SZYMON GOLDBERG VIOLIN LILI KRAUS PIANO MOZART Sonata KV 377 378 380 VOL II 78
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Description
WEEK 2 of two weeks of great auctions ending May 11.
I will send you a bill after close of auctions May 11. Due to the high volume of records, pls allow 2 - 3 days for packing and invoicing
IF you are a non-US buyer or if buy multiple records, pls do not use EBAY check out.
Send me an invoice request (click on MORE ACTIONS to the right of the item), I can probably get you better shipping rate.
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A series of great classical orchestral and instrumental performances by major conductors, composers and instrumentalists.
One of the lessor known British Record Societies of the 1930s was the Parlophone MOZART CHAMBER SOCIETY, which featured the "ideal" Duo of Lili Kraus piano and Szymon Goldberg Violin.
In the late 30s, 8 Mozart Sonatas, two Mozart Duos, the Hindemith Violin Sonata and three of the Beethoven sonatas were recorded.
Lili Krauss & Simon (Szymon) Goldberg - Mozart Sonatas1937 Mozart Chamber Music Soc./ Parlophone 7-record Set
Mozart Chamber Music Society / Parlophone SW 8000 thru SW 8006 (England), 12-inch, 78 RPM, 7-record Set
"From England have come the finest pre war recordings of pianist Lili Kraus and violinist Szymon Goldberg..."
Mozart Chamber Music Society (Piano and Violin Sonatas)
Vol. 1. C major, K. 296; G major, K. 379; E flat major, K. 481
Vol. 2. F Major, K. 377, B flat Major, K. 378; E flat Major, K. 380
Lili Krauss and Simon Goldberg, Each volume contains 14 sides, 7-12? discs
1937 British Parlophone issue on special Mozart Picture Label
COMPLETE SET 7x 12" 78 rpm records in non matching album album
CONDITION: BETTER THAN EXCELLENT PRISTINE, possibly unplayed. Album like new
From a review in THE GRAMOPHONE
That great violinist and teacher Carl Flesch, not one to confer praise lightly, called the partnership of Goldberg (one of what he called his two "outstanding" pupils, the other being Max Rostal) and Kraus "exemplary"; and certainly their Mozart sonatas for Parlophone in the 1930s were universally praised as highlights of the recorded chamber-music repertory. At that time Mozart's violin sonatas, when they were played at all, were often treated either in nineteenth-century romantic style or, at the other extreme, in a falsely prim manner: in those days long before the appetite for 'authenticity' this duo struck a balance which still convinces and appeals. Goldberg's clean intonation, sensitivity to tonal gradation and crisp bowing (especially his light staccato) give constant pleasure, and Kraus had an unerring ear for matching up her tone so that the piano—still the senior partner in Mozart's day—was never overassertive: if she had a failing, it was that, like her teacher Schnabel, she had a tendency to hurry (as in the triplets of K377's first movement here).
The Mozart sonatas presented were written in the seven years from 1778 and reveal a conspicuous development in treating the two instruments as equals: compare K296 (the theme of its Andante borrowed from J. C. Bach) and K481, with its remarkable modulations in the Adagio and its final Beethovenish variations (with brilliant piano writing). Throughout, however, the two artists work as a closely-integrated pair, producing buoyancy in the C major's first movement, gaiety in that of the F major and a beautifully shaped and nuanced theme of its Andante; in the B flat they exhibit grace and a deeply felt Andantino; Goldberg's archel volant in K380's alert first movement is a delight, and its bucolic final rondeau is played with delicacy. Tempos are well judged.
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1 record: 4.50$
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