CD1
01. J.S. Bach Sonata a cembalo certato e violino solo n.3 in mi-maggiore BWV 1016 <4:34>
02. J.S. Bach Sonata a cembalo certato e violino solo n.3 in mi-maggiore BWV 1016 <3:17>
03. J.S. Bach Sonata a cembalo certato e violino solo n.3 in mi-maggiore BWV 1016 <4:39>
04. J.S. Bach Sonata a cembalo certato e violino solo n.3 in mi-maggiore BWV 1016 <4:40>
05. J.S. Bach Solo a violino senza basso accompagnato 'Partita n.2' in re-minore <3:03>
06. J.S. Bach Solo a violino senza basso accompagnato 'Partita n.2' in re-minore <2:11>
07. J.S. Bach Solo a violino senza basso accompagnato 'Partita n.2' in re-minore  <3:50>
08. J.S. Bach Solo a violino senza basso accompagnato 'Partita n.2' in re-minore <3:23>
09. J.S. Bach Solo a violino senza basso accompagnato 'Partita n.2' in re-minore  <14:10>

CD2
01. J.S. Bach Solo a violino senza basso accompagnato 'Sonata n.1' in aol-minore  <4:16>
02. J.S. Bach Solo a violino senza basso accompagnato 'Sonata n.1' in aol-minore  <5:38>
03. J.S. Bach Solo a violino senza basso accompagnato 'Sonata n.1' in aol-minore  <3:28>
04. J.S. Bach Solo a violino senza basso accompagnato 'Sonata n.1' in aol-minore  <3:13>
05. J.S. Bach Sonata a cembalo certato e violino solo n.6 in sol-maggiore BWV 101 <3:55>
06. J.S. Bach Sonata a cembalo certato e violino solo n.6 in sol-maggiore BWV 101 <1:36>
07. J.S. Bach Sonata a cembalo certato e violino solo n.6 in sol-maggiore BWV 101 <3:42>
08. J.S. Bach Sonata a cembalo certato e violino solo n.6 in sol-maggiore BWV 101 <2:47>
09. J.S. Bach Sonata a cembalo certato e violino solo n.6 in sol-maggiore BWV 101 <4:03>
10. J.S. Bach Sonata a cembalo certato e violino solo n.1 in si-minore BWV 1014 <4:03>
11. Szeryng talks on Bach(1) <6:32>
12. Szeryng talks on Bach(2) <7:49>
13. Szeryng talks on Bach(3) <0:56>

Henryk Szeryng – violin
Michael Isador – piano

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CD1
1. Sonata I in G Minor: (1) Adagio (04:24)
2. Sonata I in G Minor: (2) Fuga. Allegro (05:47)
3. Sonata I in G Minor: (3) Siciliano (03:30)
4. Sonata I in G Minor: (4) Presto (02:49)
5. Partita I in B Minor: (1) Allemande (04:58)
6. Partita I in B Minor: (2) Double (02:13)
7. Partita I in B Minor: (3) Courante (02:20)
8. Partita I in B Minor: (4) Double. Presto (02:58)
9. Partita I in B Minor: (5) Sarabande (02:35)
10. Partita I in B Minor: (6) Double (01:31)
11. Partita I in B Minor: (7) Tempo di Bouree (02:28)
12. Partita I in B Minor: (8) Double (02:15)
13. Sonata II in A Minor: (1) Grave (04:23)
14. Sonata II in A Minor: (2) Fuga (08:12)
15. Sonata II in A Minor: (3) Andante (05:15)
16. Sonata II in A Minor: (4) Allegro (04:26)

CD2
1. Partita no. 2 in D minor (BWV 1004) - Allemanda (03:17)
2. Partita no. 2 (BWV 1004) - Corrente (02:22)
3. Partita no. 2 (BWV 1004) - Sarabanda (04:20)
4. Partita no. 2 (BWV 1004) - Gigue (03:31)
5. Partita no. 2 (BWV 1004) - Chaconne (14:33)
6. Sonata no. 3 in C major (BWV 1005) - Adagio (04:45)
7. Sonata no. 3 (BWV 1005) - Fugue: Allabreve (11:29)
8. Sonata no. 3 (BWV 1005) - Largo (04:01)
9. Sonata no. 3 (BWV 1005) - Allegro assai (04:10)
10. Partita no. 3 in E major (BWV 1006) - Prelude (04:05)
11. Partita no. 3 (BWV 1006) - Loure (03:28)
12. Partita no. 3 (BWV 1006) - Gavotte & Rondo (03:11)
13. Partita no. 3 (BWV 1006) - Menuet I & II (02:34)
14. Partita no. 3 (BWV 1006) - Bouree (01:13)
15. Partita no. 3 (BWV 1006) - Gigue (01:30)

Henryk Szeryng - violin

Henryk Szeryng's recording of the Bach Solo Sonatas and Partitas for Violin is perhaps not the greatest of the recordings of these pieces, but they are certainly one of the best. It his approach to them, one of great respect and love for Bach's music, that make them so beautiful. Not only is Szeryng a wonderful violinist in his own right, but he is an artist in a class of artists that no longer exists today; at least the majority of what people call artists today are not artists but rather performers, and sometimes sadly nothing more than entertainers.

One of the overlying principles in his disciplined approach -- and it is the great discipline of achieving technical mastery that then makes it possible to transcend to the level of artistry -- is his letting of the music speak for itself. Someone once brilliantly pointed out that in approaching and interpreting a piece of music -- and for that matter the text to a play -- one must realize that the piece in its objectivity will always be greater than what the perfomer will be able to do with it. It is this element in Szeryng's playing of these pieces that make his Bach so wonderful. It is the fact that he regards this truth of a piece's objective greatness in his interpretation that make it possible for someone to say that one ore another performance of his was better or worse than another. In other words, quite generally speaking, when we say that a perfomance was good we should not be so concerned with the technical merits of the performer -- although they are highly and fundamentally important, for true artistry only flourishes when the technique is so masterful that it allows the performer to transcend the technical into the artistic -- but rather with the way in which he deals with the piece's objective beauty; the way in which he puts his own mark on the music, whether it be overbearing or appropriate.

The greatness of Szeryng's Bach lies in that he lets the music speak for itself while still leaving his undeniable mark on the it. That is true artistry! And it is, as I wrote above, only with a great love and respect for the music that this is possible. Mozart said that artistic genius was not intellectual ability or great creativity, not even a combination of both, but rather "love, love, love is the soul of genius." --- John Henry Crosby, jsbach.org

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1 	–Manuel De Falla 	La Vida Breve / Act 2: Danza Española	3:35
2 	–Frederic Mompou 	Canción Y Danza No. 1 	3:51
3 	–Ernesto Halffter 	Danza De La Gitana	3:56
4 	–Pablo de Sarasate 	Danza Española No. 3: Romanza Andaluza, Op. 22, No. 1 	5:21
5 	–Pablo de Sarasate 	Danza Española No. 6: Zapateado, Op. 23, No. 2 	3:35
6 	–Camargo Guarnieri 	Cantiga Lá De Longe 	4:19
7 	–Francisco Mignone 	Noturno Sertanejo 	3:28
8 	–Alda Caminha 	Preludio, Op. 16 	2:10
9 	–Flausino Rodrigues do Vale 	Ao Pé Da Fogueria (Prelude XV)	4:50
10 	–Carlos Guastavino 	Llanura 	1:27
11 	–José Sabre Marroquín 	De Mi Partria 	2:19
12 	–Jose Rolon 	Danza Mexicana	2:10
13 	–Julian Carrillo 	Preludio (Violin Solo) 	3:23
	–Manuel María Ponce Cuéllar 	Sonata Breve 	(7:57)
14 	– 	Allegretto Mosso 	3:35
15 	– 	Adagioa 	2:08
16 	– 	Allegro Alla Spagnuola 	2:14

Henryk Szeryng - violin
Claude Maillols - piano

Recorded: 1969-05-25, unknown venue.
Originally released on LP in 1970 by Philips

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Henryk Wieniawski - Violin Concerto No. 2 In D Minor, Op. 22	(24:07)
1 	1. Allegro Moderato 	12:31
2 	2. Romance 	4:51
3 	3. Allegro Con Fuoco 	6:46

Karol Szymanowski - Violin Concerto No. 2, Op. 61	(20:43)
4 	Moderato, Molto Tranquillo 	11:42
5 	Allegramente, Molto Energetico 	3:53
6 	Andantino, Molto Tranquillo 	5:08

Henryk Szeryng - violin
Bamberger Symphoniker
Jan Krenz - conductor

Recorded May 28, 1972

Perhaps the most famous and outstanding work among Henryk Wieniawski's ( 1835-1880) compositions is his second Violin Concerto Op.22 composed in 1870. It became very popular thanks to two great recordings by violinist Jasha Heifetz. The first recorded in London in1935 with The London Philharmonic Orchestra conducted by John Barbirolii and the second recording made in1954 with the RCA Victor Symphony Orchestra conducted by Izler Solomon. In more recent times first of the three recordings were made by Wanda Wilkomirska ,whom I had pleasure to hear in Boston Symphony Hall in the performance of Karol Szymanowski First Violin Concerto with the Warsaw Philharmonic. Orchestra conducted by Witold Rowicki. The other two recordings were made by Itzak Pearlman and Pinkhas Zukerman.

Karol Szymanowski 's Second Violin Concerto ( very little known outside of Poland) was his last major work. The Concerto is in one movement, and soloist dominates the scene throughout , having entered in the first few bars. Passionate eloquence , particularly when when the soloist Is rhapsodising in deeply lyrical strain. Is the essence of his most personal , and yet most National of Violin Concertos by a Polish Composer.

The present performances and recording are outstanding . Henryk Szeryng 's impeccable musicianship and feeling of Polish Music , his great technique and total involvement are manifested in abundance throughout. Supported by the outstanding Polish conductor Jan Krenz and the equally outstanding Bamberg Symphony Orchestra one hears very enjoyable and memorable performance. Therefore it is even more surprising that this recording in such great sound has never been issued on CD. I hope that this review will be helpful for many Amazon .com customers to purchase and enjoy great and partially little known music.

Highly recommended. ---Peter Dietrich, amazon.com

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01 - Allegro non troppo
02 - Scherzando - Allegro molto		play
03 - Intermezzo - Allegretto non troppo
04 - Andante
05 – Rondo. Allegro

Henryk Szeryng – violin
Chicago Symphony Orchestra
Walter Hendl – conductor

I have heard a good many records of the Symphonie Espagnole in my day (for this journal seems to regard me as its resident reviewer of the work) and I hope nobody expects me to listen to all the other ten versions all through again before saying that I am sure this new one is the winner. Szeryng is at least the equal of the best of the other virtuosi who have recorded it, both in style and in effortless technique, and gives an enchanting, as well as breathtaking, performance. But what makes me so sure of this record's superiority is its superb sound. I played one side mono and the other stereo; both are excellent, with all the orchestral detail and real vividness of sound—but it is the stereo that is quite exceptionally brilliant.

But do you want to spend over k2 on the work, for it is spread over all of both sides ? I have listed the best alternatives above; all give you something else for your money, all have at least good modern sound. Menuhin, in his best form, also gives us some Saint-Saens—the Introduction and Rondo Capriccioso, and the Havanaise. Kogan plays superbly, though not with much affection for the Spanish idiom, and adds Tchaikovsky's Serenade Milancolique. Ricci is dazzling but all on top of a microphone—he also plays Ravel's Tzigane. Francescatti plays only four movements of the Lab o (the third is often omitted) and gets this on to one side, leaving him the other side for— my goodness !—the Walton concerto; so you can listen to Walton first and then relax with Lab. Rosand does even better as to quantity, playing all five movements on one side and the Third Concerto of Saint-Saens on the other; he is no mean fiddler, either, though he uses the zigeuner style too much for me. I must fairly end by repeating that this new recording is dazzling—but it is expensive. T.H., gramophone.net

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