1	Haydn: Sonata for Piano and Violin in G major: Andante			
2	Haydn: Sonata for Piano and Violin in G major: Allegro			
3	Debussy: Sonata for Violin and Piano: Allegro vivo			
4	Debussy: Sonata for Violin and Piano: Intermede. Fantasque et leger			
5	Debussy: Sonata for Violin and Piano: Finale. Tres anime			
6	Schubert: Sonata for Violin and Piano in A major: Allegro moderato			
7	Schubert: Sonata for Violin and Piano in A major: Scherzo. Presto-Trio			
8	Schubert: Sonata for Violin and Piano in A major: Andantino			
9	Schubert: Sonata for Violin and Piano in A major: Allegro vivace			
10	Schubert: Fantasy for Violin and Piano in C major: Andante molto			
11	Schubert: Fantasy for Violin and Piano in C major: Allegretto			
12	Schubert: Fantasy for Violin and Piano in C major: Andantino			
13	Schubert: Fantasy for Violin and Piano in C major: Allegro

Yehudi Menuhin – violin
Benjamin Britten – piano

This is a legendary recording of two great, though very different artists and longtime friends. Captured live at Britten's 1957 and 1959 Aldeburgh Festivals, the performances have the sort of spontaneity that results from close rapport and mutual trust rather than meticulous rehearsal. Each player preserves his individual style while remaining fully responsive to the other's momentary inspiration. Both were consummate masters of their instrument. Menuhin's tone is at its glorious best, though he sounds a bit distant at first; Britten's has both power and delicacy and enormous variety of color and nuance. Though faithful to the letter of the score, they seek out the spirit of the music with courageous freedom and imagination.

Haydn's only original sonata for violin and piano has charm and style. The Debussy Sonata is marvelous, full of color, atmosphere, character, rhythmically flexible but steady, carefully detailed yet cast in one big sweep. Schubert's A-major Sonata is lovely: charming, elegant, free, expansive, fragrantly poetic and rapturously romantic. The great C-major Fantasy is one of the most difficult works in the literature. Half bravura showpiece, half intimate chamber music, it demands both brilliance and utmost musical sensibility. Though these players have both in abundance (never mind that Britten stumbles over some of the technical hurdles), their virtuosity is entirely at the service of the music. One might question a few of their choices of tempo and character, and it seems strange that they ignore the opportunity to bring out the Variations' conversational aspect by emphasizing different voices in the repeats. But the phrasing, liberties, and transitions are perfect; the sound is beautiful; the expressiveness, whether robust, mysterious, or tender, is always born of a deep love for the music. ---Edith Eisler

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1. Paganini - Violin Concerto No. 1 In D Major, Op. 6 	
-a 	First Movement: Allegro Maestoso-Cadenza-Allegro Maestoso 	
-b 	Second Movement: Adagio Espressivo 	
-c 	Third Movement: Rondo (Allegro Spirituoso)

Yehudi Menuhin - violin
London Symphony Orchestra
Anatole Fistoulari - conductor

2. Sibelius - Violin Concerto In D Minor, Op. 47 	
-a 	First Movement: Allegro Moderato-Largamente-Allegro Molto-Moderato Assai-Allegro Moderato-Allegro Molto Vivace 	
-b 	Second Movement: Adagio Di Molto 	
-c 	Third Movement: Allegro, Ma Non Tanto 	

Yehudi Menuhin - violin
London Philharmonic Orchestra
Sir Adrian Boult - conductor

As can be expected, there are music lovers who relish the technical details of Paganini's violin concertos, and then there are those who find themselves ever-so-comfortable in the rich and lush romanticism of his quitessentially Italian expressiveness. You may freely count your servant in the latter category: in the opinion of your servant, no one wrote more exquisitely romantic violin music (with the exception of Pablo de Sarasate) than Niccolo Paganini, and Yehudi Menuhin captures the essence of this romanticism at the highest levels of technicianship and expressive musicality!!! The cadenza are from an older era, but they are no less technically demanding, and Yehudi Menuhin shows himself more than equal to the task. An absolute benchmark recording for all lovers of violin pyrotechnics, as well as violin students. --- Ralph Luciano, amazon.com

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Franz Schubert, Fantasia in C major D934
1. I.Andante molto
2. II.Allegretto
3. III.Andantino
4. IV.Andante molto
5. V.Allegro vivace
6. VI.Allegretto
7. VII.Presto

Felix Mendelssohn , Sonata in F major
8. I.Allegro vivace
9. II.Adagio
10. III. Assai vivace

Johannes Brahms , Trio in E-flat major, Op.40
11. I.Andante
12. II.Scherzo . Allegro-Molto meno allegro-Allegro
13. III.Adagio mesto
14. IV.Finale. Allegro con brio

Y.Menuhin (violin). 
L.Kentner, G.Moore, H.Menuhin (piano). 
A.Civil (horn)

The American violinist and conductor, Yehudi Menuhin, had one of the longest and most distinguished careers of any violinist of the 20th century. Menuhin was born in New York of Russian-Jewish parents, recent immigrants to America. By the age of seven his performance of Mendelssohn's Violin Concerto had found him instant fame. As a teenager he toured throughout the world and was considered one of the greats long before his twentieth birthday. Even in his earliest recordings one can sense deeply passionate responses to the great composers. Though considered a technical master, it is his highly charged emotional playing that set him apart.

As a young man Yehudi Menuhin went to Paris to study under violinist and composer George Enesco. Enesco was a primary influence on Menuhin and the two remained friends and collaborators throughout their lives. During the thirties, Menuhin was a sought after international performer. Over the course of World War II he played five hundred concerts for Allied troops, and later returned to Germany to play for inmates recently liberated from the concentration camps. This visit to Germany had a profound effect on Menuhin.

As a Jew and a classical musician, Yehudi Menuhin had a complex relationship with German culture. He was fluent in German and deeply influenced by classical German composers. Menuhin found in the German conductor Wilhelm Furtwängler an important musical peer. Despite accusations of Wilhelm Furtwängler's pro-Nazi sympathies, Menuhin continued to support him and his work. It seemed that for many years, Menuhin led a double life. He was an outspoken supporter of dozens of causes for social justice, while also longing for a solitary life where he could ignore the concerns of society and attend only to the history of music and his role within it.

Throughout the 1940’s and 1950’s, Yehudi Menuhin performed and made recordings from the great works of the classical canon. During this time he also began to include rarely performed and lesser known works. One of his greatest achievements is the commissioning and performing of Sonata for Solo Violin by Béla Bartók. In Béla Bartók, Menuhin found a composer of deep emotion and pathos that mimicked his own. Béla Bartók's work was at once technically rigorous and open to interpretive playing. Of Menuhin, Béla Bartók said he played better than he imagined he would ever hear his work played. Their collaboration is considered one of the greats of twentieth-century classical music.

By the 1960’s, Yehudi Menuhin began to increase the scope of his musical involvement. In 1963 he opened the Yehudi Menuhin School, a school for musically gifted children. He also began conducting, which he would continue to do until his death. He conducted in many of the important music festivals and nearly every major orchestra in the world. It was around this time he also broke from his traditional roots and did work outside of the classical genre. One of his most successful ventures out of traditional performance was with the great Indian composer and sitarist Ravi Shankar.

Throughout the last twenty years of his life, Yehudi Menuhin continued to engage in every aspect of musical work. As a performer, a conductor, a teacher, and a spokesperson, he spent his seventies and eighties as one of the most active musicians in the world. He was a constant contributor to religious, social, and environmental organizations throughout the world.

Menuhin Yehudi (1916-1999), amerykański skrzypek, jeden z najwybitniejszych muzyków XX w. W wieku 4 lat rozpoczął naukę gry na skrzypcach u S. Ankera w San Francisco, następnie kształcił się u L. Persingera. W wieku 8 lat po raz pierwszy wystąpił publicznie jako solista (wykonał Symphonie espagnole E. Lalo). Od 1927 studiował w Paryżu u G. Enescu, w latach 1929–1930 u A. Buscha. Twórca festiwali muzycznych w Gstaad (Szwajcaria), Bath (Anglia) oraz Windsor Festival. Przy festiwalu w Bath utworzył zespół Bath Festival Orchestra (później zwany Menuhin Festival Orchestra), z którym rozpoczął karierę jako dyrygent. Współpracował m.in. z Berliner Philharnoniker, Royal Philharmonic Orchestra, Englisch Chamber Orchestra. W 1963 w Stroke d’Abernon założył Yehudi Menuhin Music School. Od 1984 rozpoczął współpracę z Polską Orkiestrą Kameralną oraz z Sinfonią Varsovią, której był pierwszym gościnnym dyrygentem. Występował i nagrywał płyty z największymi muzykami na świecie: B. Brittenem, D. Ojstrachem, G. Gouldem, S. Grappellim, R. Shankarem.

W 1972 otrzymał nagrodę niemieckich krytyków na Międzynarodowych Targach Książki we Frankfurcie nad Menem za autobiografię Unfinished Journey. Uhonorowany Orderem Lotaryńskim, Legią Honorową (Francja), Orderem Couronne, Orderem Leopolda (Belgia), Orderem Zasługi (Niemcy). W 1956 Królowa Elżbieta II nadała mu tytuł szlachecki oraz tytuł Komandora Imperium Brytyjskiego (CBE). Doktor honoris causa 27 uczelni.

Muzykę pisali dla niego kompozytorzy światowej sławy: B. Bartok, L. Berkeley, A. Panufnik. Wśród wychowanków Menuhina jest m.in. N. Kennedy.

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CD1 – Bruch, Elgar

Bruch Violin Concerto No.1 in G minor, Op.26
1. I.Prelude Allegro Moderato
2. II.Adagio
3. III.Finale.Allegro energico

Elgar Violin Concerto in B minor, Op.61
4. I.Allegro
5. II.Andante
6. III.Allegro molto
7. Cadenza (Accompagnata Lento)

CD2 – J.S. Bach

Violin Concerto No. 1 in A minor
1. Allegro (non tanto)
2. Andante
3. Allegro assai

Violin Concerto No. 2 in E major
4. Allegro
5. Adagio
6. Allegro assai

Concerto for Two Violins
7. Vivace
8. Largo ma non tanto
9. Allegro

10. Sonata No. 2 in A minor Andante

CD3 – Schumann, Dvorak

Schumann – Violin Concerto in D Minor
1. First Movement
2. Second Movement
3. Third Movement

Dvorak - Violin Concerto in A minor, Op.53
4. Allegro ma non troppo
5. Adagio ma non troppo
6. Finale: Allegro giocoso ma non troppo

CD4 Mendelssohn. Lalo, Chausson

Mendelssohn - Concerto E Minor (Op. 64)
1. Allegro molto appassionato
2. Andante
3. Allegro non troppo – Allegro molto vivace

Lalo - Symphonie Espagnole
4. Allegro ma non troppo
5. Adagio molto
6. Intermezzo. Allegretto non troppo
7. Andante
8.Rondo. Allegro

9. Chausson - Poeme Op 25


Yehudi Menuhin (violin)

various orchestra & conductors

Recorded 1931-38

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