center, New York City Tracks 10 – 12: Artur Balsam, piano Matrix: E0-RC-56 • First issued on RCA Victor LM-77 BÖHM: # Calm as the night 3:24 SCHUBERT (arr. Leroy Anderson): Recorded 17th March, 1952 in RCA Victor Studio No. 2, New York City 6 Ave Maria, D.839 4:14 First issued on RCA Victor LM-1703 Recorded 17th January, 1950 in Manhattan Center, New York City Matrix: E0-RC-52 • First issued on RC Victor LM-77 TCHAIKOVSKY: $ SCHUBERT (arr. Leroy Anderson): None but the lonely heart, Op. 6, No. 6 4:28 7 Serenade (from Schwanengesang) 4:20 Recorded 17th March, 1952 in RCA Victor Studio No. 2, New York City Recorded 17th January, 1950 in Manhattan Center, New York City First issued on RCA Victor LM-170 1 s Matrix: E0-RC-53 • First issued on RCA Victor LM-77 949 ing Tracks 13 – 14: Ezio Pinza, bass; Gibner King, piano -1953 Record FAURÉ (arr. Leroy Anderson): 8 Après un rêve, Op. 7, No. 1 2:35 Recorded 17th January, 1950 in Manhattan Center, New York City Producer and Audio Restoration Engineer: Mark Obert-Thorn Special thanks to James Miller, Masuo Nishibayashi and Gary Stucka Matrix: E0-RC-55 • First issued on RCA Victor LM-77 Nathan Milstein POLDINI (arr. Kreisler): 9 Dancing Doll 2:45 Boston Symphony Orchestra • RCA Victor Orchestra Recorded 19th January, 1950 in Manhattan Center, New York City Matrix: E0-RC-51 • First issued on RCA Victor LM-77 Charles Munch • Arthur Fiedler Artur Balsam • Ezio Pinza • Gibner King Tracks 4 – 9: RCA Victor Orchestra • Arthur Fiedler

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Great Violinists • Nathan Milstein ballerina Ekaterina Geltzer as she performed The Dying teach them to think.’ He died in London on 21st Producer’s Note Swan. At one concert in Moscow in 1923, he gave the December 1992. TCHAIKOVSKY: Violin Concerto in D major, Op. 35 local premières of the (first) concertos by Szymanowski Milstein made four recordings of the Tchaikovsky This CD, along with the Dvofiák and Glazunov Concertos and the Mozart Adagio and Rondo on Naxos Historical Encores: MENDELSSOHN • SCHUBERT • FAURÉ • GLAZUNOV • STRAVINSKY • WIENIAWSKI and Prokofiev, with Horowitz playing the orchestral Concerto, with the Chicago Symphony and Frederick 8.110975 and the Beethoven Spring Sonata and Brahms Sonata in D minor and Double Concerto on 8.111051, parts on the piano. ‘The culmination of my touring with Stock on Columbia 78rpm discs; with the Boston comprise all of Milstein’s published recordings for RCA Victor. (An additional taping, Beethoven’s Op. 23 Sonata Had the life of Pyotr Ily’ich Tchaikovsky gone to its towards those in authority which would not have served Horowitz through Russia was our appearances in Symphony and Charles Munch on an RCA mono LP; with Balsam, remains unissued.) The sources for the transfers were a French LP for the Tchaikovsky Concerto and natural term of the biblical ‘three score years and ten’, him well in post-Revolution Russia. Part of this healthy [Petrograd] in 1923,’ he wrote. ‘They were enormously with the Pittsburgh Symphony and William Steinberg American pressings for the remainder (the rare original ten-inch LP for the “pops” encores with Fiedler; 45 rpm he would have lived to at least 1910. As it was, when dissent showed itself in a refusal to be dominated successful. [...] We were greeted and treated as rock on mono and stereo Capitol LPs; and finally with the discs for the three short pieces with piano; and an LP for the two obbligati with Pinza). the violinist Nathan Milstein was growing up, the mentally by his teachers: he was dismissive of the ‘cult stars are today.’ The grand finale was an orchestral Vienna Philharmonic and Claudio Abbado. The rarest composer was still a recent memory. In polite Russian of personality’ and had run-ins with several ‘star’ concert at which Milstein again played the Glazunov up to now has been the Munch: it was issued normally Mark Obert-Thorn society his name was mentioned with a slight frisson of conductors. The highlight of his time at Stolyarsky’s Concerto with the composer conducting. in the United States by RCA Victor but in Europe, scandal, on account of his homosexuality and the fact was the brilliant performance of Glazunov’s Concerto On Christmas Day 1925 Milstein left Russia for although it was allotted a ten-inch LP number by HMV, that (as we now know) he had probably committed he gave in 1915 with the composer on the podium. good to tour Europe with Horowitz. An appearance in it was released only in France. HMV in Britain, which suicide, but in musical circles he was venerated as an From 1916 to 1917 he was at the St Petersburg Spain led to his crossing the Atlantic, to give recitals in was in any case winding down its reciprocal icon of art: pianists aspired to thunder out the opening Conservatory with Auer – for whom, true to form, he Buenos Aires and Montevideo with the harpsichordist arrangement with RCA Victor, gave preference to the theme of his B flat minor Concerto and violinists could had more respect than love – and this sojourn gave the Wanda Landowska; and at a concert in Vienna his small 1950 version by Jascha Heifetz and the Philharmonia not consider themselves fully fledged until they had final polish to his lofty style, although he learnt as much but select audience included Arnold Schoenberg, Alban under Walter Susskind. The Milstein performance played his D major Concerto. In Leopold Auer’s class from listening to fellow students such as Heifetz, Berg, Karl Amadeus Hartmann and Julius Korngold. benefits from fiery conducting by Munch, himself a at the St Petersburg Conservatory, the Violin Concerto Toscha Seidel, Eddy Brown, Miron Polyakin and The summer of 1926 was spent in Ysaÿe’s orbit, distinguished former violinist, and as always with this was high on the list of set pieces. It is easy to see a Cecilia Hansen as from the great pedagogue. ‘I truly although the Belgian told him: ‘Go, there is nothing I soloist is beautifully played. The encores with Arthur certain amount of guilt in this sense of priorities. came to love the violin in Petersburg,’ he wrote. ‘I liked can teach you.’ He emigrated to the United States in Fiedler conducting are especially welcome because the Tchaikovsky wrote the solos in Swan Lake for the great going to the Conservatory, and I liked the atmosphere of 1928, making his début with the Philadelphia Orchestra Mendelssohn, Schubert and Foster titles are unique to Hungarian violinist; and having composed the Concerto competition in Auer’s class – talented children playing under Stokowski the following year (in the Glazunov Milstein’s discography. The three titles with the Polish early in 1878, he offered the dedication to Auer. For the violin, one better than the next, inspiring me to try Concerto), and with the New York Philharmonic in pianist Artur Balsam, Milstein’s regular partner for two reasons which are still disputed, however, Auer initially harder.’ Milstein’s capacity for hard work impressed January 1930 (the Brahms Concerto under Bernardino decades, were done elsewhere although this is the only rejected the work, so it was finally given its première by Auer, who presented him with a bow. ‘I later learned Molinari). Back in Europe that May, he played the version of the Glazunov with piano. The Stravinsky, the its new dedicatee Adolf Brodsky in 1881 in Vienna that the bow was very cheap, but for the notoriously Mendelssohn, Brahms and Tchaikovsky Concertos on sole number from his little opera Mavra to enter the (where the famous critic Hanslick savaged it). Auer miserly Auer it was an amazing gesture.’ All the same, one evening at the Vienna Konzerthaus, with Franz repertoire, was arranged by Samuel Dushkin for his eventually saw the error of his ways and became a Milstein was forsaken when Auer emigrated to the Schalk conducting the State Opera Orchestra. His joint recitals with the composer. Finally, two rarities in distinguished advocate of the Concerto – albeit in his United States in 1917; and from the age of thirteen he London début came in November 1932, in a Courtauld terms of Milstein’s recordings, his only obbligati for a own edition, with quite a few changes – and more was essentially an auto-didact, transforming himself Concert at Queen’s Hall in which he played the Brahms vocalist. The Italian bass Ezio Pinza, a star of the importantly, he taught the next generation to love it, into the cultured figure familiar in later years. and Tchaikovsky with the London Symphony Orchestra Metropolitan Opera and then of Broadway, returned to including Milstein. Tchaikovsky in his turn forgave Milstein knew considerable poverty in the years under Malcolm Sargent. Thereafter he divided his RCA Victor at the end of his career after some years Auer and in 1990 wrote him another lovely solo in the after the 1917 Revolution, but gradually built up his career between the old world and the new. Although he with Columbia. With his regular accompanist Gibner sextet Souvenir de Florence. career and in Kiev in 1921 met Vladimir Horowitz: their became an American citizen in 1942, he was based King and an added ‘voice’ from Milstein, he sings Born in Odessa on New Year’s Eve 1904, into a duo soon grew into a trio with Gregor Piatigorsky. In alternately in Paris and London after World War II. He Böhm’s popular Still wie die Nacht (often effective as a middle-class commercial family, Nathan Mironovich 1923 Milstein played Glazunov’s Concerto in the was still playing to a high standard in his early eighties duet, witness the version by Lucrezia Bori and Milstein was encouraged by his mother to take up the newly-named Petrograd with the conductorless – his last recital, which was filmed, was given in Lawrence Tibbett) and Tchaikovsky’s wonderful violin before going at seven to Pyotr Stolyarsky’s orchestra ‘Persimfans’; and Glazunov, drunk as usual, Stockholm in 1986. In his later years he taught, both Goethe setting. school – from which he graduated just as the next star insisted on trying to perform an encore with him. More privately and at the Juilliard School and the Zurich The Naxos Historical label aims to make available the greatest recordings in the history of recorded music, in the best pupil, David Oistrakh, was giving a first performance. successful were concerts at which he and Horowitz Conservatoire. ‘What I feel I can offer these young Tully Potter and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of In contrast to Oistrakh, Milstein did not develop a shared the platform with the Stradivarius Quartet, or musicians,’ he said, ‘is simply what I have learned respected restorers who have the dedication, skill and experience to produce restorations that have set new standards rapport with Stolyarsky: at an early age he developed an singers such as Antonina Nezhdanova and Leonid myself through experience. I try not to impose my way in the field of historical recordings. ironic, independent viewpoint – and a scepticism Sobinov. Sometimes he played the violin for the ageing on them, not to teach them to play, even, but to help 8.111259 2 3 8.111259 4 8.111259 111259 bk Milstein Encores EU 5/15/07 12:21 PM Page 2

Great Violinists • Nathan Milstein ballerina Ekaterina Geltzer as she performed The Dying teach them to think.’ He died in London on 21st Producer’s Note Swan. At one concert in Moscow in 1923, he gave the December 1992. TCHAIKOVSKY: Violin Concerto in D major, Op. 35 local premières of the (first) concertos by Szymanowski Milstein made four recordings of the Tchaikovsky This CD, along with the Dvofiák and Glazunov Concertos and the Mozart Adagio and Rondo on Naxos Historical Encores: MENDELSSOHN • SCHUBERT • FAURÉ • GLAZUNOV • STRAVINSKY • WIENIAWSKI and Prokofiev, with Horowitz playing the orchestral Concerto, with the Chicago Symphony and Frederick 8.110975 and the Beethoven Spring Sonata and Brahms Sonata in D minor and Double Concerto on 8.111051, parts on the piano. ‘The culmination of my touring with Stock on Columbia 78rpm discs; with the Boston comprise all of Milstein’s published recordings for RCA Victor. (An additional taping, Beethoven’s Op. 23 Sonata Had the life of Pyotr Ily’ich Tchaikovsky gone to its towards those in authority which would not have served Horowitz through Russia was our appearances in Symphony and Charles Munch on an RCA mono LP; with Balsam, remains unissued.) The sources for the transfers were a French LP for the Tchaikovsky Concerto and natural term of the biblical ‘three score years and ten’, him well in post-Revolution Russia. Part of this healthy [Petrograd] in 1923,’ he wrote. ‘They were enormously with the Pittsburgh Symphony and William Steinberg American pressings for the remainder (the rare original ten-inch LP for the “pops” encores with Fiedler; 45 rpm he would have lived to at least 1910. As it was, when dissent showed itself in a refusal to be dominated successful. [...] We were greeted and treated as rock on mono and stereo Capitol LPs; and finally with the discs for the three short pieces with piano; and an LP for the two obbligati with Pinza). the violinist Nathan Milstein was growing up, the mentally by his teachers: he was dismissive of the ‘cult stars are today.’ The grand finale was an orchestral Vienna Philharmonic and Claudio Abbado. The rarest composer was still a recent memory. In polite Russian of personality’ and had run-ins with several ‘star’ concert at which Milstein again played the Glazunov up to now has been the Munch: it was issued normally Mark Obert-Thorn society his name was mentioned with a slight frisson of conductors. The highlight of his time at Stolyarsky’s Concerto with the composer conducting. in the United States by RCA Victor but in Europe, scandal, on account of his homosexuality and the fact was the brilliant performance of Glazunov’s Concerto On Christmas Day 1925 Milstein left Russia for although it was allotted a ten-inch LP number by HMV, that (as we now know) he had probably committed he gave in 1915 with the composer on the podium. good to tour Europe with Horowitz. An appearance in it was released only in France. HMV in Britain, which suicide, but in musical circles he was venerated as an From 1916 to 1917 he was at the St Petersburg Spain led to his crossing the Atlantic, to give recitals in was in any case winding down its reciprocal icon of art: pianists aspired to thunder out the opening Conservatory with Auer – for whom, true to form, he Buenos Aires and Montevideo with the harpsichordist arrangement with RCA Victor, gave preference to the theme of his B flat minor Concerto and violinists could had more respect than love – and this sojourn gave the Wanda Landowska; and at a concert in Vienna his small 1950 version by Jascha Heifetz and the Philharmonia not consider themselves fully fledged until they had final polish to his lofty style, although he learnt as much but select audience included Arnold Schoenberg, Alban under Walter Susskind. The Milstein performance played his D major Concerto. In Leopold Auer’s class from listening to fellow students such as Heifetz, Berg, Karl Amadeus Hartmann and Julius Korngold. benefits from fiery conducting by Munch, himself a at the St Petersburg Conservatory, the Violin Concerto Toscha Seidel, Eddy Brown, Miron Polyakin and The summer of 1926 was spent in Ysaÿe’s orbit, distinguished former violinist, and as always with this was high on the list of set pieces. It is easy to see a Cecilia Hansen as from the great pedagogue. ‘I truly although the Belgian told him: ‘Go, there is nothing I soloist is beautifully played. The encores with Arthur certain amount of guilt in this sense of priorities. came to love the violin in Petersburg,’ he wrote. ‘I liked can teach you.’ He emigrated to the United States in Fiedler conducting are especially welcome because the Tchaikovsky wrote the solos in Swan Lake for the great going to the Conservatory, and I liked the atmosphere of 1928, making his début with the Philadelphia Orchestra Mendelssohn, Schubert and Foster titles are unique to Hungarian violinist; and having composed the Concerto competition in Auer’s class – talented children playing under Stokowski the following year (in the Glazunov Milstein’s discography. The three titles with the Polish early in 1878, he offered the dedication to Auer. For the violin, one better than the next, inspiring me to try Concerto), and with the New York Philharmonic in pianist Artur Balsam, Milstein’s regular partner for two reasons which are still disputed, however, Auer initially harder.’ Milstein’s capacity for hard work impressed January 1930 (the Brahms Concerto under Bernardino decades, were done elsewhere although this is the only rejected the work, so it was finally given its première by Auer, who presented him with a bow. ‘I later learned Molinari). Back in Europe that May, he played the version of the Glazunov with piano. The Stravinsky, the its new dedicatee Adolf Brodsky in 1881 in Vienna that the bow was very cheap, but for the notoriously Mendelssohn, Brahms and Tchaikovsky Concertos on sole number from his little opera Mavra to enter the (where the famous critic Hanslick savaged it). Auer miserly Auer it was an amazing gesture.’ All the same, one evening at the Vienna Konzerthaus, with Franz repertoire, was arranged by Samuel Dushkin for his eventually saw the error of his ways and became a Milstein was forsaken when Auer emigrated to the Schalk conducting the State Opera Orchestra. His joint recitals with the composer. Finally, two rarities in distinguished advocate of the Concerto – albeit in his United States in 1917; and from the age of thirteen he London début came in November 1932, in a Courtauld terms of Milstein’s recordings, his only obbligati for a own edition, with quite a few changes – and more was essentially an auto-didact, transforming himself Concert at Queen’s Hall in which he played the Brahms vocalist. The Italian bass Ezio Pinza, a star of the importantly, he taught the next generation to love it, into the cultured figure familiar in later years. and Tchaikovsky with the London Symphony Orchestra Metropolitan Opera and then of Broadway, returned to including Milstein. Tchaikovsky in his turn forgave Milstein knew considerable poverty in the years under Malcolm Sargent. Thereafter he divided his RCA Victor at the end of his career after some years Auer and in 1990 wrote him another lovely solo in the after the 1917 Revolution, but gradually built up his career between the old world and the new. Although he with Columbia. With his regular accompanist Gibner sextet Souvenir de Florence. career and in Kiev in 1921 met Vladimir Horowitz: their became an American citizen in 1942, he was based King and an added ‘voice’ from Milstein, he sings Born in Odessa on New Year’s Eve 1904, into a duo soon grew into a trio with Gregor Piatigorsky. In alternately in Paris and London after World War II. He Böhm’s popular Still wie die Nacht (often effective as a middle-class commercial family, Nathan Mironovich 1923 Milstein played Glazunov’s Concerto in the was still playing to a high standard in his early eighties duet, witness the version by Lucrezia Bori and Milstein was encouraged by his mother to take up the newly-named Petrograd with the conductorless – his last recital, which was filmed, was given in Lawrence Tibbett) and Tchaikovsky’s wonderful violin before going at seven to Pyotr Stolyarsky’s orchestra ‘Persimfans’; and Glazunov, drunk as usual, Stockholm in 1986. In his later years he taught, both Goethe setting. school – from which he graduated just as the next star insisted on trying to perform an encore with him. More privately and at the Juilliard School and the Zurich The Naxos Historical label aims to make available the greatest recordings in the history of recorded music, in the best pupil, David Oistrakh, was giving a first performance. successful were concerts at which he and Horowitz Conservatoire. ‘What I feel I can offer these young Tully Potter and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of In contrast to Oistrakh, Milstein did not develop a shared the platform with the Stradivarius Quartet, or musicians,’ he said, ‘is simply what I have learned respected restorers who have the dedication, skill and experience to produce restorations that have set new standards rapport with Stolyarsky: at an early age he developed an singers such as Antonina Nezhdanova and Leonid myself through experience. I try not to impose my way in the field of historical recordings. ironic, independent viewpoint – and a scepticism Sobinov. Sometimes he played the violin for the ageing on them, not to teach them to play, even, but to help 8.111259 2 3 8.111259 4 8.111259 111259 bk Milstein Encores EU 5/15/07 12:21 PM Page 2

Great Violinists • Nathan Milstein ballerina Ekaterina Geltzer as she performed The Dying teach them to think.’ He died in London on 21st Producer’s Note Swan. At one concert in Moscow in 1923, he gave the December 1992. TCHAIKOVSKY: Violin Concerto in D major, Op. 35 local premières of the (first) concertos by Szymanowski Milstein made four recordings of the Tchaikovsky This CD, along with the Dvofiák and Glazunov Concertos and the Mozart Adagio and Rondo on Naxos Historical Encores: MENDELSSOHN • SCHUBERT • FAURÉ • GLAZUNOV • STRAVINSKY • WIENIAWSKI and Prokofiev, with Horowitz playing the orchestral Concerto, with the Chicago Symphony and Frederick 8.110975 and the Beethoven Spring Sonata and Brahms Sonata in D minor and Double Concerto on 8.111051, parts on the piano. ‘The culmination of my touring with Stock on Columbia 78rpm discs; with the Boston comprise all of Milstein’s published recordings for RCA Victor. (An additional taping, Beethoven’s Op. 23 Sonata Had the life of Pyotr Ily’ich Tchaikovsky gone to its towards those in authority which would not have served Horowitz through Russia was our appearances in Symphony and Charles Munch on an RCA mono LP; with Balsam, remains unissued.) The sources for the transfers were a French LP for the Tchaikovsky Concerto and natural term of the biblical ‘three score years and ten’, him well in post-Revolution Russia. Part of this healthy [Petrograd] in 1923,’ he wrote. ‘They were enormously with the Pittsburgh Symphony and William Steinberg American pressings for the remainder (the rare original ten-inch LP for the “pops” encores with Fiedler; 45 rpm he would have lived to at least 1910. As it was, when dissent showed itself in a refusal to be dominated successful. [...] We were greeted and treated as rock on mono and stereo Capitol LPs; and finally with the discs for the three short pieces with piano; and an LP for the two obbligati with Pinza). the violinist Nathan Milstein was growing up, the mentally by his teachers: he was dismissive of the ‘cult stars are today.’ The grand finale was an orchestral Vienna Philharmonic and Claudio Abbado. The rarest composer was still a recent memory. In polite Russian of personality’ and had run-ins with several ‘star’ concert at which Milstein again played the Glazunov up to now has been the Munch: it was issued normally Mark Obert-Thorn society his name was mentioned with a slight frisson of conductors. The highlight of his time at Stolyarsky’s Concerto with the composer conducting. in the United States by RCA Victor but in Europe, scandal, on account of his homosexuality and the fact was the brilliant performance of Glazunov’s Concerto On Christmas Day 1925 Milstein left Russia for although it was allotted a ten-inch LP number by HMV, that (as we now know) he had probably committed he gave in 1915 with the composer on the podium. good to tour Europe with Horowitz. An appearance in it was released only in France. HMV in Britain, which suicide, but in musical circles he was venerated as an From 1916 to 1917 he was at the St Petersburg Spain led to his crossing the Atlantic, to give recitals in was in any case winding down its reciprocal icon of art: pianists aspired to thunder out the opening Conservatory with Auer – for whom, true to form, he Buenos Aires and Montevideo with the harpsichordist arrangement with RCA Victor, gave preference to the theme of his B flat minor Concerto and violinists could had more respect than love – and this sojourn gave the Wanda Landowska; and at a concert in Vienna his small 1950 version by Jascha Heifetz and the Philharmonia not consider themselves fully fledged until they had final polish to his lofty style, although he learnt as much but select audience included Arnold Schoenberg, Alban under Walter Susskind. The Milstein performance played his D major Concerto. In Leopold Auer’s class from listening to fellow students such as Heifetz, Berg, Karl Amadeus Hartmann and Julius Korngold. benefits from fiery conducting by Munch, himself a at the St Petersburg Conservatory, the Violin Concerto Toscha Seidel, Eddy Brown, Miron Polyakin and The summer of 1926 was spent in Ysaÿe’s orbit, distinguished former violinist, and as always with this was high on the list of set pieces. It is easy to see a Cecilia Hansen as from the great pedagogue. ‘I truly although the Belgian told him: ‘Go, there is nothing I soloist is beautifully played. The encores with Arthur certain amount of guilt in this sense of priorities. came to love the violin in Petersburg,’ he wrote. ‘I liked can teach you.’ He emigrated to the United States in Fiedler conducting are especially welcome because the Tchaikovsky wrote the solos in Swan Lake for the great going to the Conservatory, and I liked the atmosphere of 1928, making his début with the Philadelphia Orchestra Mendelssohn, Schubert and Foster titles are unique to Hungarian violinist; and having composed the Concerto competition in Auer’s class – talented children playing under Stokowski the following year (in the Glazunov Milstein’s discography. The three titles with the Polish early in 1878, he offered the dedication to Auer. For the violin, one better than the next, inspiring me to try Concerto), and with the New York Philharmonic in pianist Artur Balsam, Milstein’s regular partner for two reasons which are still disputed, however, Auer initially harder.’ Milstein’s capacity for hard work impressed January 1930 (the Brahms Concerto under Bernardino decades, were done elsewhere although this is the only rejected the work, so it was finally given its première by Auer, who presented him with a bow. ‘I later learned Molinari). Back in Europe that May, he played the version of the Glazunov with piano. The Stravinsky, the its new dedicatee Adolf Brodsky in 1881 in Vienna that the bow was very cheap, but for the notoriously Mendelssohn, Brahms and Tchaikovsky Concertos on sole number from his little opera Mavra to enter the (where the famous critic Hanslick savaged it). Auer miserly Auer it was an amazing gesture.’ All the same, one evening at the Vienna Konzerthaus, with Franz repertoire, was arranged by Samuel Dushkin for his eventually saw the error of his ways and became a Milstein was forsaken when Auer emigrated to the Schalk conducting the State Opera Orchestra. His joint recitals with the composer. Finally, two rarities in distinguished advocate of the Concerto – albeit in his United States in 1917; and from the age of thirteen he London début came in November 1932, in a Courtauld terms of Milstein’s recordings, his only obbligati for a own edition, with quite a few changes – and more was essentially an auto-didact, transforming himself Concert at Queen’s Hall in which he played the Brahms vocalist. The Italian bass Ezio Pinza, a star of the importantly, he taught the next generation to love it, into the cultured figure familiar in later years. and Tchaikovsky with the London Symphony Orchestra Metropolitan Opera and then of Broadway, returned to including Milstein. Tchaikovsky in his turn forgave Milstein knew considerable poverty in the years under Malcolm Sargent. Thereafter he divided his RCA Victor at the end of his career after some years Auer and in 1990 wrote him another lovely solo in the after the 1917 Revolution, but gradually built up his career between the old world and the new. Although he with Columbia. With his regular accompanist Gibner sextet Souvenir de Florence. career and in Kiev in 1921 met Vladimir Horowitz: their became an American citizen in 1942, he was based King and an added ‘voice’ from Milstein, he sings Born in Odessa on New Year’s Eve 1904, into a duo soon grew into a trio with Gregor Piatigorsky. In alternately in Paris and London after World War II. He Böhm’s popular Still wie die Nacht (often effective as a middle-class commercial family, Nathan Mironovich 1923 Milstein played Glazunov’s Concerto in the was still playing to a high standard in his early eighties duet, witness the version by Lucrezia Bori and Milstein was encouraged by his mother to take up the newly-named Petrograd with the conductorless – his last recital, which was filmed, was given in Lawrence Tibbett) and Tchaikovsky’s wonderful violin before going at seven to Pyotr Stolyarsky’s orchestra ‘Persimfans’; and Glazunov, drunk as usual, Stockholm in 1986. In his later years he taught, both Goethe setting. school – from which he graduated just as the next star insisted on trying to perform an encore with him. More privately and at the Juilliard School and the Zurich The Naxos Historical label aims to make available the greatest recordings in the history of recorded music, in the best pupil, David Oistrakh, was giving a first performance. successful were concerts at which he and Horowitz Conservatoire. ‘What I feel I can offer these young Tully Potter and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of In contrast to Oistrakh, Milstein did not develop a shared the platform with the Stradivarius Quartet, or musicians,’ he said, ‘is simply what I have learned respected restorers who have the dedication, skill and experience to produce restorations that have set new standards rapport with Stolyarsky: at an early age he developed an singers such as Antonina Nezhdanova and Leonid myself through experience. I try not to impose my way in the field of historical recordings. ironic, independent viewpoint – and a scepticism Sobinov. Sometimes he played the violin for the ageing on them, not to teach them to play, even, but to help 8.111259 2 3 8.111259 4 8.111259 111259 bk Milstein Encores EU 5/15/07 12:21 PM Page 5

TCHAIKOVSKY: Violin Concerto in D major, Op. 35 31:24 GLAZUNOV: 1 I Allegro moderato 17:22 0 Méditation in D major, Op. 32 3:26 2 II Canzonetta: Andante 6:07 Recorded 26th February, 1949 in RCA Victor Studio No. 2, New York City 3 III Finale: Allegro vivacissimo 7:55 Matrix: D9-RC-969 • First issued on RCA Victor 12-0965 TCHAIKOVSKY Violin Concerto Boston Symphony Orchestra • Charles Munch Recorded 29th March, 1953 in Symphony Hall, Boston STRAVINSKY (arr. Dushkin): First issued on RCA Victor LM-1760 ! Russian Maiden’s Song 3:34 ENCORES Recorded 26th February, 1949 in RCA Victor Studio No. 2, New York City MENDELSSOHN (arr. Leroy Anderson): Matrix: D9-RC-970 • First issued on RCA Victor 12-1017 4 On wings of song, Op. 34, No. 2 3:04 Recorded 19th January, 1950 in Manhattan Center, New York City WIENIAWSKI: AN MILS TH TE Matrix: E0-RC-54 • First issued on RCA Victor LM-77 @ Mazurka in D major, Op. 19, No. 2, ‘Dudziarz’ 3:36 A IN Recorded 26th February, 1949 in RCA Victor Studio No. 2, New York City N FOSTER (arr. Leroy Anderson): Matrix: D9-RC-971 • First issued on RCA Victor 12-1017 5 Old folks at home 3:41 Recorded 19th January, 1950 in Manhattan Center, New York City Tracks 10 – 12: Artur Balsam, piano Matrix: E0-RC-56 • First issued on RCA Victor LM-77 BÖHM: # Calm as the night 3:24 SCHUBERT (arr. Leroy Anderson): Recorded 17th March, 1952 in RCA Victor Studio No. 2, New York City 6 Ave Maria, D.839 4:14 First issued on RCA Victor LM-1703 Recorded 17th January, 1950 in Manhattan Center, New York City Matrix: E0-RC-52 • First issued on RC Victor LM-77 TCHAIKOVSKY: $ SCHUBERT (arr. Leroy Anderson): None but the lonely heart, Op. 6, No. 6 4:28 7 Serenade (from Schwanengesang) 4:20 Recorded 17th March, 1952 in RCA Victor Studio No. 2, New York City Recorded 17th January, 1950 in Manhattan Center, New York City First issued on RCA Victor LM-170 1 s Matrix: E0-RC-53 • First issued on RCA Victor LM-77 949 ing Tracks 13 – 14: Ezio Pinza, bass; Gibner King, piano -1953 Record FAURÉ (arr. Leroy Anderson): 8 Après un rêve, Op. 7, No. 1 2:35 Recorded 17th January, 1950 in Manhattan Center, New York City Producer and Audio Restoration Engineer: Mark Obert-Thorn Special thanks to James Miller, Masuo Nishibayashi and Gary Stucka Matrix: E0-RC-55 • First issued on RCA Victor LM-77 Nathan Milstein POLDINI (arr. Kreisler): 9 Dancing Doll 2:45 Boston Symphony Orchestra • RCA Victor Orchestra Recorded 19th January, 1950 in Manhattan Center, New York City Matrix: E0-RC-51 • First issued on RCA Victor LM-77 Charles Munch • Arthur Fiedler Artur Balsam • Ezio Pinza • Gibner King Tracks 4 – 9: RCA Victor Orchestra • Arthur Fiedler

8.111259 5 6 8.111259 111259 bk Milstein Encores EU 5/15/07 12:21 PM Page 5

TCHAIKOVSKY: Violin Concerto in D major, Op. 35 31:24 GLAZUNOV: 1 I Allegro moderato 17:22 0 Méditation in D major, Op. 32 3:26 2 II Canzonetta: Andante 6:07 Recorded 26th February, 1949 in RCA Victor Studio No. 2, New York City 3 III Finale: Allegro vivacissimo 7:55 Matrix: D9-RC-969 • First issued on RCA Victor 12-0965 TCHAIKOVSKY Violin Concerto Boston Symphony Orchestra • Charles Munch Recorded 29th March, 1953 in Symphony Hall, Boston STRAVINSKY (arr. Dushkin): First issued on RCA Victor LM-1760 ! Russian Maiden’s Song 3:34 ENCORES Recorded 26th February, 1949 in RCA Victor Studio No. 2, New York City MENDELSSOHN (arr. Leroy Anderson): Matrix: D9-RC-970 • First issued on RCA Victor 12-1017 4 On wings of song, Op. 34, No. 2 3:04 Recorded 19th January, 1950 in Manhattan Center, New York City WIENIAWSKI: AN MILS TH TE Matrix: E0-RC-54 • First issued on RCA Victor LM-77 @ Mazurka in D major, Op. 19, No. 2, ‘Dudziarz’ 3:36 A IN Recorded 26th February, 1949 in RCA Victor Studio No. 2, New York City N FOSTER (arr. Leroy Anderson): Matrix: D9-RC-971 • First issued on RCA Victor 12-1017 5 Old folks at home 3:41 Recorded 19th January, 1950 in Manhattan Center, New York City Tracks 10 – 12: Artur Balsam, piano Matrix: E0-RC-56 • First issued on RCA Victor LM-77 BÖHM: # Calm as the night 3:24 SCHUBERT (arr. Leroy Anderson): Recorded 17th March, 1952 in RCA Victor Studio No. 2, New York City 6 Ave Maria, D.839 4:14 First issued on RCA Victor LM-1703 Recorded 17th January, 1950 in Manhattan Center, New York City Matrix: E0-RC-52 • First issued on RC Victor LM-77 TCHAIKOVSKY: $ SCHUBERT (arr. Leroy Anderson): None but the lonely heart, Op. 6, No. 6 4:28 7 Serenade (from Schwanengesang) 4:20 Recorded 17th March, 1952 in RCA Victor Studio No. 2, New York City Recorded 17th January, 1950 in Manhattan Center, New York City First issued on RCA Victor LM-170 1 s Matrix: E0-RC-53 • First issued on RCA Victor LM-77 949 ing Tracks 13 – 14: Ezio Pinza, bass; Gibner King, piano -1953 Record FAURÉ (arr. Leroy Anderson): 8 Après un rêve, Op. 7, No. 1 2:35 Recorded 17th January, 1950 in Manhattan Center, New York City Producer and Audio Restoration Engineer: Mark Obert-Thorn Special thanks to James Miller, Masuo Nishibayashi and Gary Stucka Matrix: E0-RC-55 • First issued on RCA Victor LM-77 Nathan Milstein POLDINI (arr. Kreisler): 9 Dancing Doll 2:45 Boston Symphony Orchestra • RCA Victor Orchestra Recorded 19th January, 1950 in Manhattan Center, New York City Matrix: E0-RC-51 • First issued on RCA Victor LM-77 Charles Munch • Arthur Fiedler Artur Balsam • Ezio Pinza • Gibner King Tracks 4 – 9: RCA Victor Orchestra • Arthur Fiedler

8.111259 5 6 8.111259 NAXOS Historical TCHAIKOVSKY • MILSTEIN 8.111259 None but Time 70:30 Playing and , up to the rarest Concerto Calm as the night the lonely heart. Of Milstein’s four recordings of the recordings four Of Milstein’s Tchaikovsky version has been this 1953 now in Boston, recorded which, outside the USA, in France. only released was and the beautifully Milstein plays fiery also benefits from performance Munch,conducting by himself a violinist.distinguished former The Arthur Fiedler include with encores Mendelssohn, by works three unique Schubert which are and Foster discography.to Milstein’s The disc rarities in which concludes with two as a vocalist,Milstein also performs in violin and the both playing effect bass Ezio duetting with the Italian Pinza in 31:24 ) 4:20 Schwanengesang Violin Concerto Violin TCHAIKOVSKY On wings of song, Op. 34, No. 2 3:04 Nathan Milstein (1903 – 1992) (1903 Milstein Nathan Serenade (from (from Serenade Ave Maria,Ave D.839 4:14 Old folks at homeOld folks 3:41 Après un rêve, Op. 7, No. 1 2:35 Dancing Doll 2:45 None but the lonely heart,None but the lonely Op. 6, No. 6 4:28 Mazurka in D major, Op. 19, No. 2,‘Dudziarz’ 3:36 Russian Maiden’s SongRussian Maiden’s 3:34 Méditation in D major, Op. 32 3:26 ADD Calm as the night 3:24 8.111259 Tchaikovsky: Nathan Milstein, violin • Ezio Pinza, bass • Gibner King, piano 17th March,Recorded Victor Studio No. RCA 1952 in 2, NYC Wieniawski: Nathan Milstein,Artur Balsam, violin • piano Studio No.Victor 26th February,Recorded 1949 in RCA 2, NYC Böhm: Poldini (arr.Poldini Kreisler): Nathan Milstein, violin Arthur Fiedler • Victor Orchestra RCA 17th and 19th January,Recorded 1950 City York in Manhattan Center, New Glazunov: Stravinsky: Allegro moderatoAllegro Canzonetta:AndanteFinale:Allegro vivacissimo 7:55 17:22 6:07 Mendelssohn (arr. L.Anderson): (arr.Foster L.Anderson): Schubert (arr. L.Anderson): Schubert (arr. L.Anderson): Fauré (arr. L.Anderson): Peter Il’yich Tchaikovsky Il’yich Peter Violin Concerto in D major, Op. 35 Nathan Milstein, violin • Charles Munch Orchestra Boston Symphony 29th March,Recorded Hall, 1953 in Symphony Boston www.naxos.com Producer and Audio Restoration Engineer: and Producer Obert-Thorn Mark image:Cover Nathan Milstein, 1930 (Private Collection) circa $ @ # 0 ! 9 1 2 3 7 8 4 5 6

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