J.S.Bach — Concerto For Two Violins — Szigeti, Flesch – 1937 78rpm shellac rip

A compilation of records from different sets, the first record from the United States is recorded with serious loss of clarity, the sound of the second, English version is great, but it is printed on a crackling mass of English HMV. In the first movement, you can appreciate the Szigeti violin with its emphasized upper formant, somewhat angular and beautiful in this angularity. Thanks to the efforts of American technicians, the Flash instrument sounds helpless, and only at the end of Largo and in the final it becomes clear that two equally great masters are playing, and their instruments are as good as their masters. It should also be noted that the orchestra is well-coordinated, emphasizing the expression of the allegro.

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J.S.Bach — Concerto For Two Violins — Jascha Heifetz , 1952 78rpm shellac rip


Both parts are recorded by Heifetz using an overdubbing. The recording is considered a failure, in my opinion, because of the relatively dull sound and the unsuccessful first movement: the tempo is too high, the orchestra plays monotonously, the violins do not differ in tone or style. I think because of this, many people never got to hear Largo, the first half of which is played and recorded musically perfectly. In the second part of Largo, the violins lost their voice, but the finale is recorded very well-expressively and with mood.

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J.S.Bach — Concerto For Two Violins — Yehudi Menuhin, Georges Enesco ‎– 1932 78rpm shellac rip


Only the first record is present from the set. The orchestra sounds a little heavy, but Menuhin's violin is recorded elegantly – touching, soft and intonated, it is for this sound Menuhin loved by his fans. The Enesco instrument sounds calm and muted, the teacher does not interfere with his protege.

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J.S.Bach – Concerto For Two Violins – Fritz Kreisler, Efrem Zimbalist ‎– 1915 78rpm shellac rip


Re-release of the 1930s, two records from different sets – the crackling HMV and the clean Electrola. Unique 1915 version of the concert – acoustic recording with chamber accompaniment, which preserved unusually merged consonances and chords, built by two beautiful violins and a quartet. The narrative is on the rise – setting the mood for vivace, then the extraordinary beauty of Largo and the passionate, divine Allegro at the end.

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Tchaikovsky – Violin Concerto, N. Shkolnikova – 1950th LP mono rip

Kirill Kondrashin conducts the Moscow Symphony Orchestra, violin solo by Nelly Shkolnikova. The D-02176 GOST 5289-56, recorded in the first half of the 1950s, was reissued after 1956 from the original matrix (without re-recording on a newer equipment, as it was commonly practiced in the late 1950s in USSR). The recording bears all the signs of early soviet LPs of the TU-1kl – on the one hand the magnificent sound of the soloist, on the other – the unimportantly recorded orchestra. This performance is without a doubt one of the best interpretations of Tchaikovsky's concerto and a perfect example of violin recording.

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Khachaturian – Violin Concerto, L. Kogan 1952 mono lp rip


The magnificent version of the concert is conducted by the author, soloed by Leonid Kogan. The orchestra, as on all records TU-1kl 33, recorded dynamically, but roughly, the violin sounds perfect – clear and expressive.

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Misha Elman plays, 78 rpm Shellac Rip


A magnificent version of Debussy's sonata and a few miniatures performed by the Master.

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Fritz Kreisler plays, 78rpm shellac rip


Violin miniatures performed by Fritz Kreisler.

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Myron Polyakin, 78RPM Shellac rip


Sophisticated, sensual Schubert, enchanting Sarasate, expressive Tchaikovsky – Polyakin is undoubtedly a genius of violin, improviser, which is rarely seen among classical musicians.

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Glazunov – Violin Concerto, Polyakin – Orlov, 78 Rpm shellac Rip


The record was made in 1939. Here is a 1950s reissue – a set of three 12' records, technically is not quite successful, but how amazingly beautiful does Polyakin play this concert!

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