Various Artists - The Colour of Classics - The Violinists

To celebraate the 100th anniversary of Deutsche Grammophon last year, Speakers Corner Records released a 3-LP set with important recordings from the three decades during which DGG produced stereo LPs. The success which this release enjoyed was overwhelming, and our stocks are now exhausted.

It gives us great pleasures to announce that a further set will be released. In cooperation with Deutsche Grammophon, we are proud to present three legendary recordings made by DGG's most prestigious violinists: Anne-Sophie Mutter, Itzhak Perlman and Nathan Milstein.

As always, the cover and label will be faithfully reproduced and a booklet with biographical information about the soloists will be enclosed in the set.

Tchaikovsky - Concerto for Violin and Orchestra/ Mendelssohn - Bartholdy: Concerto for Violin and Orchestra Op. 64 - Nathan Milstein / Vienna Philharmonic Orchestra / Claudio Abbado

Although he has lived in the USA since 1929 and even took on American citizenship in 1942, Nathan Milstein is often referred to as perhaps the last Russian among all Russian violinists due to his art of playing - which is governed wholly by intellect. This does not mean that Milstein plays in an academic or cool manner; his art is thoughtful and controlled - in the very best sense of the meaning. And this should certainly not be equated withdeliberateness. On the contrary. Milstein's tremendous virtuosity, particularly in the fiendishly difficult final movements of Tchaikovsky's and Mendelssohn's concertos, takes both works to new heights. Although never a forceful presence since he employs relatively little vibrato and thus achieves a slender tone, Milstein's playing is filled with amazing assertion and luminance, and is quite fascinating for its extraordinary purity. And this is precisely what enhances his interpretation of these two great classical concertos, lending them a legendary grace, a feeling of rightness - that there is no other way. The Vienna Philharmonic with their great tradition provide support of the first order, and Claudio Abbado proves once again that he is a more than circumspect master of the baton.

Mozart - Concertos for Violin and Orchestra Nos. 3 and 5/ Anne - Sophie Mutter / Berlin Philharmonic Orchestra / Herbert von Karajan

"The greatest musical prodigy since the young Menuhin" scored a triumphant success when she appeared as a soloist with Herbert von Karajan at the Salzburg Whitsun Concerts in 1977. Almost a year later, at the age of only fourteen, Anne-Sophie Mutter made her first recording for Deutsche Grammophon - Mozart's Violin Concertos Nos. 3 & 5, conducted by her discoverer and mentor Herbert von Karajan. Five of Mozart's seven violin concertos were composed in 1775, including the two recorded here: No. 3 in G Major, K. 216, and No. 5 in A major, K. 219. Their cheerful, untroubled mood, which is even to be found in the deeply-felt central movements, may well explain the young artist's special affinity to these works. While the fourteen year old's performance of these matchlessly artistic concertos is fresh and new, she displays a maturity in her interpretation which belies her age, so magnificent and well - ripened is her tone, so assured and tasteful is her sense of style. This is a splendid documentary in sound, especially since the artist has gone on to fulfill what she promised at that time.

Berg - Violin Concerto (To the Memory of an Angel)/ Stravinsky: Concerto for Violin and Orchestra/ Itzhak Perlman/ Boston Symphony Orchestra/ Seiji Ozawa

The first half of the 20th century is unusually rich in most unusual violin concertos, and those by Stravinsky and Berg are certainly two of the most original contributions to the genre during this fruitful period. Although the Israeli - born American violinist Itzhak Perlman is best known for his interpretations of Classical and Romantic works, he is also committed to performing more uncomfortable works, whereby his breathtaking technical virtuosity and wonderfully balmy tone certainly serve him well in establishing contemporary works and bringing them to a broad public. What better proof is there than the two works on this recording? Modernism is not presented here as an end in itself by means of overdone brittleness. On the contrary! The tone is almost sensually beautiful, without running the danger of being over - glossy. Seiji Ozawa and his Boston Symphony Orchestra are the perfect musical partners for such a concept: here we have musical precision without coolness and an intensity of tone that is never overpowering. Clothed in such splendour, it is not difficult to speak of these two works as being true classics among the moderns.

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