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11 Segments




'The Art of Joseph Szigeti'

Classical music critic Lloyd Schwartz reviews The Art of Joseph Szigeti (pronounced sa-GEH-tee) on DVD. Hungarian-American violinist Szigeti (1892-1973) made more than 100 recordings before retiring in 1960.


A New Violin Phenom.

Fresh Air's classical music critic, Lloyd Schwartz reviews a new recording of Prokofiev violin music with violinist Gil Shaham. (Deutsche Grammophon)


A Violinist's Violinist.

Classical music critic Lloyd Schwartz reviews a new recording of live performances from the 1959 Salzburg Festival, including the late Erica Morini playing Mozart's Violin concerto No. 5, conducted by George Szell with the French National Radio and Television Orchestra. (on Sony)


Szigeti Plays Bach.

Classical music critic Lloyd Schwartz reviews two recent reissues of violinist Joseph Szigeti playing Bach. Lloyd says that Szigeti was one of the 20th centuries Bach pioneers.


The Greatest Violin Concertos Ever Recorded, Period

Classical music critic Lloyd Schwartz has nothing but praise for two new CDs on the Pearl label, which feature recordings by the great violinist, Joseph Szigeti. Later in his career, Szigeti's developed a reputation for flagging technique and questionable intonation, but Schwartz says these performances should restore his reputation as a master musician.


Fritz Kreisler's Ravishing Playing Captured on New Release of His Early Recordings.

Classical music critic Lloyd Schwartz reviews a new release of performances of four violin concertos by Fritz Kreisler. Kreisler, an Austrian who died in 1962, was probably the most renown violinist in the world in the period between the two World Wars. The double compact-disc set, which also includes three shorter pieces, is released on the Music and Arts label.


Getting Acquainted with Serialism

Classical music critic Lloyd Schwartz reviews a new recording of Arnold Schoenberg's piano and violin concertos, both conducted by Pierre Boulez. Schwartz says listening to this music at home may be the best way for audiences to get accustomed to atonality.


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