Arthur Grumiaux, Vol. IV;  Maurice Gendron, Istvan Hajdu, Wakasugi, Maazel  (St Laurent Studio YSL T-639)
Item# S0730
$19.90
Availability: Usually ships the same business day

Product Description

Arthur Grumiaux, Vol. IV;  Maurice Gendron, Istvan Hajdu, Wakasugi, Maazel  (St Laurent Studio YSL T-639)
S0730. ARTHUR GRUMIAUX, w. Istvan Hajdu (Pf.): Violin Sonata in g (Debussy), Live Performance, 24 April, 1961, Tokyo; ARTHUR GRUMIAUX & MAURICE GENDRON, w. Wakasugi Cond. WDR S.O., Cologne: Double Concerto in a (Brahms), Live Performance, 15 April, 1976; ARTHUR GRUMIAUX, w. Maazel Cond. WDR S.O., Cologne: Violin Concerto #3 in G, K.216 (Mozart), Live Performance, 9 May, 1958. (Canada) St Laurent Studio YSL T-639. Transfers by Yves St Laurent.

CRITIC REVIEWS:

"Of the Franco-Belgian school, Artur Grumiaux is considered to have been one of the few truly great violin virtuosi of the twentieth century. In his relatively short life his achievements were superb. He brought to performances guaranteed technical command, faithfulness to the composer's intent, and sensitivity toward the intricate delineations of musical structure. His fame was built upon extraordinary violin concerto performances and chamber-music appearances with his own Grumiaux Trio

He trained on violin and piano with the Fernand Quintet at the Charleroi Conservatory, where he took first prize at the age of 11. The following year he advanced his studies by working with Alfred Dubois at the Royal Conservatory in Brussels, and also worked on counterpoint and fugue with Jean Absil. He received his first few major awards prior to reaching the age of 20; he took the Henri Vieuxtemps and François Prume prizes in 1939, and received the Prix de Virtuosi from the Belgian government in 1940. During this time he also studied composition privately in Paris with the famous Romanian violinist Georges Enescu, Menuhin's teacher. His debuts were made in Belgium with the Brussels Philharmonic Orchestra playing the Mendelssohn Concerto, and in Britain with the BBC Symphonic Orchestra in 1945. Due to the German invasion of his homeland, there existed a short time gap between these two important events. During that time he played privately with several small ensembles, while refraining from public performance of any kind. Regardless of this slight delay in the initiation of his international career, once started, it quickly developed. Following his British debut, he advanced into Belgium academia when he was appointed professor of violin at the Royal Conservatory, where he had once studied. There, he emphasized the importance of phrasing, the quality of sound, and the high technical standards of artistry.

One of his greatest joys in life was his partnership with the pianist Clara Haskil. On occasion, the two would switch instruments for a different perspective and relationship. Grumiaux was left with a professional and personal absence when she died from a fall at a train station, en route to a concert with him. In addition to his solo work, he has recorded Mozart quintets with the Grumiaux Ensemble, and various selections with the Grumiaux Trio, comprised of the Hungarian husband-wife duo Georges Janzer (violin) and Eva Czako (cello). His successful performance career led up to royal recognition in 1973 when he was knighted baron by King Baudouin for his services to music, thus sharing the title with Paganini. Despite a struggle with diabetes, he continued a rigorous schedule of recording and concert performances, primarily in Western Europe, until a sudden stroke in Brussels took his life in 1986. At the age of 65, Grumiaux left behind the memory of his elegant and solid musicianship."

- Meredith Gailey, allmusic.com





“Maurice Gendron, the French cellist and conductor whose lyrical style brought him international renown, was best known in the United States through his recordings of the standard cello repertory. Mr. Gendron was highly regarded for his elegance in Baroque and Classical works, as well as the deep coloration he applied to the Romantic concertos. Among his best-known recordings are a set of the Bach Suites for Unaccompanied Cello, recorded in 1967; several Mozart and Schubert piano trios with the violinist Yehudi Menuhin and the pianist Hephzibah Menuhin, and Boccherini and Haydn concertos, with Pablo Casals conducting.

His American debut took place in 1958, when he played three concertos with the National Orchestral Association in New York City. He returned to play the Schumann Cello Concerto with the New York Philharmonic the following year. Between 1959 and 1967, he performed in the United States frequently, both as a soloist and in collaboration with the Menuhins and the pianist Philippe Entrement.

Mr. Gendron also pursued a conducting career, having studied with the Dutch conductor Willem Mengelberg and the West German conductor Hermann Scherchen. He did not conduct in the United States, but he frequently led orchestras in France, Portugal and Japan, where he made some symphonic recordings. He was an assistant conductor with the Bournemouth Sinfonietta in England in the early 1970s.

Mr. Gendron taught at the Paris Conservatoire until his retirement in 1986. France also awarded him two high civilian honors: officer of the Legion of Honor and the National Order of Merit.”

- Allan Kozinn, THE NEW YORK TIMES, 21 Aug., 1990





“Mr. Maazel, when he’s ‘on’, has led some of the finest, most impassioned, most insightful performances in memory. When he’s good, he’s so good that he simply has to be counted among the great conductors of the day. Yet, enigmatically, it’s extremely difficult to predict just when he is going to be good or in what repertory.

In 1989, he was on a short list of candidates to succeed Herbert von Karajan at the Berlin Philharmonic. When Claudio Abbado was chosen instead, Mr. Maazel insisted that he never had any intention of leaving his Pittsburgh orchestra, and canceled his Berlin dates - not, he said, in a fit of pique, but so that Mr. Abbado would have more time to whip the orchestra into shape.

He is also, it would seem, a coldly defensive man, and perhaps that coldness coats his work with a layer of ice.”

- Allan Kozinn, THE NEW YORK TIMES, 13 July, 2014