1932 16 yo YEHUDI MENUHIN Tartini DEVIL's TRILL SONATA Kreisler Scherzo DB 1786
$
30
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Description
A series of great Solo instrumentals - Piano Violin Cello Harp, Winds and Brass on 78 rpm records
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16 year old Master Yehudi in the famous Devil's Trill Sonata:
Sonata for Violin and Basso Continuo in G minor, B g5 "Devil's Trill" by Giuseppe Tartini performed by 16 years old Yehudi Menuhin (Violin) and Artur Balsam (Piano). Recorded in 1932.
Fritz Kreisler Recitative and scherzo-caprice Op. 6
Label: His Master's Voice – D.B.1786, His Master's Voice – D.B.1787,
2 x Shellac, 12", 78 RPM,
Concerto No. 1 In G Minor, OP. 26
Sonata for Violin and Basso Continuo in G minor, B g5 "Devil's Trill" by Giuseppe Tartini performed by 16 years old Yehudi Menuhin (Violin) and Artur Balsam (Piano). Recorded in 1932.
Fritz Kreisler Recitative and scherzo-caprice Op. 6
Please see top of the page for condition
Yehudi Menuhin, Baron Menuhin, OM, KBE (April 22, 1916 û March 12, 1999) was an American-born violinist and conductor who spent most of his performing career in the United Kingdom. Though born in New York City, New York, he later became a citizen of Switzerland in 1970, and in 1985, of the United Kingdom.
Early career
Born to Russian Jewish parents, Menuhin began violin instruction at age three under violinist Sigmund Anker. His first solo violin performance was at the age of seven with the San Francisco Symphony in 1923. Menuhin later studied under the Romanian composer and violinist George Enescu, after which he made several recordings with his sister Hephzibah, who was a pianist. He was also a student of Louis Persinger and Adolf Busch.
World War II musician
Yehudi Menuhin performed for allied soldiers during World War II, and went with the composer Benjamin Britten to perform for inmates of Bergen-Belsen concentration camp, after its liberation in April 1945. He returned to Germany in 1947 to perform under the baton of conductor Wilhelm FurtwSngler as an act of reconciliation, becoming the first Jewish musician to do so following the Holocaust. After building early success on richly romantic and tonally opulent performances, he experienced considerable physical and artistic difficulties caused by overwork during World War II as well as unfocused and unstructured early training. Careful practice and study combined with meditation and yoga helped him overcome many of these problems. Although many violinists are unimpressed with his technical mastery of the instrument (his bowing in particular), his profound and considered musical interpretations are nearly universally acclaimed. When he finally started recording, he was known for practicing by deconstructing music phrases one note at a time.
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