A selection of delightful instrumental masterpieces, jaded or neglected gems from 1914-1927 familiar to David Oistrakh who promotes authentic European musical traditions ‘from the Atlantic to the Urals’. Sheer emotion.

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PRD 250 320

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The Sonata trilogy that Brahms, written in full maturity, has become the reference in this so particular form of
dialogue called ‘romantic sonata’, each of the three having its own sentimental mood. The first, using the theme
from the ‘Regenlied’, has obviously for model Beethoven's last sonata for violin and piano, Op.96. The second let
break a warmer intimism, a sort of tribute written ‘in the wait of a girlfriend’, the young soprano Hermine Spies.
The third is written with a much stronger ink: this concertante sonata has a vehemence and a surprising greatness
which, this time, exceed the beethovenian model, the Kreutzer Sonata.
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PRD/DSD 250 321

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This Sonata trilogy that Beethoven, written in his young maturity, has become the reference in this so particular form of dialogue called ‘classical sonata’, each of the three having its own technical step given the leadership from keyboard to the string instrument. The No.5, often called Spring Sonata, has for model simultaneously Haydn and Mozart. The No.6 is yet ‘for the pianoforte with the accompaniment of a violin’, gracious work with a fascinating central adagio molto espressivo in D . . . with Richter. The No.9, Kreutzer-Sonata, is arguably the first release for violin, with help of a keyboard, the violin’s unaccompanied entry at the beginning of the andante con variazoni is opening a new era… with Oistrakh.

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PRD 250 322

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It has been two centuries since Paganini, consummate violinist, wrote this piece of bravura for his own performances. It was eventually published in 1817 and was to inspire numerous variations (29 to date), ranging from low key (for solo guitar) to grandiose (for a full Zarathustra-style orchestra), some (by Schumann, Milhaud, Casella, Dallapiccola and others) now curiously forgotten. The theme has never ceased to serve as a showcase of technical prowess, the latest being Andrew Lloyd Webber’s acclaimed variations for cello and rock band (1977). Featured here are choice masterpieces – for solo piano (Liszt, 1851 and Brahms, 1863), for violin and piano (Szymanowski,1918), for piano and orchestra (Lutoslawski, 1978 and Rachmaninov,1934) and for symphony orchestra (Blacher,1947).

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PRD 250 338

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Shostakovich began his career with hopes of becoming a professional pianist, and throughout his life he maintained a close
association with this instrument. He enjoyed playing in private and in public, and recorded compositions of his own in the
1940s and 1950s. Some of his most ebullient (Piano Concerto No.1, Op.35) and personal (Jewish Folk Poetry Op.49, Preludes
and Fugues, Op.87) scores were written for the piano. Many of his piano recordings are unfamiliar to classical music lovers
because of their poor sound quality, but this compilation makes for enjoyable listening.
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PRD 250 365-366

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Second programme dedicated to the cellist Zara Nelsova (born in Canada to Russian parents, and now almost 100 years old) combined pieces of their few recordings that exist, exalted by her 1726 Stradivarius. Here we have here an opulent unusual trilogy starting with romantic Russian Sonata and transfiguring modern cello solo masterworks

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PRD 250 411

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On the occasion of its 30th anniversary, Praga Digitals presents a box-set of 30 key discs that retrace the history of the label. These include rereleases of some of the house’s great names, such as the Pražák, the Kocian, the Zemlinsky and the Párkányí, but also the magnificent restorations of the historic recordings of Mravinsky, Furtwängler, Oistrakh and Richter.
The selection draws from the label’s preferred repertory, from Czech music to the Second Viennese School, via Brahms, Schubert, Janáček, but also Debussy, Ravel, Mahler, Shostakovich, Prokofiev, Stravinsky, without forgetting the composer who was perhaps most championed by the catalogue, Bartók. This box-set is thus an opportunity to reinstate some of the finest discs in the catalogue, from among those that contributed to making Praga Digitals one of the greatest catalogues of chamber music and one of the references as regards aural beauty, in a limited and remastered edition

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PRD 250 421

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