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MELODIYA  MONO M-41237(3LP BOX)

POLYAKIN, MYRON-violin
Beethoven: Violin Sonata No. 9 in A Major Op. 47 “Kreutzer”
Schubert (arr. Sam Franko):Valse Sentimentale in B-flat Major,#3
                         from 16 German Dance and 2 Ecossaises D.783 (Op.33)
                 with pianist Abram Dyakov
            Brahms (arr. Joseph Joachim) Hungarian Dances WoO 1 #1 in G minor
                  rec.1938 with pianist Vladimir Yampolsky
            Brahms (arr. Joseph Joachim) Hungarian Dances WoO 1 #20 in E minor           
            Sarasate: Zigeunerweisen Op. 20
                   with pianist Abram Makarov
            Mendelssohn: Violin Concerto in E minor Op. 64
            Glazunov: Violin Concerto in A minor Op. 82
            rec. in 1941 with  Orlov & USSR Symphony Orchestra
            Tchaikovsky: Méditation, No. 1 from Souvenir d’un cher Op. 42,           
                         Valse-scherzo in C Major for Violin and Piano Op. 34
            Sarasate: Habañera · Spanish Dance for Violin and Piano Op. 21 #2
                rec. in 1939 with pianist Vladimir Yampolsky
            Pearl Dea Etta Townsend (arr. Fritz Kreisler): Berceuse (“Lullaby”)
                   rec. in 1938 with pianist Abram Makarov
            This fascinating and very rare 3LP set from Melodiya (33M 10-41237-42, 
Records features a homage to one the truly great Russian violinists of the last century, 
a pupil of Leopod Auer, and an artist whose recorded legacy still remains too little-known 
outside his native land.
At Arkiv Music one can find this brief biographical sketch of Polyakin:
 “Miron Polyakin was born in 1895 and began his education at the music school in Kiev. 
In 1908, he entered the St. Petersburg Conservatory as a pupil of Auer. 
For one of his examinations, the highest possible mark was a 5 but Glazunov insisted 
on giving him a 5++ and in 1910 Auer's report on Polyakin consisted of three exclamation marks. 
However, his pride and arrogance were also noted. In taste and style Polyakin's playing was held to be the closest to Auer of any of his pupils, but affliction from nerves made him an uneven player. 
In later years, as a teacher at the Leningrad Conservatory, he tended to proceed by example rather  than explanation. Indeed, at times, his playing in class was felt to exceed anything he achieved  in concert. The brevity of his life, he died in 1941, and the conditions prevailing in Russia  in the `30s, have left us with a recorded legacy of this artist which is both very small and very hard to come by.”

CONDITION: COVER and RECORD : MINT / MINT

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