The art of Emanuel Feuermann; Schubert and Dohnanyi, part 2

I'm not. Going to. Do. Anything and. I mean. Anything. And anything. And. And. And.

And. And and and. And. There and you know. And it is. Where.

Do. You. Meet. And around. You. And. I've been in it.

And. Doing it. One. Of. Them in.

Order. What. Do you.

Do. Will. You. Look. At her.

And.

Then and. Then. And. Then what.

You have just heard a recording of the Schubert trio in B-flat Opus 99 with Arthur Rubenstein Yasha hype and a manual for him and the next recording we're going to hear was also made in that serene Harbor California summer of 1941. This is the ducking the nice Serenade in C Major with Heifetz Primrose and flaming. As far as the problem of tonal blend is concerned the string trio is a far more natural combination the piano trio. However the openness of the instrumentation imposes many severe demands on the performers. The response of these instrumentalist to this musical challenge must be heard to be believed. The performance is an astounding one. A particular note went on to mention a breath taking control which the three display in a very difficult third movement scare itself.

The music itself is an impeccably crafted example of late romanticism written at a time when more adventurous musical idioms were being explored by other composers doesn't and he was only twenty eight when he wrote the Serenade one thousand eight hundred five. But it is a mature product in the sense that his style never ventured much beyond the outline set down in his composition. I'm listening to the cohesive ensemble in this recording. One can understand the musical bond which was established in the course of their collaboration. It's Charles O'Connell who supervised the recording sessions with Victor in his book the other side of the record commented as follows. I have no means of knowing whether the success of these works will be followed up by others of equal worth. I do know that the same ensemble cannot be gathered together again for the untimely death of 4am and completely destroyed the enthusiasm and the spirit that had made these records possible. And therefore Yasha has flatly refused despite any and all inducements to undertake further recordings of this kind unquote.

It should be added that was nine years before Heifetz again made chamber music recordings. Let us now listen to the Serenade in C Major for violent the OHL and cello. But you know Doc money with Yasha Heifetz William Primrose and the manual for women.