CLARA HASKIL Arthur Grumiaux MOZART Sonatas for Piano & Violin Philips 2 LP set

$

52

Item: Music / LP

Title: 

Sonatas for Piano and Violin

Composer(s)/Performer(s): 

Mozart

Clara Haskil (Piano)

Arthur Grumiaux (Violin)

Label/Production:  Philips Records (Netherlands Import)

#6780 017 (On Cover)  6599 804 / 6955 805 on LPs

Year Made: 1956 / 1959 on LP Labels

Excellent Release.  A Must have for the Audiophile

Very Hard to find.  Only 3 other copies of this release remain on eBay (at time of listing)

Condition: Gatefold Cover is in Very Good Shape.  

Intact - no side splits.  

Upper right corner edge tearing. 

Light corner and edge wear.  

Nice one to display.  

Paper w/ Plastic Inner Sleeves are in EXC shape (very light wear).  

LPs are in NM Shape.  

No visual wear. 

Taken care of over the years. 

Great run of Classic, High Grade obscure and rare LPs to be listed. 

Please review the pictures for grading and song listing.  

Message me for specifics...

Plenty of listings & auctions to be listed.  Proceeds will be heading to one of our local effective charities and help pay for my daughter's college books and other costly things....  All who bid you have my deepest thanks to help further her indoctrination um errr, education 😁

Note: You are buying, bidding or making an offer on the item listed in the title of this listing and description above.  If multiple items are shown - they are in separate listings. 

Clara Haskil (7 January 1895 – 7 December 1960) was a Romanian classical pianist, renowned as an interpreter of the classical and early romantic repertoire. She was particularly noted for her performances and recordings of Mozart. She was also a noted interpreter of Beethoven, Schumann, and Scarlatti.

Haskil was born into a Jewish family in Bucharest, Romania. Her father Isaac Haskil (1858–1899) immigrated to Romania from Bessarabia (then part of the Russian Empire);[1] he died from acute pneumonia when Clara was only 4 years old.[2] Her mother Berthe Haskil (née Moscona) (1866–1917), of Sephardi origin, was one of six children of David Moscona and Rebecca Aladjem. The Moscona family dates back to 1300s Spain, having fled persecution during the Spanish Inquisition and settling first in Ottoman Turkey and later in Bulgaria. Haskil studied in Vienna under Richard Robert (whose pupils also included Rudolf Serkin and George Szell) and briefly with Ferruccio Busoni.[3] She later moved to France, where she studied with Gabriel Fauré's pupil Joseph Morpain, whom she always credited as one of her greatest influences. The same year she entered the Conservatoire de Paris, officially to study with Alfred Cortot although most of her instruction came from Lazare Lévy and Mme Giraud-Latarse, and graduated at age 15 with a Premier Prix. Upon graduating, Haskil began to tour Europe, though her career was cut short by one of the numerous physical ailments she suffered throughout her life. In 1913 she was fitted with a plaster cast in an attempt to halt the progression of scoliosis. Frequent illnesses, combined with extreme stage fright that appeared in 1920, kept her from critical or financial success. Most of her life was spent in abject poverty. It was only after World War II, during a series of concerts in the Netherlands in 1949, that she began to win acclaim. In 1951 she moved to Vevey in Switzerland. Not long after that she was appointed a Chevalier of the Légion d’Honneur by the French state.[4]

As a pianist, her playing was marked by a purity of tone and phrasing that may have come from her skill as a violinist. Transparency and sensitive inspiration were other hallmarks of her style.

Well regarded as a chamber musician, Haskil collaborated with George Enescu, Eugène Ysaÿe, Pablo Casals, Dinu Lipatti, Joseph Szigeti, Géza Anda, Isaac Stern, Henryk Szeryng and Arthur Grumiaux, with whom she played her last concert. While renowned primarily as a violinist, Grumiaux was also a fine pianist, and he and Haskil would sometimes swap instruments.

She played as a soloist under the baton of many conductors, including Ansermet, Barbirolli, Baumgartner, Beecham, Boult, Celibidache, Cluytens, Dixon, Fricsay, Giulini, Hindemith, Inghelbrecht, Jochum, Karajan, Kempe, Klemperer, Kubelík, Markevitch, Monteux, Munch, Paray, Rosbaud, Sawallisch, Solti, Stokowski and Szell.

One of her most famous recordings as a soloist with orchestra is of Mozart's Piano Concertos No. 20 in D minor, K. 466 and No. 24 in C minor, K. 491, made in November 1960 with the Orchestre Lamoureux conducted by Igor Markevitch (issued on CD by Philips Classics under No. 464 718-2; reissued under No. 478 479-9; and included in Clara Haskil Edition Box Set Decca 478 254-1) highly lyrical and yet, in some way, vigorous playing of K. 491's second movement.

Haskil died from injuries received in a fall on a staircase at the Brussels-South railway station. She was due to play at a concert with Arthur Grumiaux the following day. She was aged 65.

An esteemed friend of Haskil, Charlie Chaplin, described her talent by saying "In my lifetime I have met three geniuses; Professor Einstein, Winston Churchill, and Clara Haskil. I am not a trained musician but I can only say that her touch was exquisite, her expression wonderful, and her technique extraordinary."[5]

In a 2013 interview, Pope Francis mentioned Haskil as one of his favorite musicians, especially when performing Mozart.[6]

In August 2017 was released Clara Haskil, le mystère de l'interprète, documentary of 70 minutes by Pascal Cling, Prune Jaillet and Pierre-Olivier François

Baron Arthur Grumiaux (French: [gʁy'mjo]; 21 March 1921 – 16 October 1986) was a Belgian violinist, considered by some to have been "one of the few truly great violin virtuosi of the twentieth century".[1] He has been noted for having a "consistently beautiful tone and flawless intonation".[2] English music critic and broadcaster, Edward Greenfield wrote of him that he was "a master virtuoso who consistently refused to make a show of his technical prowess"

Grumiaux had a long-standing relationship with Philips Records, lasting more than 20 years, and recordings are available from them of him performing works by Handel, Bach, Vivaldi, Michael Haydn, Mozart, Beethoven, Schubert, Mendelssohn, Bruch, Tchaikovsky, Saint-Saëns, Lalo, Henryk Wieniawski, and Johan Svendsen.[12][13]

A recording of Grumiaux's performance of one movement from Bach's Sonatas & Partitas for Unaccompanied Violin, the "Gavotte en rondeaux" from the Partita No. 3, is included on the Voyager Golden Record, attached to the Voyager spacecraft, as a sample of the culture of Earth.[14] This recording was chosen by renowned scientist Carl Sagan.

Wolfgang Amadeus Mozart[a] (27 January 1756 – 5 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart,[b] was a prolific and influential composer of the Classical period.

Born in Salzburg, in the Holy Roman Empire, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty, embarking on a grand tour. At 17, Mozart was engaged as a musician at the Salzburg court but grew restless and travelled in search of a better position.

While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in Vienna, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his early death at the age of 35. The circumstances of his death are largely uncertain, and have thus been much mythologized.

Despite his short life, his rapid pace of composition resulted in more than 600 works of virtually every genre of his time. Many of these compositions are acknowledged as pinnacles of the symphonic, concertante, chamber, operatic, and choral repertoire. He is considered among the greatest classical composers of all time,[1][2] and his influence on Western music is profound, particularly on Ludwig van Beethoven. His elder colleague Joseph Haydn wrote: "posterity will not see such a talent again in 100 years"

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