Beethoven, String Quartet in C minor, op.18/4

Since its founding in 1946 in New York, the Juilliard Quartet has been synonymous with the genre of the string quartet. The repertoire of the ensemble comprises around 500 works – from J. S. Bach’s “Art of Fugue” to contemporary works which were written for the Juilliards. The four musicians have also trained generations of string quartets as teachers at the Juilliard School of Music in New York – from the Emerson Quartet to the Tokyo String Quartet. Robert Mann, the first violin, belonged to the founding members and retired in 1997 at the age of 77. Earl Carlyss was second violinist from 1966-1986 and was followed by Joel Smirnoff, who changed from the second to the first violin in 1997. Samuel Rhodes joined the ensemble as violist in 1969 and Joel Krosnick as cellist in 1974.

Beethoven, String Quartet in F major, op.59/1 “Rasumovsky Quartet”

Since its founding in 1946 in New York, the Juilliard Quartet has been synonymous with the genre of the string quartet. The repertoire of the ensemble comprises around 500 works – from J. S. Bach’s “Art of Fugue” to contemporary works which were written for the Juilliards. The four musicians have also trained generations of string quartets as teachers at the Juilliard School of Music in New York – from the Emerson Quartet to the Tokyo String Quartet. Robert Mann, the first violin, belonged to the founding members and retired in 1997 at the age of 77. Earl Carlyss was second violinist from 1966-1986 and was followed by Joel Smirnoff, who changed from the second to the first violin in 1997. Samuel Rhodes joined the ensemble as violist in 1969 and Joel Krosnick as cellist in 1974.

Beethoven, String Quartet in C sharp minor, op.131

Since its founding in 1946 in New York, the Juilliard Quartet has been synonymous with the genre of the string quartet. The repertoire of the ensemble comprises around 500 works – from J. S. Bach’s “Art of Fugue” to contemporary works which were written for the Juilliards. The four musicians have also trained generations of string quartets as teachers at the Juilliard School of Music in New York – from the Emerson Quartet to the Tokyo String Quartet. Robert Mann, the first violin, belonged to the founding members and retired in 1997 at the age of 77. Earl Carlyss was second violinist from 1966-1986 and was followed by Joel Smirnoff, who changed from the second to the first violin in 1997. Samuel Rhodes joined the ensemble as violist in 1969 and Joel Krosnick as cellist in 1974.

Brahms, Intermezzo in B flat minor, op.117

One of this century’s great pianists, Artur Rubinstein (1887-1982) began playing the piano at the age of three and concertized tirelessly until nearly ninety. He made his official debut in Berlin in 1900 playing, among other works, Saint-Saëns’ G minor Concerto Op. 22, which remained a vehicle for Rubinstein’s virtuosity throughout his career. He was often heard in concertos by Brahms and Beethoven. Indeed, Brahms was the composer who initially aroused the pianist’s strongest and deepest artistic instincts. This place was later taken by Chopin. In his later years, Rubinstein was noted for his Chopin interpretations, which were marked by impeccable style, warm lyricism and passionate eloquence. The Brahms piano pieces were recorded in August 1973 at Amsterdam’s Concertgebouw.

Brahms, Capriccio No.2 in B minor, op.76

One of this century’s great pianists, Artur Rubinstein (1887-1982) began playing the piano at the age of three and concertized tirelessly until nearly ninety. He made his official debut in Berlin in 1900 playing, among other works, Saint-Saëns’ G minor Concerto Op. 22, which remained a vehicle for Rubinstein’s virtuosity throughout his career. He was often heard in concertos by Brahms and Beethoven. Indeed, Brahms was the composer who initially aroused the pianist’s strongest and deepest artistic instincts. This place was later taken by Chopin. In his later years, Rubinstein was noted for his Chopin interpretations, which were marked by impeccable style, warm lyricism and passionate eloquence. The Brahms piano pieces were recorded in August 1973 at Amsterdam’s Concertgebouw.

Schubert, Impromptu in A flat major, op.90 No.4

Artur Rubinstein was one of the greatest pianists of the 20th century. Born in Lodz in 1887, he took piano lessons in his native city and at the Warsaw Conservatory. In Berlin he continued his training and debuted there in 1900 under the musical direction of Joseph Joachim. This was followed by appearances in America and many European countries. At the beginning of the First World War, he vowed never to play again in Germany. As a Pole and Jew, he renewed this vow and maintained it till the end of his life. After three decades of active concert activity, the bon-vivant Rubinstein made an artistic pause in 1932 and returned to public performance in 1937, at the age of 50. Rubinstein, the blessed virtuoso, as Thomas Mann once called him, worked with the most famous musicians of his time, made recordings and was celebrated all over the world as the “Pianist of the century.” Rubinstein’s interpretations are considered to this day as exemplary, and often unsurpassed. His multi-faceted repertoire, impeccable technique and irresistibly beautiful tone turned every performance into an event. Rubinstein played works from the German classic and romantic eras as well as Russian, Spanish and French piano works. He devoted himself particularly intensively to the works of his fellow countryman Chopin and set standards in Chopin interpretation with his unsentimental playing . Rubinstein dominated the concert halls of the world for three quarters of a century. In 1976 he withdrew from the concert stage in London with a farewell concert, and in December 1982 he died in Geneva at the age of 95.

Chopin, Scherzo in B flat minor, op.31

Artur Rubinstein was one of the greatest pianists of the 20th century. Born in Lodz in 1887, he took piano lessons in his native city and at the Warsaw Conservatory. In Berlin he continued his training and debuted there in 1900 under the musical direction of Joseph Joachim. This was followed by appearances in America and many European countries. At the beginning of the First World War, he vowed never to play again in Germany. As a Pole and Jew, he renewed this vow and maintained it till the end of his life. After three decades of active concert activity, the bon-vivant Rubinstein made an artistic pause in 1932 and returned to public performance in 1937, at the age of 50. Rubinstein, the blessed virtuoso, as Thomas Mann once called him, worked with the most famous musicians of his time, made recordings and was celebrated all over the world as the “Pianist of the century.” Rubinstein’s interpretations are considered to this day as exemplary, and often unsurpassed. His multi-faceted repertoire, impeccable technique and irresistibly beautiful tone turned every performance into an event. Rubinstein played works from the German classic and romantic eras as well as Russian, Spanish and French piano works. He devoted himself particularly intensively to the works of his fellow countryman Chopin and set standards in Chopin interpretation with his unsentimental playing . Rubinstein dominated the concert halls of the world for three quarters of a century. In 1976 he withdrew from the concert stage in London with a farewell concert, and in December 1982 he died in Geneva at the age of 95.

Beethoven, Sonata in A major, op. 101 (Carinthian Summer 1971)

The great Russian pianist Emil Gilels was universally acclaimed for his breathtaking performances of the most demanding concertos and most challenging piano pieces of piano literature. But he was also a master of the miniature form, and his interpretations of the “Songs Without Words” and other little pieces by Mendelssohn, Schumann, Chopin, Grieg and others were nothing short of mesmerizing. A specialist of the German repertoire, Gilels gave an all German-Austrian program at the 1971 Carinthian Summer Festival in Austria, where Beethoven’s A-major Sonata was recorded.