Two Rare Janos Starker Cello LP's

Description & Condition:

Two rare Janos Starker LP records:

1) Janos Starker plays Bach, suites for solo cello, no.2 in d minor & no.5 in c minor. Mercury Livng Presence Mono Hi-Fi MG50370. LP in excellent condition with no visible scratches. contains original jacket sleeve.

2) Janos Starker plays Dvorak's violoncello concerto in b minor and Bruch's kol nidrei. Antal Dorati conducting the London Symphony Orchestra. Mercury Living Presence Stereo: An Original 35 MM Magnetic Film Recording. SR90303. LP in excellent condition with no visible scratches. contains original jacket sleeve. The stamper numbers on wax areas of the Dvorak LP are SR 90303A-RFR-2 P17 and SR 90303B-RFR-2 P17.

History:

János Starker (born July 5, 1924) is a Hungarian cellist. He taught at the Indiana University Jacobs School of Music from 1958 until 2009, where he held the title of Distinguished Professor. From 1950 to 1965, Starker played and recorded on the Lord Aylesford Stradivarius, the largest instrument made by Antonio Stradivarius. In 1965 Starker acquired a Matteo Goffriller cello believed to have been made in Venice in 1705, an instrument which he plays to this day. Many documentaries, articles in magazines, and newspaper stories have acknowledged János Starker's virtuosity. He has published numerous books and musical scores through Peer International, Schirmer, and International Music. His autobiography, The World of Music According to Starker, was published in 2004 by Indiana University Press. Starker's playing style is intense and involves great technical mastery. According to some of his students, his technique revolves around long, legato notes, with very little shifting noise from his left hand, resulting in smooth, pure tones, "each note sounding like a jewel." Starker himself describes his sound as "centered" and "focused." He is known for his ability to produce an extremely wide range of sounds and tone shading. He eschews the wide vibrato favored by some of his peers--which he views as a cover for poor intonation--and he is known for his patrician stage presence, preferring to let the music do the emoting. He quotes his long-time friend and colleague, Gyorgy Sebok, who said, "Create excitement. Don't get excited."

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