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Classical - Released September 30, 2016 | Warner Classics

Booklet Distinctions 4F de Télérama
Here, on the very same album, are recordings made far apart in time by Martha Argerich and Itzhak Perlman: Schumann’s Sonata Op. 105. Live at a concert in Saratoga on 30th July 1998 represents the first meeting between the two giants of the music scene, whereas the rest of the programme was recorded as recently as March 2016. There is romanticism above all with Schumann and Brahms - of course, the only Scherzo movement is in the “F-A-E” Sonata, a work composed jointly between Schumann, Dietrich and Brahms, but movements are commonly played individually. Argerich and Perlman end with Bach’s Baroque romanticism with one of the sonatas for violin and keyboard, where Bach himself wrote out the keyboard part instead of leaving it as a continuo. Written thusly, the score is a duet among equals, and even more so when the equals in question are these two in particular. © SM/Qobuz
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Classical - Released January 1, 1977 | Decca Music Group Ltd.

Distinctions Diapason d'or
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Classical - Released September 25, 2015 | Warner Classics

Hi-Res Booklet Distinctions The Qobuz Ideal Discography
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Classical - Released January 1, 1996 | Deutsche Grammophon (DG)

Distinctions Stereophile: Record To Die For
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Classical - Released August 25, 2015 | Deutsche Grammophon

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Classical - Released September 25, 2015 | Warner Classics

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Classical - Released September 25, 2015 | Warner Classics

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Classical - Released September 25, 2015 | Warner Classics

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Classical - Released May 13, 1997 | Sony Classical

Cinema Serenade came to be as a result of the 1992 collaboration of the world's premier film composer, John Williams, with one of the world's finest violinists, Itzhak Perlman, on the score for Steven Spielberg's Holocaust epic Schindler's List. The duo reunited to create a collection of excerpts from a variety of different film scores presented in new arrangements that are centered around Perlman's violin. Williams arranged most of the numbers and conducted the Pittsburgh Symphony Orchestra. The selections are a strange hodgepodge culled haphazardly from some 50 years of film history. As you might expect, the theme from Schindler's List is included. And it's not surprising to find Oscar honored scores like Out of Africa (John Barry) or Il Postino (Luis Bacalov), The Age of Innocence (Elmer Bernstein) and The Color Purple (Quincy Jones, Jeremy Lubbock, Rodney Templeton, Jeff Rosenbaum). But some of the other selections are less predictable. There are songs from musical comedies ("Papa Can You Hear From Me?" from Yentl, "I Will Wait for You" from The Umbrellas of Cherbourg). There is a Carlos Gardel tango that was used briefly in Scent of a Woman, but was not composed for a film. Most rewardingly, there are some memorable musical selections from the oft-neglected realm of foreign film. In addition to Bacalov's theme from Il Postino, a beautifully sentimental melody with tango-like flourishes, there are excerpts from Luis Bonfa's Black Orpheus, Andrea Morricone's Cinema Paradiso, and Andre Previn's Four Horsemen of the Apocalypse. Perlman's gorgeous solos add breadth and scope to nearly all of the compositions, demonstrating that they work as well in the concert hall as they did in the movie theater. The only real lightweight pieces included were both composed by Williams himself. Far and Away and Sabrina are hardly the brightest points in Williams' career; the scores were nearly as forgettable as the films themselves. (The latter did receive an Oscar nomination for best musical or comedy score, but it never would have been selected if anyone else had written it.) But fans of film music will generally be pleased by this collection, and in some cases may prefer the Perlman versions to the originals. © Evan Cater /TiVo
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Classical - Released September 25, 2015 | Warner Classics

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Classical - Released August 28, 2015 | Warner Classics

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Classical - Released August 28, 2015 | Warner Classics

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Classical - Released September 25, 2015 | Warner Classics

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Classical - Released January 1, 2000 | Deutsche Grammophon (DG)

Originally released in the 1980s as separate albums, Itzhak Perlman's recordings of Mozart's violin sonatas were reissued in this box set in 1991 as a special collector's edition. In these sonatas for keyboard and violin, the piano dominates as the violin often tags along in unison with the piano's melody, rarely departing from it except in an ornamental capacity. Even so, Perlman brings his customary good humor and energy to these pieces, and through his vibrant and spirited playing makes the violin's obbligato more or less equal to the pianist's elaborate part. Daniel Barenboim displays a great deal of verve and spontaneity in his ever-shifting roles as soloist and accompanist. His playing is clean and always precise, yet genuine warmth comes through, no doubt because playing with Perlman must have been an unalloyed joy. The friendship and communication between these two musicians clearly contributed to the success of these exemplary performances, which remain an essential offering in the catalog. Deutsche Grammophon's recordings are excellent throughout and offer a full, natural sound even on the early DDD recordings from 1983. © TiVo
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Classical - Released September 12, 2011 | Warner Classics

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Classical - Released September 25, 2015 | Warner Classics

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Classical - Released September 25, 2015 | Warner Classics

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Classical - Released September 25, 2015 | Warner Classics

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Classical - Released August 28, 2015 | Warner Classics

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Classical - Released September 25, 2015 | Warner Classics

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