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last updated 28 July 2010
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Extra Tracks
Below are tracks from our library that never made it onto one of our compact discs. They can be downloaded here as high quality 320kbs AAC encoded (MP3) files.
Purchasers of tracks have unlimted personal use but must not pass or sell on to third parties nor broadcast without prior permission from PPL
Julia Myra Hess(1890-1965)
Myra Hess made her concert debut in 1907 with Thomas Beecham playing Beethoven's G minor concerto. By the time she gave her American debut concert in New York in 1922 she had already established her reputation as an exceptional pianist across Europe. She gave up a tour of America planned for 1939-40 to devote herself to music in her native city of London. She organised 1,698 concerts between 1939 and 1946 given in London's National Picture gallery.
Her assistant, composer Howard Ferguson, wrote that she "seemed to have an innate understanding of Schumann's music. She caught perfectly its warmth and romance without ever letting sentiment topple over into sentimentality; and she always had an unerring sense of its underlying strength and line"
Her stern appearance hid a personality with a love of life. Sir Adrian Boult, another person with a deceptive appearance, once recounted a party in Myra Hess' Hampstead flat, overlooking Lord's Cricket Ground, in which they both ended up performing piano duets lying on the lid of her grand piano.
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"This disc may be recommended as the safest kind of model for anyone who is learning the Eludes Symphoniques, for it is entirely free from idiosyncrasies."Gramophone December 1954
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"If someone were to ask me : 'What is the best Schumann concerto to buy ? ' I think I should name this one first." Gramophone March 1954
"Dame Myra, gives a very sound, admirable performance, with plenty of weight and solidity in the last movement." Gramophone Nov 1954
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1st Movement
2nd and 3rd movements
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"The recording itself is admirable and the playing of first-rate quality." Gramophone October 1937
There is a cut in the reprise of the first part of the Scherzo and the omission of the conventional repeats in the first and last movements. This was standard practice at the time the recording was made.
1st movement
2nd movement
3rd movement
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