"His Stradivarius has a noble name. The instrument is called 'Ex-General Dupont' 1727. I believe that an ex-general in France, by the name of Dupont, was the first known owner of Arthur Grumiaux's fabulous violin. This high-ranking military man must have been somebody of considerable means and taste. In our day there are not many ex-generals who could afford to buy a Stradivarius, on the strengh of their pensions, and endow it with their name."
"It took Grumiaux a long time to find the instrument that would match his artistic feelings and techniques best. I still remember the moment when the news about his discovery of 'Ex-General Dupont 1727' reached us. I also remember his happiness about it and that of his wife Amanda, who knows a lot about violins herself and even more about what her husband wants to accomplish in his art."

 

Bach 6 violinsuiter

Site 1: M-, MATRIX NUMBER: PHS-900-005-A-RFR-3

Site 2: M-, MATRIX NUMBER: PHS-900-005-A-RFR-2

Site 3: M-, MATRIX NUMBER: PHS-900-005-B-RFR-2

Site 4: VG++, MATRIX NUMBER: PHS-900-005-B-RFR-6

 

Sonata No.1 in G minor,BWV 1001

Sonata No.2 in A minor, BWV 1003

Sonata No.3 in C major, BWV 1006

Partita No.1 in B minor, BWV 1002

Partita No.2 in D minor, BWV 1004

Partita No.3 in E major, BWV 1005

 

These records combine fabulous cover art with music made by an extraordinarily accomplished violinist playing a noble Stradivarius. For those who know Bach, the music requires no explanation. For those who do not, the unaccompanied sonatas and partitas are among the most beautiful, serene, intellectual, and difficult pieces of classical music in existence. They entrance and mesmerize; they're lyrical; they stimulate. I've heard many versions of this music, but of them all, this is the best.

Forhåbentlig hjemme til påskeferien

Say what??

MVH WRONG

__________________
Vinyl er hyl!
Skateboarding kicks ass...

 Sorry: Tracer er min pick up - og det er bare et par grammoplader fra gamle dage

AAAAHHHAAA. Der faldt ti øren

MVH WRONG

__________________
Vinyl er hyl!
Skateboarding kicks ass...

Bare rolig, SES. Nogle af os forstod den med det samme
Fortsæt endelig

/vilmann

__________________
Zvxxr erggre v zvar bcfynt. Orxyntre!

vilmann skrev: Bare rolig, SES. Nogle af os forstod den med det samme Fortsæt endelig /vilmann

Ja ja, det kan du jo sagtens sige nu...

 SES

 var lige optaget af et hat-trick på e-bay. Ellers kunne jeg have fundet på noget med wright og wrong 3 nice Deccaer, øver til i morgen hvor slaget skal slås. Ovennævnte Bach blev scoret med cold ass - 30 sekunder før udløb.

I BYDER IKKE PÅ NELSOVA OG MAINARDI i morgen - vel 

Her er linket til alle tiders viden om violiner, vioaler, celloer fra Stradi - Amati - Guarneris.

http://www.jose-sanchez-penzo.net/records.html

More Tracer Jobs!

A hard night bidding and one BIG fish: Zarak Nelsova i Rachmaninov's cellosonate. Starker's Dvorak her var fisken for stor - men den var heller ikke til Tracer - mangler en fed mono pu.

Her er et lille udpluk om Zarah Nelsova:

TJ: Then came Pablo Casals.

ZN: When I was 10 years old, John Barbirolli, who was one of Herbert Walenn's students and a wonderful cellist in his day, offered to take me to play for Casals. Naturally I was thrilled, so he arranged a meeting with Casals at his hotel.

The night before there had been a concert with Casals as soloist playing the Schumann Concerto, conducted by Adrian Boult (before he was knighted). After the overture, we all waited for Casals, but he didn't appear. After about 15 minutes the president of the Philharmonic Society walked onstage and said, "Ladies and gentlemen, I am so sorry to tell you that Mr. Casals has made a mistake in the date of the performance this evening. He has retired for the night. He went to bed. With your indulgence, he will be here as soon as possible." So they pulled Casals out of bed, got him dressed, and rushed him to the concert hall, which fortunately was just across the street. I'll never forget that performance of the Schumann Concerto. He didn't have time for anything, except to throw on some clothes and get over to the hall and play. He had no time to get nervous. And he played so beautifully.

The next morning I played for him, but I was much too young to leave the country and study with him (remember, I was 10 years old at the time). It wasn't until after the war that I wrote to him in Prades, where he was living in exile. He remembered me very well from years before and invited me to study with him. So I went to Prades, which is where I first met Bernard Greenhouse, who was also studying with him at the time.