1. 		01 Bloch- Hebraic Rhapsody  Schelomo  		20:04 	
2. 		02 Bruch- Kol Nidrei, Op. 47 		10:49 	
3. 		03 Schumann- Cello Conserto In A Minor, Op. 129 		11:09 	
4. 		04 Schumann- Cello Conserto In A Minor, Op. 129 		4:09 	
5. 		05 Schumann- Cello Conserto In A Minor, Op. 129 		9:45 	
6. 		06 Tchaikovsky- Variations On A Rococo Theme 		18:04 	

Christine Walevska – cello
Orchestre Philharmonique De Monte Carlo
Eliahu Inbal – conductor (1-5)
The London Philharmonic Orchestra
Alexander Gibson – conductor (6)

In December 2010, the Japanese Universal Music and Tower Records released the complete recordings that she made with Philips in a 5 CD boxed set of Walevska's legendary recordings.

Christina Walewska was born to a musical family. Her father was a dealer in rare stringed instruments. Her mother was a violinist. When Christina was eight years old she began studying with her father, using a one-eighth-sized instrument.---christinewalevska.com

She started study with the great Gregor Piatigorsky, who taught in Los Angeles at the University of Southern California. In the same year, at the age of 13, she made ber concert debut with the National Symphony Orchestra in Washington, D.C.

She won a scholarship to the Paris Conservatoire when she was 16. There she studied with Maurice Marechal. She won first prize in cello and chamber music, the first American student to win both in the same year.

Her European debut was in Germany in 1963. Despite her youth, she suddenly found she had established a thriving concert career. She toured in Europe, Japan, and throughout the Americas. At the age of 18, when she played her first concert in Argentina, she fell in love with the country. She made three wildly successful appearances at the huge Teatro Colon in Buenos Aires.

From that time onward she has based her life and concert career in Buenos Aires. She subsequently married and settled there.

She became controversial when she became the first American artist invited to play in Cuba under the Castro government. When she returned, she made statements concerning the lack of class distinction and absence of poverty she observed in the country, and praised its efforts in music education.

She has a strong tone, and a wide interest in the repertoire. Her recording of the Khachaturian concerto and the original version of the Prokofiev concerto has attained status as a classic. ---Joseph Stevenson, Rovi

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1. 	01 Dvořak- Cello Concerto In B Minor, Op. 104 		15:26 	
2. 	02 Dvořak- Cello Concerto In B Minor, Op. 104 		11:15 	
3. 	03 Dvořak- Cello Concerto In B Minor, Op. 104 		13:08 	
4. 	04 Haydn- Cello Concerto In C Major, Hob. VII B-1 	10:40 	
5. 	05 Haydn- Cello Concerto In C Major, Hob. VII B-1 	9:27 	
6. 	06 Haydn- Cello Concerto In C Major, Hob. VII B-1 	8:11 	

Christine Walevska - cello
London Philharmonic Orchestra
Alexander Gibson – conductor (1-3) 
English Chamber Orchestra
Edo de Waart – conductor (4-6)

Christine Walewska (sometimes spelled Walevska) was born in 1945 in Los Angeles into a musical family. Her mother played the violin, and her father was an antique violin dealer. Thus, she had the good fortune to begin her cello lessons on a small Bernadel. She took her first cello lessons from her father, at the age of eight or nine. By the age of thirteen she was studying with Gregor Piatigorsky and performing the Saint-Saens Concerto publicly with the National Symphony Orchestra of Washington, DC. When she was sixteen she joined Maurice Marechal's class at the Paris Conservatoire, where she became the first American to win first prize in both cello and chamber music. Before the competion (in which she performed a Haydn concerto) Marechal said to her: "Christine, play as you feel. If passages are written piano but you want to play them forte, without hesitation play them in the way your intuition prompts you. Play surrendering yourself wholly to the music you are performing, and with much liberty." (Quoted in Dr. Lev Ginsburg's History of the Violoncello.)

Two years later she began a successful global career as a concert artist. She has also made several recordings, including the first recording of the Saint-Saens D Minor Concerto. She recorded much of the standard cello concerto literature in Europe on the Philips label in the 1970's. She played the Brahms Double Concerto with the famed violinist, Henryk Szeryng. However, at the age of eighteen she toured South America, and fell in love with Argentina. She performed there at the Teatro Colon in Buenos Aires, and then all over South America. She married and settled in Buenos Aires. She was the first American artist to perform in Cuba under the Castro regime, and she was well-received in Havana and in the Cuban provinces. Castro was unable to attend her initial performances, but visited her later to personally convey his thanks.

Ginsburg heard Walewska perform at the Prague Spring Festival in 1975 in both a solo recital, and a symphony concert. He wrote: "What is attractive about Walevska's playing is its vivid artistic individuality, the musicality of the phrasing, temperamental interpretation and virtuoso technique. Critics compare her to Emanuel Feuermann and call her 'Piatigorsky's successor.'"

Walewska with Dr. Herbert AxelrodWalewska also studied with the great cellist Bolognini (of whom Casals remarked "Bolognini! The greatest cello talent I ever hear in my life!" and of whom Feuermann spoke: "For my money, the world's greatest cellist is not Casals, Piatigorsky or myself, but Bolognini!"). Bolognini composed a suite of six pieces in which the cello is played in the style of the flamenco guitar, the Serenata del Gaucho, and dedicated the composition to Walewska. Piatigorsky and other cellists have attempted to gain permission to perform the Serenata, but Bolognini dedicated them and left them to her on the condition that she never give the music to anyone else. She has honored his wishes, and is still the sole possessor of the manuscript. She regulary performs the piece as a stunning encore.

In the '90s Walewska and her husband moved to New York to a 5th Avenue residence, after living in Argentina for 12 years. She is at the height of her artistic powers, and still performs from time to time, though she has not sought public acclaim. In 1998 she gave a recital for the New York Cello Society, where she was great admired. Her interpretation of the Dvorak B Minor Concerto is considered by some to be the finest of any living artist. Fabio Uccelli wrote:

"Among the many recorded performances of this Concerto available, one struck this author as being close in spirit to the deeply rooted meanings we have attempted to reveal here.

"The performance in question is that by Christine Walewska with the London Philharmonic Orchestra conducted by Alexander Gibson and released in 1971. Was it her feminine sensitivity that captured the most intimate motivations underlying the work, unconsciously? We have rarely heard the equal.

"Here we will attempt a comparison with the performance by Mstislav Rostropovich (perhaps the greatest living cellist) and the Royal Philharmonic Orchestra conducted by Sir Adrian Boult and released in 1979.

"Generally speaking Mme. Walewska performs the Concerto with a great sense of humility, though also with pathos and vigour when necessary. Her instrument (a Bergonzi 1740) has a veiled, dramatic, but also celestial sound. It can express deep sobs and moments of high spiritual intensity, without confusing timbres. The instrument responds perfectly to the various emotional demands from the soloist." ---cello.org

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1. 	01 Prokofiev- Cello Concerto In E Minor, Op. 58 	5:23 	
2. 	02 Prokofiev- Cello Concerto In E Minor, Op. 58 	13:11 	
3. 	03 Prokofiev- Cello Concerto In E Minor, Op. 58 	12:27 	
4. 	04 Khachaturian- Cello Concerto (1946) 	14:51 	
5. 	05 Khachaturian- Cello Concerto (1946) 	7:41 	
6. 	06 Khachaturian- Cello Concerto (1946) 	9:37 	

Christine Walevska - cello
Orchestre Philharmonique de Monte-Carlo
Eliahu Inbal - conductor

A cello that goes straight to the heart. Each note communicates something special. It’s bold, profound. It’s real, sincere and visceral. Christine Walevska is an artist unlike any other. She’s special. Her presence is assured but sweet. Her technique is clean and seemingly simple, but it’s her music that we hear, her thoughts, so clear and convincing. And we feel her warmth.

The music critic Patterson Greene of Los Angeles writes that her expressivity could be compared to that of Fritz Kreisler on the violin. “Christine Walevska has the most sensual sound I’ve ever heard on the cello. She’s the only cellist who can make me hold my breath!” commented Arthur Rubenstein; and also Jasha Heifetz, Arthur Grumiaux and the Cilean pianist Claudio Arrau greatly admire how she plays. The violinist Josef Suk, great grandson of the Czech composer Antonin Dvorak, so highly appreciated her interpretation of Dvorak’s Cello Concerto, considering it the most beautiful he had ever heard, that he invited her often to the Prague Spring Festival for the “Jewels of the Prague Castle” concerts. Her recordings remain among the finest ever. Finally, in December 2010 Japanese Universal Music and Tower Records published a 5 CD box entitled Christine Walevska Legendary Recordings, containing 17 concertos for cello and orchestra previously available only on vinyl by Philips/Decca. Included are the Dvorak Concerto and Rococo Variations by Tschaikovsky with the London Philharmonic Orchestra, the concertos of Prokofiev and Kachaturian and the complete works for cello and orchestra of Saint-Saëns with the Orchestra of the Opera of Monte Carlo, four concertos of Vivaldi with the Netherlands Chamber Orchestra, the two concertos of Haydn with the English Chamber Orchestra, and Schelomo, Kol Nidrei and the Schumann concerto with the Orchestra of the Opera of Monte Carlo. And then in May 2010 the CD entitled The Artistry of Christine Walevska (Mittenwald) was republished, with pieces for cello and piano. These are both MUSTS for all true cello lovers!

Christine Walevska will return to Europe for a concert on July 27, 2011 at the Teatro Foce, and the next day, again at Teatro Foce, will hear young talented cellists and give them her precious suggestions. (Masterclass in collaboration with the Nicolo Paganini Legacy). ---cellolove.ch

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1. 	01 Saint-Saens- Cello Concerto No. 1 In A Minor, Op. 33 	18:15 	
2. 	02 Saint-Saens- Cello Concerto No. 2 In D Minor, Op. 119 	10:28 	
3. 	03 Saint-Saens- Cello Concerto No. 2 In D Minor, Op. 119 	5:54 	
4. 	04 Saint-Saens- Suite For Cello And Orchestra, Op. 16 		1:57 	
5. 	05 Saint-Saens- Suite For Cello And Orchestra, Op. 16 		3:10 	
6. 	06 Saint-Saens- Suite For Cello And Orchestra, Op. 16 		3:22 	
7. 	07 Saint-Saens- Suite For Cello And Orchestra, Op. 16 		5:45 	
8. 	08 Saint-Saens- Suite For Cello And Orchestra, Op. 16 		3:41 	
9. 	09 Saint-Saens- Allegro Appassionato, Op. 43 		4:07 	

Christine Walevska - cello 
Orchestre Philharmonique de Monte-Carlo
Eliahu Inbal - conductor

Christine Walevska has been center stage in the cello world ever since her first international concert appearances at the age of eighteen inspired the accolades normally reserved for star performers of mature years. The Los Angeles music critic Patterson Greene wrote, "...She parallels on the cello the single persuasiveness of Fritz Kreisler on the violin...." She won a scholarship to study with the great Maurice Maréchal at the Paris Conservatoire, where two years later she became the first American ever to win First Prize in both cello and chamber music.

Her rise was meteoric, beginning with her career in Germany where in her second season she played 45 concerts in that country alone. Following a series of international triumphs, including heralded appearances at Buenos Aires' famed Teatro Colon, where she performed a recital, the Brahms double concerto with Henryk Szeryng, and the Dvorak cello concerto in the same week to rave notices, there soon were a round of appearances that sounded like a roll-call of the great European cities.

In over thirty years of concertizing across the globe she has played with orchestras throughout Germany, the United States, France, in every corner of Spain, Poland, Mexico, Central and South America, in Holland with the Rotterdam Philharmonic, the Hague, in the Concertgebouw, the Stockholm Philharmonic, the Israel Philharmonic, Vienna, Prague, Cuba, the Los Angeles Philharmonic, Dresdener Philharmonic, recitals in Japan, and lately, her first tour playing concerts in China and Hong Kong.

Her recording career has been similarly impressive. At 21-years old, she made her first record on the Philips label of Schelomo, Kol Nidrei, and the Schumann concerto with the l'Orchestre de l'Opera de Monte Carlo, which was so astonishing the critic of the San Francisco Chronicle who called it: "the greatest recording in the cello catalog...." As an exclusive Philips artist, she has also recorded concertos by Dvorak and Tchaikovsky Rococo Variations with the London Philharmonic, Prokofiev and Khachaturian Concertos, and the complete works for cello and orchestra by Saint-Saëns with l'Orchestra de l'Opera de Monte Carlo, four Vivaldi concerti with the Netherlands Chamber Orchestra, and the two Haydn Cello Concertos with the English Chamber Orchestra.

Her playing was greatly admired by Jascha Heifetz and Arthur Grumiaux. Artur Rubinstein said of her, "...Christine Walevska has the most sensuous tone I have ever heard on the cello.... She is the only cellist who takes my breath away...." Claudio Arrau, yet another from the ranks of great pianists, said, "...Christine Walevska is the world's greatest cellist...." Many composers have dedicated works to her, including Aram Khachaturian, Ferde Grofe (titled: "Christine" ), Jose Bragato, and Ennio Bolognini, who wanted her to be the only cellist to continue to play his compositions.

Violinist Josef Suk, Dvorak's great grandson, wrote to her and stated that her interpretation of Dvorak's cello concerto was the greatest he had ever heard. He invited her to play it at the Prague Spring Festival and she has played since with the Suk Chamber Orchestra in the concerts called "Jewels of the Prague Castle " During the anniversary year of Dvorak, 2004, she was invited to play the Dvorak Cello Concerto in many cities around the world.

The recording she made with the London Philharmonic of the Dvorak concerto was celebrated in a recent book by Professor Fabio Uccelli, "El Commiato de Anton Dvorak" (Dvorak's farewell), published in Florence, entirely devoted to analyzing this work in depth. The book compares phrase by phrase her interpretation with that of Rostropovich's. Because of this book, during the Dvorak anniversary year, she had a wave of invitations to play the concerto everywhere from Beijing to Brazil. She played the concerto three times with the Maggio Musicale Fiorentino. ---Tim Janof, cello.org

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1. 	01 Vivaldi- Cello Concerto In G Major, RV414 		3:49 	
2. 	02 Vivaldi- Cello Concerto In G Major, RV414 		4:28 	
3. 	03 Vivaldi- Cello Concerto In G Major, RV414 		3:29 	
4. 	04 Vivaldi- Cello Concerto In A Minor, RV418 		4:28 	
5. 	05 Vivaldi- Cello Concerto In A Minor, RV418 		2:37 	
6. 	06 Vivaldi- Cello Concerto In A Minor, RV418 		3:20 	
7. 	07 Vivaldi- Cello Concerto In G Minor, RV417 		2:55 	
8. 	08 Vivaldi- Cello Concerto In G Minor, RV417 		3:42 	
9. 	09 Vivaldi- Cello Concerto In G Minor, RV417 		3:22 	
10. 	10 Vivaldi- Cello Concerto In A Minor, RV420 		4:32 	
11. 	11 Vivaldi- Cello Concerto In A Minor, RV420 		3:39 	
12. 	12 Vivaldi- Cello Concerto In A Minor, RV420 		4:00 	
13. 	13 Haydn- Cello Concerto In D Major, Hob. VII B-2 		13:30 	
14. 	14 Haydn- Cello Concerto In D Major, Hob. VII B-2 		6:10 	
15. 	15 Haydn- Cello Concerto In D Major, Hob. VII B-2 		5:48 	

Christine Walevska - cello 
Netherlands Chamber Orchestra
Kurt Redel  - conductor 
English Chamber Orchestra
Edo de Waart - conductor

Walevska is a Venus who plays the cello divinely. Music takes possession of her entirely. Her sound is simply precious. It has refinement, subtleties, filigrees, which boggle the mind. ---Jornal do Brasil, Rio de Janeiro

The lovely looking superb cellist Christine Walevska proved herself to be in the highest level of knowledge and finesse of the style (Boccherini). Her success was acknowledged with stormy applause. ---Westdeutsche Allgemeine Zeitung

The sonority of her notes is beautiful and polished; her musicality is innate; her technique is the product of a natural ability cultivated to the highest degree. She knows how to govern a generous temperament with intensity and elegance simultaneously harmonizing the most noble cavata with dramatic eloquence whenever necessary. --–Ricardo Turro, La Razon, Buenos Aires

In the Concertgebouw, Christine Walevska proved to be nothing less than a revelation. A magnificent musician, the flowing melodious charm of her inner-propelled playing was laced with an intensity which not only spurred the orchestra and conductor to excellent performance, but also held the public under her spell. --–Het Parool, Amsterdam

Quite directly this is one of the top cello recordings in the catalogue. Miss Walevska has an extraordinary sensibility to expressive content, yet she never forces the point. There are elegance and dignity at every turn. Her passion is one of inner longings, not overt displays of emotive exaggerations. To this add a singing tone, variety of color and total technical control. --–Heuwell Tircuit, San Francisco Chronicle

It is rare for a critic to feel the icy fingers of an instrumentalist’s playing on his spine, but I did when listening to this recording of the Schumann and Shelomo by Christine Walevska. The effect of being moved deeply is in a way an icy experience…There is that masterful technique of hers that leaves nothing to be desired; there is that marvelous bow arm; there is that pure, warm, melting tone that can bite and cut when needed. There is a creamy caressing in here tone and yet there is an unforced inner intensity that few instrumentalists can muster. The romantic Schumann Concerto engages her extraordinary elegance of projection, besides her virtuosity. And her playing of the elegiac parts is so full of heart and dignity that you get the shivers listening to them. --–Boris Nelson, president of American Critics Association

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