Grumiaux: Mozart Violin Concerti + K 364: Philips 6747 308 (3LP box, red/silver)

$

58

ITEM DESCRIPTION:

This lovely 3LP box set – a superb collector’s copy – from Philips (6747 308, Dutch pressing, red/silver label, stereo, insert included) features Arthur Grumiaux's peerless cycle of Mozart's complete Violin Concertos as well as the Sinfonia Concertante  in E-flat Major K. 364 in which he is joined by violist Arrigo Pelliccia. The conductor and orchestra throughout are Sir Colin Davis and the London Symphony Orchestra, who provide vibrant and supremely eloquent accompaniment – these remain landmark performances in the Mozart discography.

Included then are the following works:

Violin Concerto No. 1 in B-flat Major K. 207

> cadenzas by Grumiaux

(recorded in April 1962 at Walthamstow Assembly Hall, London)

Violin Concerto No. 2 in D Major K. 211

(recorded in May 1964 at Walthamstow Assembly Hall, London)

Violin Concerto No. 3 in G Major K. 216

(recorded in November 1961 at Walthamstow Assembly Hall, London)

> cadenzas by Ysaÿe

Violin Concerto No. 4 in D Major K. 218

(recorded in April 1962 at Walthamstow Assembly Hall, London)

Violin Concerto No. 5 in A Major K. 219 "Turkish"

> cadenzas by Joachim and Grumiaux

(recorded in November 1961 at Walthamstow Assembly Hall, London)

Sinfonia Concertante for Violin, Viola, and Orchestra in E-flat Major K. 364

> with Arrigo Pelliccia, viola

(recorded in May 1964 at Walthamstow Assembly Hall, London)

These engaging readings have lost none of their freshness or appeal, the playing unfailingly natural and unerringly stylish, with superbly balanced analog sound to boot – outstanding!

Wrote the superb critic Michael Jameson for ClassicsToday: “Arthur Grumiaux's Mozart performances glowed, but his interpretations were always free of artifice and affectation, making his survey of the five violin concertos (it's seldom been out of the catalog) a prime contender even now. Of particular interest is the G major concerto K. 216, where Grumiaux pays tribute to one of the greatest representatives of the Franco-Belgian school (to which he belonged) by performing cadenzas by Ysayë, a welcome change from the customary Joachim or Sam Franko (Perlman's choice) alternatives. In the other concertos the cadenzas are either by Grumiaux himself, or Joachim, but in all respects these performances are outstandingly refined and beautiful. Their high quality is exemplified by the effortlessly graceful transition achieved in the sometimes unforgiving finale of K. 218. It's one of many passages that sort out the leaders from the also-rans, and with Grumiaux everything is perfectly balanced and controlled, so the shift from Andante to Allegro seems completely natural. In another example, there's tremendous sweep and power, but no loss of Classical poise in the much broader opening movement of Concerto No. 5 K. 219.”

And wrote the esteemed critic Rob Cowan in the November 2003 issue of The Gramophone: "I was once told on good authority that Heifetz was a keen admirer of Grumiaux’s art, and little wonder. Like Heifetz, Grumiaux was a master of subtle shading, a disciplined stylist with a warm heart whose immaculate musicianship, silken tone and innate composure benefitted everything he played."

CONDITION:

The gradations of condition I use are as follows: MINT, Near-Mint, Excellent, Very Good, Good, Fair, Poor.

The condition of the box is EXCELLENT. There is slight wear/scuffing at corners, and the former owner’s name written to the inside of the box, but that is all. There are no seamsplits, corner breaks, bends, or other defects and the box remains solid, bright, and very attractive in appearance – overall, an excellent collector's copy.

The condition of the single-page full-size insert, with notes in German only, is EXCELLENT. On one side, the former owner has written his name, but that is the only defect.

The condition of the 3 LPs is near-MINT throughout - superlative collector's copies.