Item specifics Speed: 33 RPM, Genre: Classical, Record Size: 12", Sub-Genre: Violin & Orchestra, Duration: LP ANGEL RECORDS STEREO S-37089 SLEEVE IS IN VERY GOOD CONDITION - LP IS IN EXCELLENT CONDITION RARE VINTAGE CLASSICAL WORKS FOR VIOLIN AND ORCHESTRA FROM ANTONIN DVORAK Biography by AMG Widely regarded as the most distinguished of Czech composers, Antonin Dvorák (1841-1904) produced attractive and vigorous music possessed of clear formal outlines, melodies that are both memorable and spontaneous-sounding, and a colorful, effective instrumental sense. Dvorák is considered one of the major figures of nationalism, both proselytizing for and making actual use of folk influences, which he expertly combined with Classical forms in works of all genres. His symphonies are among his most widely appreciated works; the Symphony No. 9 ("From the New World," 1893) takes a place among the finest and most popular examples of the symphonic literature. Similarly, his Cello Concerto (1894-1895) is one of the cornerstones of the repertory, providing the soloist an opportunity for virtuosic flair and soaring expressivity. Dvorák displayed special skill in writing for chamber ensembles, producing dozens of such works; among these, his 14 string quartets (1862-1895), the "American" Quintet (1893) and the "Dumky" Trio (1890-1891) are outstanding examples of their respective genres, overflowing with attractive folklike melodies set like jewels into the solid fixtures of Brahmsian absolute forms. Violin Concerto in A Minor, B. 96/B. 108, Op. 53 Composition Description by Roger Dettmer Dvorák composed this music in 1879 and revised it twice, in 1880 and 1882. Frantisek Ondricek played the premiere on October 14, 1883, with the composer conducting. Herr Doktor Professor Joseph Joachim never hesitated to "correct" concertos that younger composers submitted for his approval. From Max Bruch's in G minor in 1865, he graduated to Brahms' D major in 1878, then to Dvorák's A minor toward the end of 1879. But Joachim didn't just revise solo parts; he suggested changes in musical structure and orchestration that Bruch obsequiously obeyed, with the upshot that his — and Brahms' — were introduced to the world by Joachim. Not Dvorák's, though, despite a dedication to Herr Doktor Professor as well as revisions that the violinist deemed essential. (Joachim, in passing, was a proficient composer without being in any way distinctive, vide a violin concerto "in the Hungarian manner.") He waited two years before acknowledging Dvorák's changes, then wanted more ("some passages...were too difficult to perform"), chiding Dvorák, who was both a violinist and a violist, for "not having played in some time." Joachim allowed that he "was pleased by the many true beauties of your work, which it will be a pleasure for me to perform," doubting in the next breath that "in its present shape [it is] ripe for the public, especially because of its orchestral accompaniment, which is still rather heavy." Herr Doktor Professor invited Dvorák to Berlin for a play-through by the student orchestra at his Hochschule für Musik. A representative of the composer's Berlin-based publisher, Fritz Simrock, also attended, and had his own criticisms to add. Exasperated by now and not a little offended, Dvorák insisted the piece be published instanter. When this was done, he sought someone else to play the premiere. Although for the rest of the nineteenth century, the concerto was as popular as Beethoven's (even more so than Brahms'), Joachim never did play it. Just as certain structural innovations in the Bruch G minor had put him off, Dvorák's even freer, more imaginative approach to form was disturbing. and Romance, Op. 11 Romance in F minor (arr. from Andante of Str Qrt No. 5), B. 39 (Op. 11) Composition Description by Blair Johnston As is the case with the Nocturne for strings, Op. 40, Antonín Dvorák's Romance in F minor for violin and piano (alternately orchestra, both versions being authentic to the composer), Op. 11 is in fact salvaged from an aborted string quartet. Dvorák seems to have been born to write slow movements; it was the crafting of workable outer movements that took painstaking work. It comes as no surprise, then, that when he decided to disown the String Quartet in F minor, Op. 9 (1873), it was only the slow movement that he saved and revised. The result of this revision, carried out over the course of the following few years, is the Romance in F minor. performed by Itzhak Perlman Biography by Robert Cummings In the latter twentieth and early twenty-first centuries, Itzhak Perlman has been acclaimed as being among the leading violinists before the public, and, without doubt, has been the most visible of them in media venues, from recordings and radio broadcasts to television and film appearances. No other concert violinist and few other serious musicians have achieved the widespread exposure and popularity attained by Perlman. and the London Philharmonic Orchestra conducted by Daniel BarenboimBiography by Joseph Stevenson Daniel Barenboim was born in Buenos Aires on November 15, 1942, into a family of Ukrainian Jewish descent. Daniel's mother was his first piano teacher; he later studied with his father, Enrique Barenboim, who was an eminent music professor. After playing for the noted violinist Adolph Busch, who was impressed by his talent, Daniel made his debut recital at the age of seven. In 1951, he played at the Mozarteum in Salzburg and observed Igor Markevitch's conducting class. The family moved to Israel in 1952; two years later, Daniel went back to Salzburg for a conducting course with Markevitch, piano studies with Edwin Fischer, and chamber music performance with Enrico Mainardi. In the same year, he enrolled in the Accademia di Santa Cecilia in Rome, becoming, in 1956, one of the Academy's youngest graduates. He studied conducting with Carlo Zecchi at the Accademia Musicale Chigiana in Siena, also attending Nadia Boulanger's music theory and composition class at Fontainebleau. After recitals in Paris in 1955, he made his London debut in 1956, playing a recital in Festival Hall as part of the Mozart bicentennial celebrations. His U.S. debut was at New York's Carnegie Hall on January 20, 1957, in Prokofiev's Piano Concerto No. 1, with Leopold Stokowski conducting the Symphony of the Air. Later that year, he made his conducting debut in Haifa, Israel. His first North American recital was on January 17, 1958, in New York. Barenboim played his first cycle of the complete 32 piano sonatas of Beethoven in Tel Aviv in 1960 and then in New York. As a frequent conductor of the English Chamber Orchestra from 1964, he often appeared as soloist-conductor in concertos, touring with the ECO in Latin America and the Far East. Debuts with leading orchestras included the London Symphony Orchestra (New York, 1968), Berlin Philharmonic (1969), and New York Philharmonic (1970). Since then he has guest conducted virtually all of the world's leading orchestras. He led London's South Bank Summer Music Festival from 1968 to 1970. His first appearance conducting opera was at the Edinburgh Festival in 1973; his debut opera was Don Giovanni.

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