{"product_id":"huberman-beethoven-kreutzer-sonata-encores-1929-35-pacm102","title":"HUBERMAN Beethoven: 'Kreutzer' Sonata; Encores (1929-35) - PACM102","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Sonata No. 9 'Kreutzer'\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eEncores by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBACH, BRAHMS, BRUCH, CHOPIN, ELGAR, SCHUBERT\u003c\/span\u003e\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr data_liveedit_tagid=\"000000000D7722F0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1929-1935\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 78:06\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBronislaw Huberman, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eIgnaz Friedman, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSiegfried Schultze, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano \u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fBelongs in the collection of everybody who can even identify the picture of a violin. It’s one of the great recordings of all time. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eIsaac Stern once identified Bronisław Huberman as\none of the 10 greatest violinists of all time; for those unfamiliar with\nthis titanic violinistic presence, who stopped making commercial\nrecordings in 1935, performances like those that Pristine has released\nin the last few years (the Beethoven concerto, Tchaikovsky concerto,\nBach concertos, Mozart concertos, and Lalo’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSymphonie espagnole\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e)\nshould cement his place among younger listeners. And, as Mark\nObert-Thorn’s brief note points out, Huberman found a well-matched\npartner in pianist Ignaz Friedman for his second recording of\nBeethoven’s “Kreutzer” Sonata from September 11 and 12, 1930. From the\nvery first measure of the violin’s introductory solo, three things\nshould be clear: first, that Huberman’s reading will incorporate\nportamentos that nobody would attempt today; second, that he won’t\nproduce a polished sound with a silken bow stroke and a perfectly\ncalibrated vibrato; and third, that with these notes, he’s embarking on a\nstormy journey that will keep his listeners enthralled from departure\nto arrival. All that’s clear at once, but the details along the way\nstill produce a great deal of pleasure: the Janissary-like closing theme\nof the first movement’s thematic section, the percolating triplets in\nthe second movement’s first variation, the white-hot passagework in the\nsecond, and the demonic transition back into the main theme of the rondo\nfinale. And, in the midst of all this, it turns out that those\nportamentos, just a few of the regular devices in his now antiquated\nexpressive armamentarium, begin to disappear into the message’s\nbackground, so powerfully does Huberman project his musical ideas. But\nin this case, he also enjoys as a foil a musician of his own stature,\nwho helps to propel the lift further into the stratosphere. A few\nrecordings changed my life when I first heard them: Fritz Kreisler’s of\nGrieg’s Third Violin Sonata, Jascha Heifetz’s of Saint-Saëns’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIntroduction and Rondo capriccioso\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nNathan Milstein’s of Goldmark’s Violin Concerto, Joseph Szigeti’s of\nRavel’s Violin Sonata, and Michael Rabin’s of Wieniawski’s First Violin\nConcerto—and this one by Huberman. It’s a great satisfaction to have it\navailable in a remastering by Pristine—in particular, by Mark\nObert-Thorn. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe rest of the program consists of short pieces. The strong accents in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nfrom Bach’s Solo Violin Sonata No. 2, recorded, like the other\nunaccompanied pieces by Bach in this program, on June 26, 1934, may\nsound less than subtle, as may also the rather heavy-handed approach the\nSarabande and Double from the Solo Violin Partita No. 1; but, although\nObert-Thorn’s lament that Columbia didn’t bring out a complete set of\nthe sonatas and partitas may seem routinely rhetorical, every measure of\nthese movements communicates something of interest. The rest of the\nprogram comes from sessions in London from 1929 to 1935, with Siegfried\nSchultze serving as pianist. Bach’s chorale prelude \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNun komm der Heiden Heiland\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\narranged by Huberman, and the Air from the composer’s Third Orchestral\nSuite, in the popular arrangement for the G-string by August Wilhelmj,\nappear in much cleaner recorded sound and make a more vibrant tonal\nimpression (with chorale prelude the clearer of the two, although both\nraise goose bumps—compare the relatively pedestrian recording by Mischa\nElman). Huberman doesn’t sound at first so far to the fore in Schubert’s\n\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAve Maria\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e; but\nhe gives easily as moving an account of it as did Jascha Heifetz did in\neither of his two recordings, the first of which I listened to\nobsessively from babyhood (actually, not almost) on my father’s 78-rpm\nrecording. The sound improves once again in Schubert’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMoment Musical\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nNo. 3, transcribed by Leopold Auer, and Huberman sounds razor-sharp.\nHuberman’s own transcriptions of Chopin’s waltzes in C♯ Minor (with\ntrippingly fleet passagework in its center) and in G♭ Major (with\nswinging double-stops and again in superior recorded sound) lead to\nPablo Sarasate’s popular arrangement of Chopin’s Nocturne in E♭ Major.\nDavid Hochstein’s arrangement of Brahms’s Waltz in A♭ Major sounds\ndownright mesmerizing at its relaxed tempo. A soulful reading of Max\nBruch’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eKol Nidrei\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n(the portamentos in this work seeming perfectly appropriate to its\ncantillation) leads to the program’s conclusion, Elgar’s miniature \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa capricieuse\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nwhich seems to have fallen somehow outside Huberman’s interpretive\npurview, at least in its staccato outer sections, although the central\nsinging section’s absolutely compelling. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThis particular package by Pristine of a dynamic\nsonata performance with compelling ones of some of the repertoire’s most\neffective miniatures belongs in the collection of everybody who can\neven identify the picture of a violin. It’s one of the great recordings\nof all time. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eRobert Maxham \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 40:5 (May\/June 2017) of Fanfare Magazine.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eI obtained this from Pristine Audio and\nimmediately set about writing a review, as the “Kreutzer” has long been\none of my desert island discs. I then noticed that Robert Maxham\nreviewed it in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e40:5,\nand concluded his review with the following sentence: “It’s one of the\ngreat recordings of all time.” Well, that does about sum it up. I\nwouldn’t even take up additional \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003espace\nexcept that I so firmly believe that this is a recording that all music\nlovers should own and I felt it was worth calling it once again to your\nattention. It is currently sitting on my short list for the year-end\nWant List. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe “Kreutzer” is a one-of-a-kind performance by\ntwo artists who were extremely individualistic in their music-making,\nbut who also knew how to listen to each other and to integrate their\nindividuality into a unified concept. “Old-fashioned” techniques like\nportamento and rubato are applied to a far greater degree that one would\nhere in today’s more “puristic” (or, if you prefer, “sterilized”)\nworld. This is seat-of-the-pants playing, but not once do you feel that\nit is vulgar, or purely theatrical for the sake of showmanship. It is a\nperformance that approaches the music as if it were a brand new piece\nbeing discovered as it is being played. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe miniatures show the charming, witty, and\nvirtuosic aspects of Huberman’s art. It is an art the likes of which we\nare unlikely to encounter again, and we are the poorer for it. If you\nlove the violin, this disc is not optional. It is essential, especially\nin Mark Obert-Thorn’s remarkably clear and full-sounding transfer, which\nis leagues beyond all prior versions. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eHenry Fogel \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\n\n\n\n\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n\u003ch4\u003e\n\u003cspan style=\"font-size: 13px;\"\u003eThis article originally appeared in Issue 40:6 (July\/Aug 2017) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 13px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 13px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM102.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eHuberman's classic 1930 Kreutzer Sonata - and much more!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"This latest Kreutzer Sonata is by far the best we have\"\u003cbr\u003e- The Gramophone, 1931\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\nBronislaw Huberman’s recording career can be divided into three\nperiods.  After setting down four sides for Berliner in 1899, he made a\nseries of acoustic recordings for Brunswick in America (1921 – 1925),\nfollowed by electrical discs for Columbia in Berlin and London (1929 –\n1935).  Some of the Columbia discs were issued concurrently on Odeon,\nParlophon and American Decca with different matrix numbers.  The present\ncollection completes the reissue of Huberman’s electrical recordings on\nPristine, following prior releases devoted to the Beethoven Concerto\n(PASC 421), Bach and Mozart Concertos (PASC 397) and the Tchaikovsky\nConcerto, along with Lalo’s Symphonie espagnole and several encores\n(PASC 439).\u003cbr\u003e\u003cbr\u003eThe major work here is Huberman’s classic account of\nthe Beethoven “Kreutzer” Sonata with Ignaz Friedman.  The violinist had\nrecorded it earlier for Brunswick with his regular accompanist,\nSiegfried Schultze; but the six sides allotted for it then necessitated\nthe omission of repeats in the last two movements.  Here, it is\npresented complete, and with a partner as accomplished as the violinist\nhimself.  Like Huberman, Friedman was born in Poland in 1882; and as an\ninterpreter, he shared a similar craggy, individualistic approach.  This\n“Kreutzer” is truly a meeting of two like minds, as unforgettable a\nperformance as the later one by two Hungarians, Szigeti and Bartók (PACM\n084).\u003cbr\u003e\u003cbr\u003eThe unaccompanied Bach excerpts were recorded at the tail\nend of his 1934 sessions in Vienna, and were issued as odd-side fillers\nto the Beethoven and Bach E major concertos.  The intensity and\nindividuality on display makes one wish that Columbia had seen fit to\nrecord him in the complete Bach Sonatas and Partitas, as HMV was\nconcurrently doing with Menuhin.  The remaining piano-accompanied solo\nsides spotlight Huberman in a variety of different short works, mainly\ntranscriptions.  His Bruch “Kol Nidrei” was originally coupled with the\nSchubert “Ave Maria” in a subtle plea for peaceful coexistence that fell\non increasingly deaf ears in the years following its release.  In his\npenultimate session, he repeated two works he had originally recorded\nfor Berliner 36 years earlier, the Schubert Moment Musicale and the\nChopin Nocturne.  Although he would continue to concertize almost up to\nhis death twelve years later, he would make no more commercial\nrecordings after 1935.\u003cbr\u003e\u003cbr\u003eThe transfers on the present release came\nfrom a number of sources with varying amounts of surface noise.  The\n“Kreutzer” was taken from a relatively quiet mid-1930s American Columbia\nset.  The two unaccompanied Bach works could only be found on rather\nnoisy post-EMI merger English Columbia pressings, while the remaining\npiano-accompanied sides came from American, English and Australian\nColumbias as well as German Odeons.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eViolin Sonata No. 9 in A, Op. 47 “Kreutzer”\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 11 \u0026amp; 12 September 1930 in the Columbia Petty France Studios, London\u003cbr\u003eMatrix nos.: WAX 5730-2, 5731-3, 5732-3, 5733-3, 5736-2, 5737-1, 5738-3 \u0026amp; 5739-3\u003cbr\u003eFirst issued on Columbia LX 72 through 75\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eIgnaz Friedman,\u003c\/b\u003e piano \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH \u003c\/b\u003e Andante from Unaccompanied Violin Sonata No. 2 in A minor, BWV 1003\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 26 June 1934 in the Mittlerer Konzerthaussaal, Vienna\u003cbr\u003eMatrix no.: WHAX 46-2 ∙ First issued on Columbia LX 410\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH  \u003c\/b\u003eSarabande and Double from Unaccompanied Violin Partita No. 1 in B minor, BWV 1002\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 26 June 1934 in the Mittlerer Konzerthaussaal, Vienna\u003cbr\u003eMatrix no.: WHAX 45-2 ∙ First issued on Columbia LX 513\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH (arr. Huberman)\u003c\/b\u003e  Chorale Prelude, “Nun komm der Heiden Heiland”, BWV 62\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 14 May 1935 in EMI Abbey Road Studio No. 3, London\u003cbr\u003eMatrix no.: CAX 7428-3 ∙ First issued on Columbia LX 531\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH (arr. Wilhelmj)\u003c\/b\u003e  Air from Orchestral Suite No. 3 in D, BWV 1068\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 16 September 1930 in the Columbia Petty France Studios, London\u003cbr\u003eMatrix no.: WAX 5007-7 ∙ First issued on Columbia LX 107\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSCHUBERT (arr. Wilhelmj)  \u003c\/b\u003eAve Maria, D839\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 27 January 1931 in the Columbia Petty France Studios, London\u003cbr\u003eMatrix no.: WAX 5950-1 ∙ First issued on Columbia LX 155\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSCHUBERT (arr. Auer) \u003c\/b\u003e Moment Musical No. 3 in F minor, D780\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 5 February 1935 in EMI Abbey Road Studio No. 3, London\u003cbr\u003eMatrix no.: CA 14914-1 ∙ First issued on Columbia LB 25\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eCHOPIN (arr. Huberman)\u003c\/b\u003e  Waltz in C-sharp minor, Op. 64, No. 2\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 27 January 1931 in the Columbia Petty France Studios, London\u003cbr\u003eMatrix no:  CA 11131-2 ∙ First issued on Columbia LB 8\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eCHOPIN (arr. Huberman)\u003c\/b\u003e  Waltz in G-flat, Op. 70, No. 1\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 5 February 1935 in EMI Abbey Road Studio No. 3, London\u003cbr\u003eMatrix no.: CA 14912-1 ∙ First issued on Columbia LB 25\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eCHOPIN (arr. Sarasate)\u003c\/b\u003e  Nocturne in E-flat, Op. 9, No. 2\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 5 February 1935 in EMI Abbey Road Studio No. 3, London\u003cbr\u003eMatrix no.: CAX 7427-1 ∙ First issued on Columbia LX 531\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS (arr. Hochstein)\u003c\/b\u003e  Waltz in A-flat, Op. 39, No. 15\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 11 June 1929 in the Columbia Petty France Studios, London\u003cbr\u003eMatrix no.: WAX 5012-5 ∙ First issued on Columbia LX 107\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRUCH \u003c\/b\u003e Kol Nidrei, Op. 47\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 27 January 1931 in the Columbia Petty France Studios, London\u003cbr\u003eMatrix no.: WAX 5949-3 ∙ First issued on Columbia LX 155\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eELGAR  \u003c\/b\u003eLa capricieuse, Op. 17\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 29 January 1931 in the Columbia Petty France Studios, London\u003cbr\u003eMatrix no.: WAX 5951-2 ∙ First issued on Columbia LX 137\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eSiegfried Schulzte,\u003c\/b\u003e piano \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003eBronislaw Huberman,\u003c\/b\u003e violin\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM102.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM102.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eBeethoven Violin Sonata No. 9\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eThere are occasions when a work\nwhich has been recorded over and over again can by a new interpretation\nfill one with that first-time careless rapture. Such an experience was\nmine the other day with the new Kreutzer Sonata played by Huberman and\nFriedman on four light-blue Columbia discs. When I heard the Stokowski\nUnfinished Symphony I thought that it was a very good performance, but I\ndid not feel tempted to dig out all my other Unfinished Symphonies and\nplay them over to establish a comparison. When I heard this new Kreutzer\nSonata I took out every Kreutzer Sonata I had and played them all\nthrough twice over, reaching at the end a definite conclusion that this\nlatest Kreutzer Sonata is by far the best we have, and incidentally that\nthe second best is the performance of Cortot and Thibaud in an H.M.V.\nalbum of red discs. Yet, suave and delightful as the Cortot and Thibaud\nversion is, it is not what Beethoven meant. “This is the Jew that\nShakespeare drew,” Pope is credited with having said of Macklin’s\nShylock, when for the first time Shylock was not played as a low-comedy\npart. The Kreutzer Sonata has come perilously near to declining into a\ndrawing-room piece, and it is a relief to find a couple of artists like\nHuberman and Friedman who are not afraid to let themselves go. At the\nsame time, there is never a moment when we suspect that either of them\nis trying to make us think how difficult it all is. Their fire and their\nfervour convey a sense of ease, and I for one do not mind in the least\nwhen some of Huberman’s top notes scrape. I feel that he had been\nsufficiently carried away by what he is playing to sacrifice his tone\nfor a moment, and it is difficult to persuade a great violinist to\nsacrifice his tone. I should not be surprised to he told that Friedman\nhad played one or two wrong notes, and I should not feel greatly shocked\nif he had.\u003cbr\u003e\u003cbr\u003eCompton Mackenzie, Editorial (excerpt), The Gramophone, January 1931\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":44064785301594,"sku":"nqr1789304924563","price":9.95,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":44064785334362,"sku":"zzq1789304924564","price":7.1,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/huberman-beethoven-kreutzer-sonata-encores-1929-35---pacm102_1.jpg?v=1789304931","url":"https:\/\/vestorawear.shop\/products\/huberman-beethoven-kreutzer-sonata-encores-1929-35-pacm102","provider":"My Store","version":"1.0","type":"link"}