It is 13 CDs dedicated to some of the most beautiful pages of the concertos for violin and orchestra, ranging from the age 'Baroque to the Romantic period, the first half of the twentieth century, as if to emphasize the unsurpassed expressive ductility of this Polish Master, naturalized Mexican . His performances range from Bach to Bartok, Beethoven and Berg, Brahms and Lalo, from Mendelssohn to Mozart, Paganini to Ravel, Saint-Saens by Khachaturian, from Tchaikovsky to Vivaldi, and so on.
A cosmopolitan fluent in 7 languages, a humanitarian, and a violinist of extraordinary gifts, Szeryng became renowned as a musician's musician by combining a virtuoso technique with a probing discernment of the highest order.
Szeryng was much admired for his combination of technical virtuosity and tremendous musical integrity and knowledge. Szeryng was a leading representative of the golden age of violin playing, along with such artists as Jascha Heifetz and Fritz Kreisler; his playing embodied a lushness of tone with sophisticated phrasing and bold intensity rarely heard today.
For many listeners, Henryk Szeryng would be the No. 1 choice for a recording of the Brahms Violin Concerto. His interpretation is technically flawless, emotionally involved, and deeply probing; it makes Jascha Heifetz, for example, sound slightly offhand. In this French-made video from 1962, the Paris Conservatoire is not the best possible orchestra, but it is more than adequate and Paul Paray is an excellent conductor.
Deutsche Grammophon proudly presents 42 of its greatest ever recordings for violin, from its matchless catalogue of the finest violinists of the last 75 years. Fritz Kreisler began it all for the company by recording a series of his own compositions and arrangements. 31 violinists grace 111 The Violin, with recordings from the early 1900s to 2012.
Bernard Haitink conducts the Royal Concertgebouw Orchestra in Brahms’s great orchestral works, including the complete symphonies. The concertos feature three great soloists: pianist Claudio Arrau, violinist Henryk Szeryng, and cellist Janos Starker. "No one, I trust, will deny that Arrau has lived with, wrestled with, and in a truly terribly way ’known’ the D minor Concerto for more years than most of us can consciously recall. Where contemporary pianists have often tended to refine or domesticate the concerto, withdrawing it from the world of heroic endeavour, Arrau has always done the reverse. No pianist, apart possibly from Serkin in his several recordings, has communicated so formidably the work’s scope: its seriousness and its anxious, tragic mood. Often Arrau makes free with the text. But the vision is huge, the technique astonishing. Haitink is a worthy accompanist."