C1899. LOVRO von MATACIC Cond.ORTF S.O., w.LEONID KOGAN: 'To the Memory of an Angel' Violin Concerto (Berg), Live Performance, 13 Jan., 1971; w.NIKITA MAGALOFF: Piano Concerto #3 in C (Prokofiev), Live Performance, 29 29 Jan., 1963; LOVRO von MATACIC Cond. Paris Conservatoire S.O., w.ALEXANDER UNINSKY: Piano Concerto #3 in C (Prokofiev), Live Performance, 5 Feb., 1967 (all Théâtre des Champs-Élysées). (Canada) St Laurent Studio YSL T-706. Transfers by Yves St Laurent.
"Lovro von Matacic was one of the great conductors who preserved the authentic late-Romantic tradition into the late-Romantic age. He worked at the Salzburg Festival on the music staff, and then returned to Yugoslavia which, at the end of World War I, had finally obtained its independence from Austria. He became the Music Director of the opera house in Osijek, continuing his career advancement through opera houses in the larger cities, Novi Sad, Ljubljana, Zagreb, and in 1938 the capital, Belgrade. In the same year he also became the conductor of the Belgrade Philharmonic Orchestra. After the German invasion of 1941 he resigned his position at the Belgrade Opera (1942) and from 1942 to 1945 he was conductor of the Vienna Volksoper.
After the war, he became the General Music Director in Skopje. He organized the annual Dubrovnik and Split Festivals. He was permanent guest conductor at the opera houses of Munich and Vienna. From 1956 to 1958, he was General Music Director of the Dresden State Opera and Staatskapelle Orchestra and, with Franz Konwitschny, co-General Music Director of the (East) Berlin State Opera. He appeared in America with the Chicago Lyric Opera in 1959. In 1961, Matacic succeeded Georg Solti as General Music Director of the Frankfurt Opera and orchestra, remaining there through 1966. In 1965 he was appointed Honorary Chief Conductor of the NHK (Japanese Radio and Television) Orchestra in 1965. He was Music Director of the Zagreb Philharmonic from 1970 to 1980, and of the Monte Carlo Opera from 1974 to 1979. At the end of these tenures, he became honorary conductor for life of both organizations.
He guest conducted extensively and at various times was principal guest conductor or permanent guest conductor at various times of the Berlin Philharmonic, Vienna Philharmonic, London Philharmonic, and Prague Philharmonic. He began conducting orchestras in America frequently, and led opera performances at La Scala, the Bayreuth Festival, Opera di Roma, and various other European and Japanese venues.
He recorded frequently, and many 'all vivo' recordings of his live and broadcast performances exist. He was especially praised for his control over the immense formal structures of Bruckner's symphonies and his masterly control of phrasing."
- Joseph Stevenson, allmusic.com
“Alexander Uninsky, well-known Russian concert artist who was professor of piano at Southern Methodist University, was educated at the Kiev Conservatory of Music, the Paris Conservatoire and the Sorbonne. He was known as an interpreter of Chopin. He made his American debut at Carnegie Hall in 1943."
- THE NEW YORK TIMES, 21 Dec., 1972
“During his long performing career, Nikita Magaloff, one of the last representatives of the Romantic school of pianism, was best known for his interpretation of Chopin, whose complete works he recently finished recording. He also had an affinity for the music of Prokofiev, an early mentor, and performed the premiere of Prokofiev's Seventh Sonata.
Mr. Magaloff was born in St. Petersburg, but his family fled Russia in 1919, first moving to Finland and then to France. He studied with Isidor Philipp at the Paris Conservatory and at 17 graduated with the school's first prize. He first gained international recognition as the accompanist for the Hungarian violinist Joseph Szigeti, whose daughter, Irene, he later married. The couple moved to Switzerland in 1939 to escape World War II.
Mr. Magaloff made his American debut in 1947 as a soloist with the San Francisco Symphony, but was better known throughout Europe, where he appeared with most of the major orchestras under such conductors as Otto Klemperer, Ernest Ansermet and Karl Böhm. His last performances in the United States were in 1987, when he made a recital tour of the major American cities.”
- THE NEW YORK TIMES, 7 Jan., 1993
"One of the twentieth century's greatest violinists, Leonid Kogan was less widely known than his somewhat older contemporary David Oistrakh, but no less a first-tier artist. More concentrated in tonal focus and with a quicker vibrato than Oistrakh and others of the Russian school, Kogan was avowedly a man of his time. His espousal of the four-octave scale for exercises assured the infallibility of his technique by strengthening his fingering hand in the upper positions. Although he died at age 58, he had amassed a discography that remains as a commanding legacy. Although his were not especially musical parents, Kogan conceived a fascination for the violin by age three. At six, he began lessons with Philip Yampolsky, a pupil of Leopold Auer. When Kogan's family moved to Moscow when he was ten, he began studies with Abram Yampolsky (no relation to Philip, but another Auer disciple). Kogan progressed through the Central School of Music, then the Moscow Conservatory, where he trained from 1943 to 1948. Postgraduate studies at the conservatory occupied him from 1948 until 1951. At age 12, Kogan was heard by violinist Jacques Thibaud, who predicted a great career for him. Although his parents resisted exploiting their son as a prodigy, Kogan made his debut at 17 and performed in many Soviet venues while still a student. Wider recognition came when Kogan shared first prize at the 1947 Prague World Youth Festival. In 1951, he won first prize at the Queen Elisabeth Competition in Brussels. Oistrakh, who was a member of the jury (along with Thibaud), thereafter came to regard Kogan as a colleague, while Kogan closely observed his elder associate during the latter's evening classes for other students. After teaching at the Moscow Conservatory and playing a busy schedule of concerts in the Soviet Union over the next few years, Kogan made his first appearances in Paris and London in 1955, following those with a tour of South America in 1956 and another of the United States in 1958. Less gregarious than Oistrakh, Kogan was not as aggressively promoted abroad by the Soviet government. After being named People's Artist in 1964, Kogan received the Lenin Prize in 1965.
On 10 January, 1958 Kogan made an auspicious American debut playing the Brahms Violin Concerto with Pierre Monteux and the Boston Symphony Orchestra. Kogan had a repertoire of over 18 concerti and a number of concerti by modern composers were dedicated to him.
Leonid Kogan is considered to have been one of the greatest representatives of the Soviet School of violin playing, an emotionally romantic elan and melodious filigree of technical detail. A brilliant and compelling violinist, he shunned publicity.
Leonid Kogan married Elizabeth Gilels (sister of pianist Emil Gilels), also a concert violinist. His son, Pavel Kogan became a famous violinist and conductor; his daughter, Nina Kogan, is a concert pianist and became the accompanist and sonata partner of her father at an early age. Kogan died of a heart attack in the city of Mytishchi, while travelling by train between Moscow and Yaroslavl to a concert he was to perform with his son. Two days before, he had played the Beethoven Violin Concerto in Vienna."
- Erik Eriksson, allmusic.com