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...Artur Rubinstein, Jascha Heifetz, Emanuel Feuermann; Victor; 8 sides). One of the most ingratiating of all chamber-music compositions, Schubert's Trio, in a previous recording by Cortot, Thibaud and Casals, was once a sensational bestseller, today is out of print. Victor's new version, with the latest, most scrupulous sound engineering, is one of the finest chamber-music recordings ever made. Rubinstein, Heifetz and Feuermann (each a famed concert soloist) play its lilting melodies with virtuoso finish and a subtle teamwork seldom heard when prima donnas of this caliber get together...

Author: /time Magazine | Title: Music: December Records | 12/7/1942 | See Source »

Died. Emanuel Feuermann, 39, world-famed cellist; after an operation; in Manhattan. A child prodigy, he was a professor at the Cologne Conservatory at 16, was ousted by the Nazis as a teacher in Berlin in 1933, went on two world concert tours that won him acclaim as one of the great virtuosos, successor to No. 1 Cellist Pablo Casals...

Author: /time Magazine | Title: Milestones, Jun. 1, 1942 | 6/1/1942 | See Source »

Brahms: Trio No. 1 , in B Major (Artur Rubinstein, piano; Jascha Heifetz, violin; Emanuel Feuermann, cello; Victor; 8 sides). Three great artists, tops in their fields, submerged their prima donna instincts late last summer in Victor's Hollywood studios to breathe rich new life into an old trio...

Author: /time Magazine | Title: Music: Schuman, No Kin | 4/20/1942 | See Source »

Brahms: Double Concerto in A Minor (Jascha Heifetz, violinist, Emanuel Feuermann, cellist, with the Philadelphia Orchestra conducted by Eugene Ormandy; Victor; 8 sides; $4.50). Bearded Brahms at his most robust; performance, perfect; recording, flawless...

Author: /time Magazine | Title: Music: SYMPHONIC, ETC. | 10/13/1941 | See Source »

...feature release this month is the Brahms Double Concerto for Violin and Cello, played by Heifetz and Feuermann with the Philadelphia Orchestra under Ormandy (Album M-815). The Double Concerto was Brahms' last essay in the symphonic form. After finishing it he turned back finally and for good to the smaller forms in which he seemed to be more at home, the chamber sonata, the song, and the piano lyric. And I don't think that I am reading things into the music when I say that the Double Concerto has about it a sort of tiredness with the orchestral...

Author: By Jonas Barish, | Title: THE MUSIC BOX | 10/9/1941 | See Source »

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