{"title":"The Lost Recordings","description":null,"products":[{"product_id":"debut-in-the-netherlands-1958","title":"Debut in the Netherlands, 1958","description":"\u003cp\u003eDave Brubeck Quartet - Europe, here we come!\u003c\/p\u003e\u003cp\u003eWith the support of the American State Department, the Dave Brubeck Quartet, including new members Joe Morello and Eugene Wright, began a major tour of Europe early in 1958. Their first concert in the Netherlands was held on 26 February in the legendary Concertgebouw Hall in Amsterdam, usually reserved for performances of classical music. Since 1951 and the collaboration between Dave Brubeck and Paul Desmond, the band had gained a stunning reputation. In 1954, Dave Brubeck was featured on the cover of Time magazine. Rumor has it that Duke Ellington knocked on Brubeck’s hotel door to congratulate him. Brubeck is said to have responded, “It should have been you.” He dedicated one of his most famous pieces, “The Duke”, included on this album, to his fellow pianist.\u003c\/p\u003e\u003cp\u003eThat winter evening of 1958, the four American musicians, all in their late thirties, took the stage of the Concertgebouw.\u003c\/p\u003e\u003cp\u003ePicture the packed auditorium murmuring expectantly, and four musicians overcome with stage fright yet eager to perform. After some timid applause, Desmond kicked off with the melancholy, sophisticated theme of “Two Part Contention”. The piano came in, sounding out a counter-melody that revealed Brubeck’s classical training and knowledge of counterpoint, acquired when he studied under Milhaud and Schoenberg. He had an inventiveness that was not only melodic but also rhythmic, and he knew how to win over an audience. This was followed by a Disney piece, “Someday, My Prince Will Come” introduced by the piano, three years before the great Miles Davis brought out his eponymous album. They continued with a 1930s standard, “These Foolish Things”, by Jack Strachey, a song that had helped make Ella Fitzgerald famous. Paul led the show in his flowing, ethereal style, with sporadic brassy, dissonant contrasts, proving – if proof were needed – his consummate skills in harmonic phrasing. The saxophone then announced the theme of “One Moment Worth Years”. Eugene, who liked to be called “the Senator”, seemed to lead the private dialogue with an unseen hand, dexterous and sensitive. In the same vein, they led on with “For All We Know” – to thunderous applause. It was now Joe’s turn to take the limelight. When he played “Watusi Drums”, the audience discovered an exceptional drummer who had started out as a virtuoso violinist: fifteen years previously, he had been playing Mendelssohn’s Concerto with the Boston Symphony Orchestra. After hearing Jascha Heifetz, he decided he could never reach the maestro’s heights and switched to drums. The band went on to play “The Wright Groove”, a short piece written by Eugene. The concert concluded with “The Duke”, a tribute to Ellington, and then a superb rendition of “Take the A-Train”, a 1940s classic and the hallmark piece of Ellington’s orchestra, played here in a whirlwind of energy and innovative rhythms. With their rhythmic patterns, interspersed with one or two bursts of resounding laughter, the musicians displayed the creative spirit that was to result in the legendary album “Time Out” a year later.\u003c\/p\u003e\u003cp\u003eSadly, the original tape comes to a halt before the end of this piece could be recorded. Nevertheless, we have chosen to retain the surviving part to bear witness to the groundbreaking creativity then bubbling under the surface in this exceptional quartet’s timeless art.\u003c\/p\u003e\u003cp\u003eThe concert inaugurated a triumphant career in Europe. It announced, loud and clear, the communicative enthusiasm that was the lasting hallmark of these four exceptional musicians.\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"LP","offer_id":50454017671499,"sku":"2002141","price":69.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/unnamed_3_bdda56d5_thumbnail_4096.jpg?v=1727179842"},{"product_id":"live-at-the-berlin-jazz-festival-1969-1973","title":"Live At The Berlin Jazz Festival 1969 - 1973","description":"\u003cp\u003eNever before released Duke Ellington concerts recorded in 1969 and 1973 at the Berlin Jazz Festival. All tracks have been remastered from the original Berlin radio tapes using Phoenix Mastering TM - a unique restoration process developed over two years by The Lost Recordings and Devialet teams. The first half of the album was recorded with Duke and his band: Duke Ellington (piano), Joe Benjamin (bass), Quinten 'Rocky' White jr (drums), Harold 'Money' Johnson (trumpet), Paul Gonsalves (tenor saxophone) and Harry Carney (clarinet). The second half of the album was recorded with the famous Duke Ellington Orchestra.\u003c\/p\u003e\u003cp\u003eTracks: Piano Improvisation No. 1 \/ Take the 'A' Train \/ Pitter Panther Patter \/ Sophisticated Lady \/ Introduction by Baby Laurence \/ Tap Dance \/ La plus Belle Africaine \/ 'El Gato' \/ I Can't Get Started \/ Caravan \/ Mood Indigo \/ Satin Doll \/ Meditation\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"CD","offer_id":50476561137995,"sku":"1157500","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/50cf31ab-4e56-481a-8405-fb9971a5e673_thumbnail_4096.jpg?v=1727460945"},{"product_id":"the-complete-live-in-paris-1960-vol-1","title":"The Complete Live In Paris 1960, Vol. 1","description":"\u003cp\u003e The Lost Recordings is proud to present the first-ever complete release of this extraordinary piece of music history featuring Miles Davis (trumpet), Sonny Stitt (saxophone), Wynton Kelly (piano), Paul Chambers (bass) and Jimmy Cobb (drums).  Almost two years a previously unreleased analogue tape of the Miles Davis Quintet was discovered. It turned out to be the missing part of their legendary concert on Oct. 11, 1960 at the Paris Olympia Concert Hall. After nearly two years of search in the South of France, the USA and Sweden, the other tapes from the event were gathered and meticulously restored as well.  Recorded at the Olympia, Paris, France on Oct. 11, 1960. \u003c\/p\u003e\u003cp\u003e Musicians: Miles Davis, trumpet Sonny Stitt, saxophone Wynton Kelly, piano Paul Chambers, bass Jimmy Cobb, drums \u003c\/p\u003e\u003cp\u003e  Track List:  Record 1 1. All Blues 2. Softly, as in a Morning Sunrise 3. Walkin’ 4. Four  Record 2 1. Autumn Leaves 2. Makin' Whoopee 3. No Blues 4. The Theme\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Black LPx2","offer_id":50931109855563,"sku":"2235185","price":79.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/unnamed_18_e84b1238_thumbnail_4096.png?v=1733331281"},{"product_id":"the-complete-live-in-paris-1960-vol-ii","title":"The Complete Live In Paris 1960, Vol II","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThe Return of the Prodigal Son – Second Session. \u003c\/span\u003e\u003cspan\u003eIn December 2024, The Lost Recordings released the first volume of this legendary concert, recorded on October 11, 1960, at the Olympia by Miles Davis and his quartet, joined by saxophonist Sonny Stitt. Alongside pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb, they formed an ensemble of exceptional musicality.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan\u003eIn 1960, Miles returned to Paris for the fourth time in 12 years. Just months earlier, he had performed there with John Coltrane in a turbulent concert, marking the end of their collaboration. In October, at the Olympia, he rediscovered a stage he loved in a city he had fallen for back in 1949. \"I loved being in Paris, I loved the way I was treated there,\" he would later say.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e From the opening notes of Stardust, a previously unreleased piece, Miles sets the tone—seduction and lyricism. With a track attributed to Sonny Stitt, the swing settles in. The atmosphere intensifies with ‘Round Midnight, followed by Walking, where Stitt and Davis engage in a masterful exchange. If I Were a Bell and Fran Dance offer a more introspective moment before Two Bass Hit reignites the energy. The concert reaches its peak with So What and All of You, as Miles captivates the audience until the final notes of The Theme.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eOur quest to recover the full concert began in 2022 when a friend sent us a photo of magnetic tapes in Brittany. A label reading \"Miles Davis – Olympia 1960\" caught our attention. After two years of research spanning France, the United States, and Stockholm, we are proud to present, for the first time, the complete version of this legendary concert.\u003c\/span\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"LP Black, Numbered","offer_id":51406171701579,"sku":"R1107-1968","price":79.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/ATLRE_2504058__193378__03052025021053-1291.jpg?v=1741366240"},{"product_id":"the-unreleased-berlin-recordings","title":"The Unreleased Berlin Recordings","description":"\u003cp\u003eMany musicians feared Maazel's chilly authoritarianism, his inability to make concessions. Unfailingly demanding, he insisted that the orchestras show him blind obedience and that the boards in charge run operations smoothly. His temper was legendary.\u003c\/p\u003e\n\u003cp\u003eBut if he was demanding, it was first and foremost of himself. “Little Lorin”, as the former child prodigy was known then, was first asked to lead a professional orchestra when he was nine years old and already a violin virtuoso. When he was eleven, Toscanini invited him to take the baton of the NBC orchestra in New York.\u003c\/p\u003e\n\u003cp\u003eMaazel had phenomenal gifts. These, coupled with his sheer hard work and exceptional resilience, resulted in a career of 72 years that encompassed more than 7,000 performances with the most prestigious orchestras worldwide. His repertoire was seemingly boundless. During the 1960s and 1970s, when he was at the helm of the Sinfonie Orchester Berlin, Maazel proved himself to be a maestro of style, a magician of sound gifted with not only a perfect sense of line and colour, but also infallible technique.\u003c\/p\u003e\n\u003cp\u003eThe Lost Recordings found these hitherto unpublished recordings, made in October 1969 in Studio 1 of Berlin Radio. Here Maazel’s inspiration takes him to the very summit of refinement and expressive intensity.\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"2LP - Black","offer_id":53518624784715,"sku":"R9127-0498","price":79.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/8dc9c2fa-b06f-eb53-2bfa-a77256f96b73.png?v=1759401445"},{"product_id":"live-in-finland-1961-1962","title":"Live In Finland 1961 . 1962","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eJohn Coltrane was never a loner. A tireless worker, he was on a perpetual quest to learn from others and build symbiotic relationships with them. Before playing, he listened. The 1950s were dazzling years, and decisive ones; he performed with Ellingtonian Johnny Hodges, collaborated with Dizzy Gillespie's band, and met Charlie Parker and Bud Powell. Then he encountered Miles Davis.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eColtrane pursued his quest. In the space of just a few months he met Thelonious Monk, Yusef Lateef, Sonny Rollins, McCoy Tyner, Elvin Jones and Eric Dolphy. All of them shared the same passion for musical creativity. They were all exploring new modes of expression and new sounds, seeking a dense playing style that could cascade across astonishingly rapid tempi. To the standard harmonic chart, they added cycles of thirds that made polytonality a realm of infinite possibilities.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eOn November 22, 1961, at the Kulttuuritalo in Helsinki, John Coltrane, Eric Dolphy, McCoy Tyner, Reggie Workman (on bass) and Elvin Jones were on stage. \"My Favorite Things,\" which opened the session, is from Rodgers \u0026amp; Hammerstein's musical comedy The Sound of Music. Coltrane had made the piece one of the iconic hits of his career, and in March of that year had released an eponymous album.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eOne detects in this piece the extension of innovations found in Kind of Blue: long modal passages alternate between major and minor modes. Coltrane said of it, \"This waltz is fantastic: when you play it slowly, it has a ‘gospel' aspect, which is not at all unpleasant; when you play it fast, it has certain other undeniable qualities. It's very interesting to discover a terrain that renews itself according to the impulse that you give it; that's the reason why we don't always play this tune in the same tempo.\" Nothing is ever fixed with Coltrane, and this version is no doubt one of his finest...\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIt has often been said that everything Trane did, he did to excess — drugs and alcohol, then cigars, vegetarianism, and finally, religion. Overlooked, though, was his obsession with friendship, his passion for group musical performances where — owing to his high expectations of himself and others — the contribution of each individual musician was elevated. Even his spiritual conversion late in life was not self-centered. Miles Davis wrote in his autobiography that Coltrane turned into a diamond. He could have added that Trane was considered a beacon; he shaped music in general and jazz in particular, and he guided entire generations of immense jazzmen.\u003c\/span\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"2LP - Black","offer_id":56172724977995,"sku":"R3216-4819","price":79.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/185ef454-84b2-5a8b-c33b-aa56ba4cf689.png?v=1766511942"},{"product_id":"live-in-helsinki-1963-and-1965","title":"Live In Helsinki 1963 and 1965","description":"\u003cp\u003e\u003cspan\u003eIn 1960 Ella Fitzgerald bought a house in Copenhagen. It might seem surprising for someone born in Virginia to choose Denmark with its icy winters. There was indeed a part of folly in the decision, because she was once more in love. This time, the man was Swedish. But the chain of events had not been random. Norman Granz, her mentor, friend and producer had decided to leave the U.S. and move to Switzerland around the same time. He was weary of battling away in a country fraught with racism, bogged down in the Cold War and witch hunts.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eRay Charles, Miles Davis and many other musicians were also victims of obnoxious prejudice and Europe became their new mecca. Granz had already led the way and Ella followed. However, she never definitively left the United States, where she continued to fight racism, supporting Martin Luther King and appearing with her blond \"sister,\" Marilyn Monroe. Across the Atlantic, she made more and more European tours, speaking German in Berlin, French in Paris, and Italian in Rome. She used English in Helsinki, where she gave two memorable concerts in April 1963 and March 1965. She felt a close affinity to Copenhagen. One thing was sure, she was happy, and it showed.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIt took us at The Lost Recordings months of talks and two trips to Helsinki to unearth the tapes of these concerts, never before published as records. We were immediately struck by Ella's virtuosity - her vocal acrobatics - and the quality of her voice, whose very essence and tonal confidence still shine through. This imposing woman's stage presence is magnetic, masking her stage fright in the wings and the shyness she had retained since childhood.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAfter listening to these concerts, it is clear that her musical legacy extends beyond the musical framework of jazz. Her repertoire included not only the composers of The Great American Songbook, such as Cole Porter, Irving Berlin and George Gershwin, but also popular Broadway numbers, songs by The Beatles and South American music. The last piece of the puzzle: she knew no boundaries. She swept up everything along her way. Her timbre, her style and her very presence are immediately recognisable. She was inimitable. Whether she was living in Harlem, London, Los Angeles, Copenhagen or Helsinki, she was the very embodiment of swing, of scat, and of jazz. Ella and music are one.\u003c\/span\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"3LP - Black","offer_id":56172730089803,"sku":"R8256-9718","price":97.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/2fde032a-9db7-a1a7-e8e4-df64195b2ee2.png?v=1766512251"},{"product_id":"live-at-laren-1975","title":"Live At Laren 1975","description":"\u003cp\u003e\u003cspan\u003eAugust 5, 1975: Sarah Vaughan is chosen to open the famous Jazz Festival in Laren, a small village near Amsterdam. She slips in among her musicians, including Bob Magnusson, Jimmy Cobb, Miles Davis's drummer, and Carl Schroeder, her pianist who has accompanied her for more than 20 years. At 51, not only does the \"Divine\" use the full range of her voice to sail from the roughest bass to the most scintillating highs, but she smiles, grasps the slightest emotion, seeks communion with each spectator as if he or she were unique, as if she were singing only for him.\u003c\/span\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"2LP - Clear","offer_id":56646014304587,"sku":"R8330-5774","price":119.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Vaughan_FrontViewHR-Site_jpg.webp?v=1772195745"},{"product_id":"the-unreleased-studio-recordings","title":"The Unreleased Studio Recordings","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eJulius Katchen’s reputation for his interpretation of the work of Johannes Brahms is universally acknowledged. On 13 December 1965, in the German radio station’s renowned Studio 3, Katchen sat down at the piano to play a version of ten of Brahms’ Hungarian Dances for Solo Piano, until today never published.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eOf course, his repertoire extends beyond the works of Brahms. As this edition of concerts for Berlin Radio attests, he approaches both Mendelssohn and Liszt with equal power.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBrahms’s Hungarian Dances comprise a series of twenty-one compositions and arrangements, written between 1867 and 1880 and inspired by popular Roma and Slav folk tunes. \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe first series of ten dances for piano solo displays the fervor of the composer in his youth; Katchen clearly perceives their great vivacity. Katchen is no mere performer of Brahms among many. He truly lives the music, as if he were the composer’s close friend, his confidant. The dances take the form of a bucolic painting that Brahms and Katchen paint together – a painting filled with joy, despair, unruliness, fear and tenderness. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe first of Felix Mendelssohn’s Six Preludes and Fugues, Opus 35, reveals a different vision of German romanticism. With greater austerity, heightened spirituality, it is inspired by the baroque form of chorale and fugue to which Johann Sebastian Bach brought such dignity. Mendelssohn had rediscovered Bach’s music, fallen into oblivion. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eMendelssohn completed the Rondo Capriccioso in 1830 after reworking it several times over the course of two years to finally offer it to pianist Delphine von Schauroth, whom he had been courting perseveringly, but ultimately, unsuccessfully. Perhaps this is why the andante conveys overtones of despair that contrast with the inordinate gaiety of the Presto. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWith the works of Franz Liszt, who all his life had soaked up the sounds and melodies of his native Hungary, we return to folklore. Katchen gives a majestic rendition of the Twelfth Rhapsody with a delectable version, playing on a musical palette that includes, in turn, melancholy, pianistic virtuosity, grave themes and wild dances. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn barely more than twenty years of a musical career, Julius Katchen proved that he had unique artistic talents. But the life of this prodigy was cut short too early. This edition attests to his dazzling trajectory at the piano as an interpreter of the romantic tradition. \u003c\/span\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"2LP - Black","offer_id":56646155370827,"sku":"R5497-5453","price":89.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/00bef941-d8b0-d631-e4cf-bd819423fd1d.jpg?v=1772195981"},{"product_id":"live-in-helsinki-berlin-1964","title":"Live In Helsinki - Berlin 1964","description":"\u003cp\u003eThe Lost Recordings has already published Miles Davis's concert given at the Olympia in Paris on October 11, 1960 with Sonny Stitt. We now bring you two recordings made in 1964 with the second quintet. The first, never before published, was made in Helsinki. The second, the famous concert at the Berlin Philharmonie during the Jazztage Festival, a few days before the Helsinki concert, is brought out here for the first time in its entirety on vinyl, in its original mono version.\u003c\/p\u003e\n\u003cp\u003eIn 1963, the Second Great Quintet had appeared at the festival in Juan-les-Pins on the French Riviera. The band members had been changing and the configuration would only become stable in 1964. Impresario George Wein remembered: \"I once told Miles, ‘When you had Herbie, Wayne, Tony and Ron on tour in Europe, I wouldn't have dared to get on the bandstand with you.' That group was not ahead of its time. They were the time.\"The repertoire had not changed significantly and most of the standards were still being played. The style, however, was radically different. The interpretations were inventive, pushing boundaries and upturning the world of jazz.\u003c\/p\u003e\n\u003cp\u003eIt was the newcomers who revolutionized things. They were all of a generation younger than Miles. There was Wayne Shorter, who in the 1970s created jazz fusion. A cerebral sax player, he was initially more drawn to the visual arts — drawing and cinema — than to music. As Miles said in his autobiography, \"Wayne Shorter was the idea person, the conceptualizer of our musical ideas.\" He extended the harmonic limits. Hancock, a classically trained pianist with a predilection for Mozart — he had been performing his works on stage since he was a child — reworked improvisation techniques, breaking up chords to force himself to step out of his comfort zone. Ron Carter, who had started with a classical cello training, switched to the bass at the age of 14. No longer content only with the pizzicati traditionally relegated to the instrument, Carter created melodic lines that break with the traditional walking bass and introduced silently spaced interval jumps. He set form free. Then there was Tony Williams, the groundbreaking 18-year-old drummer, a true genius. Unlike his predecessors, who kept to a cyclical tempo, predictable because recurrent, Tony broke up musical space, instigating tensions, throwing himself to the forefront. To quote Miles's autobiography again, \"(Tony) just lit a big fire under everyone in the group ... I was beginning to realize that Tony and this group could play anything they wanted to. Tony was always the center that the group's sound revolved around. He was something else, man.\"\u003c\/p\u003e\n\u003cp\u003eAs for Miles, he was no longer center stage, sometimes turning his back on the public. He liked to slip to the side to let the musicians he so admired have free rein in performing the themes. His personal life was full of upheavals. Between two lines of coke, there were violent interludes with Frances Taylor, his wife, marked by frequent rows and fits of jealousy. Perhaps this context also helps explain his need for disruption and his precipitous search for innovation.\u003c\/p\u003e\n\u003cp\u003ePerhaps we can say that a turning point in the history of jazz was reached late in 1964 during these legendary concerts given by Miles Davis's Second Great Quintet. The entire future of the genre was budding in the hands of this new generation of upstarts. Rhythm was now primordial, with violent fits and raw energy. Yet the lyricism of old times was never completely forgotten, soaring out unexpectedly with notes of tenderness that sometimes verged on despair and nostalgia. These are extraordinary moments of pleasure, a magical fulcrum between two eras.\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"3LP - Black","offer_id":56980906639691,"sku":"R6692-3538","price":109.99,"currency_code":"GBP","in_stock":false},{"title":"3LP - Sapphire Clear","offer_id":56980906672459,"sku":"R6692-1350","price":149.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/9a32e88a-5d67-46c1-bb44-b5f434997a32.jpg?v=1775662118"},{"product_id":"prokofiev-and-shostakovich-violin-concertos","title":"Prokofiev and Shostakovich Violin Concertos","description":"\u003cp\u003eThe Lost Recordings found the original tapes of Prokofiev’s two violin concertos in Potsdam. The Berliner Sinfonie-Orchester was conducted by Kurt Sanderling. Concerto No. 2, recorded in 1965, has never before been released. Shostakovich’s Concerto No. 1, played by Oistrakh at the very peak of his virtuosity under the baton of the great Yevgeny Mravinsky, has never before been released on vinyl.\u003c\/p\u003e\n\u003cp\u003eKurt Sanderling, at the helm of the Berliner Sinfonie-Orchester, conducted Prokofiev’s two concertos in public. The first was performed on 19 April 1971 at the Deutsche Staatsoper in Berlin and the second, on 8 March 1965 at the Metropol Theatre in Berlin. Sanderling was admired for his musical integrity and powerful conducting. In 1960, after a career marred by various tragic events, he found himself in East Germany. The Jewish conductor fled Germany in 1936 when the Nuremberg Race Laws were enacted, taking refuge first in Moscow and then in Leningrad as assistant to Yevgeny Mravinsky. Oistrakh and Sanderling had known each other for decades when these recordings were made; both their personal and professional bonds were tight.\u003c\/p\u003e\n\u003cp\u003eConcerto No. 1 by Prokofiev is one of the most innovative works of the twentieth century. It was composed between 1915 and 1917 and premiered in Paris in 1923. The Andantino unfurls darkly, with a nostalgic violin leading in an ethereal, almost unreal theme. Prokofiev said that this movement should be played “as if someone had to be convinced of something”. Oistrakh, like an elf emerging from an extremely dense, dark forest, plays on the entire range of sounds – passionate, impatient, regal and spirited all at once. The second movement, the Scherzo vivacissimo, can be considered the wild element of this concerto. It is an ingenious whirlwind involving violin virtuosity that Oistrakh carries off effortlessly. The third and last movement is both lyrical and intense. The violin alternates between two roles, that of soloist and that of accompanist. Oistrakh’s playing, devoid of mannerisms, is pure yet sensual, its earthbound quality essential to contain the orchestra that gradually fades away gently, as otherworldly as the first movement.\u003c\/p\u003e\n\u003cp\u003eConcerto No. 2, first performed in 1935, is quite different. It is not only more classical than the first but also more dramatic. The violin, alone, introduces the sombre, lyrical theme of the movement inspired by traditional Russian folklore. Oistrakh seems to explore the very depths of his innermost soul. Long, lyrical phrases are interrupted by more rhythmical rises and falls in pitch. The movement ends with pizzicati that we might be tempted to consider mischievous, or even frightening, but that leave us in anticipation. The next movement, Andante assai, is some of the finest musical writing for the violin. A painful, tormented meditation, its intense surges nevertheless remain earthbound as they implore the heavens. Here, Oistrakh is masterful. From his violin, from his very person, so closely bound, he brings out an almost mystical fervour, with a timelessness entwined with harmonious purity that few musicians have achieved with such grace. The finale, Allegro ben marcato, returns to the more ironic style of which Prokofiev was so fond. In this frenzied, flamboyant dance with its Spanish overtones – the work premiered in Madrid – the composer surprises us with castanets. Oistrakh and Sanderling make the most of these multi-coloured, sparkling inflections that were enthusiastically acclaimed by the audience.\u003c\/p\u003e\n\u003cp\u003eOn 25 May 1956, Yevgeny Mravinsky was conducting the Leningrad Philharmonic Orchestra at the Berlin Staatsoper. Since 1938, he had led the orchestra to a pinnacle in their interpretation of mainly Russian composers, such as Tchaikovsky and Shostakovich. His style was immediately recognizable. With a volcanic eruption of sound, he bade the orchestra to sweep along everything in its path.\u003cbr\u003eIt was the very same orchestra that had first performed the concerto one year previously. Subjected to censorship by the Department of Propaganda, the work had been hidden since its composition in 1948. Oistrakh himself had made modifications that the composer welcomed. In short, it was the concerto of a combat, and no one better than Oistrakh himself could speak of it. “The first movement, the Nocturne, is a world of deep reflection. I would call it a cancellation of feelings. Here, there is no overt expression of suffering; everything seems to be hidden within”. The violin’s line expresses distress. It is gloomy and introspective, and in the background are hints of a Dies Irae that might have been inspired by Mozart. “Devilish” is the word Oistrakh uses to describe the second movement. And indeed he rushes into a nervous Allegro, borne dynamically along by Mravinsky’s orchestra. The scale of the Andante is monumental, similar in several respects to the first movement of Beethoven’s Fifth Symphony. The violin is omnipresent, in dialogue or opposition with the different sections of the orchestra. Oistrakh is calm and imperial, in complete control of the situation until the beginning of the transcendent cadence. The rests take on as much expressivity as the notes, if not more. We forget the dazzling technique of the violinist’s left hand to focus on the drama. Then, quite exceptionally, there is a fourth movement. The finale is slapstick, wildly burlesque, and Oistrakh and Mravinksy bring it to its climax.\u003c\/p\u003e\n\u003cp\u003eThe angel flew over these concertos. But it is a terrestrial angel, one that no wind can deviate from its course. This angel is sometimes harsh, sometimes gentle, but always powerful and moving. This is an angel whose only god is music and whose only companion is the violin. “However hard I try, I can’t recall ever having been without a violin during my childhood.” This might prompt us to respond, “However hard we try, we cannot imagine the violin without recalling the heavenly playing and sound of David Oistrakh.\"\u003cbr\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"2LP - Clear","offer_id":57055087853899,"sku":"R0234-9232","price":124.99,"currency_code":"GBP","in_stock":false},{"title":"2LP - Black","offer_id":57055087886667,"sku":"R0234-3786","price":89.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Screenshot2026-04-17at13.23.07.png?v=1776428602"}],"url":"https:\/\/shop.roughtrade.com\/fr\/collections\/the-lost-recordings.oembed","provider":"Rough Trade","version":"1.0","type":"link"}