Bronislaw Huberman

On this CD:

1. Violin Concerto, for violin & orchestra (or violin & piano) in D major, Op. 35
Composed by Pyotr Il'yich Tchaikovsky
Performed by Bronislaw Huberman
Conducted by William Steinberg

2. Symphonie espagnole, for violin and orchestra in D minor, Op. 21
Composed by Edouard Lalo
Performed by Bronislaw Huberman
Conducted by George Szell

3. Ballade and Polonaise for violin & orchestra/piano, Op 38 Polonaise
Composed by Henri Vieuxtemps
Performed by Paul Frenkel, Bronislaw Huberman

4. Violin Concerto in E minor, Op. 64 2nd & 3rd movements
Composed by Felix Mendelssohn
Performed by Bronislaw Huberman, Siegfried Schultze

5. Kol Nidrei, for cello & orchestra, Op. 47
Composed by Max Bruch
Performed by Bronislaw Huberman, Siegfried Schultze

Tracks:

Concerto In D Major For Violin And Orchestra, Op. 35: 1st Movt. : Allegro moderato
Concerto In D Major For Violin And Orchestra, Op. 35: 2nd Movt. : Canzonetta - Andante, 3rd Movt. : Finale - Allegro vivacissimo
Symphonie espagnole For Violin And Orchestra Op. 21: 1st movt. : Allegro non troppo
Symphonie espagnole For Violin And Orchestra Op. 21: 2nd Movt. : Scherzando - Allegro molto
Symphonie espagnole For Violin And Orchestra Op. 21: 3rd Movt. : Andante, 4th Movt. : Rondo
Polonaise
Concerto In E Minor For Violin And Orchestra, Op. 64: 2nd Movt. : Andante, 3rd Movt. : Finale
Kol Nidrei, Op. 47

Average customer rating:

Bronislaw Huberman In Performance
Brahms , Tchaikovsky , Huberman , Rodzinski , and Ormandy
Manufacturer: Music & Arts Program
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
Similar Items:

Huberman in recital New York 1936-44
Concert and Recital Recrdings
Bronislaw Huberman

ASIN: B0000ARNEE
Release Date: 2006-01-01

Tracks:

I. Allegro Non Troppo
II. Adagio
III. Allegro Giocoso, Ma Non Troppo Vivace
I. Allegro Moderato/Moderato Assai/Poco Piu Lento/Molto Sostenuto
II. Cansonetta. Andante
III. Finale. Allegro Vivacissimo

Beethoven & Tchaikovsky: Violin Concertos

Average customer rating:

Huberman's Brilliant, Eccentric, Inspired Tchaikovsky
Huberman the forgetten virtuoso
Superb performances, bettered elsewhere but still unique
You could spend a lot more and get a lot less!
Unbelievable bargain!

Beethoven & Tchaikovsky: Violin Concertos

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Favourite Violin Concertos
Beethoven & Brahms: Violin Concertos
The Complete Concerto Recordings, Vol. 1: Beethoven & Mendelssohn
Beethoven, Brahms: Violin Concertos
Complete Recordings/1912 Recordings

ASIN: B00004HYLG
Release Date: 2000-02-22

Tracks:

Violin Concerto in D major, Op.61: Allegro ma non troppo
Violin Concerto in D major, Op.61: Larghetto
Violin Concerto in D major, Op.61: Rondo: Allegro
Violin Concerto In D Major, Op.35: Allegro moderato - Cadenza
Violin Concerto In D Major, Op.35: Canzonetta: Andante
Violin Concerto In D Major, Op.35: Finale: Allegro vivacissimo

Amazon.com

Huberman was one of the century's greatest violinists, noted for the profundity of his interpretations and the electric individualism of his playing. His 1934 version of the Beethoven concerto with Szell and the Vienna Philharmonic stands among the best recordings of the piece, especially notable for the rapt intensity of the Larghetto movement. The Tchaikovsky, too, is a recorded landmark. Here, Huberman's flexible rubato, coloristic shadings, and rich tone put to shame the literalism of so many contemporary interpretations. The shaping of the violin's first entry is a virtual lesson in romantic phrasing and the Andante sings with rarely achieved poignancy. Mark Obert-Thorn's transfers are excellent. At Naxos's budget price, there's no excuse for not getting this one, no matter how many versions of these pieces you have. --Dan Davis

Customer Reviews:

Huberman's Brilliant, Eccentric, Inspired Tchaikovsky.......2005-05-11

SHORT REVIEW: This cheap Naxos CD brings together two legendary concerto performances by one of the most brilliant violinists on record. The Tchaikovsky is a tour de force of virtuosity, while the Beethoven is well-played if rather eccentric. The Tchaikovsky (from 1928) enjoys a better transfer here than the 1934 Beethoven. This CD is worth its modest price just to have Huberman's exuberant Tchaikovsky. And if you want these two performances on one disc, this Naxos CD is simply the only game in town.

LONGER REVIEW: This CD is compromised on several fronts, some related to the quality of the transfers, and others deriving from the performances. To judge from the Amazon editorial review here, one might assume that the Beethoven is a worthier reading than the Tchaikovsky (I think it's the other way around). That review is also in error regarding the transfers: only the Tchaikovsky transfer work was done by Mark Obert-Thorn (the lesser Beethoven was done by David Lennick).

Here is a brief discussion of just why I find this Naxos CD rather disappointing:

1. While Obert-Thorn's transfer of the Tchaikovsky is very good, I still prefer the sound heard on a 4-disc CD set from EMI (1993) titled "Tchaikovsky Historical" (absurdly, it's now out of print). The Naxos transfer brings the orchestra into fuller view at the expense of the soloist, while in EMI's Huberman is more prominent. He's the reason I'm listening in the first place, so I opt for the EMI collection. The latter is sort of a mixed bag: I'll probably never sit through Karajan's "Romeo & Juliet" or Cantelli's 5th Symphony again, but this set has the only CD transfer of Furtwangler's superb 4th Symphony (with the Vienna Philharmonic) and an excellent transfer of Solomon's 1st Piano Concerto (Dobrowen & the Philharmonia).

2. For sheer drama and virtuoso playing, Huberman is in a class of his own. But there are certainly other versions of the Tchaikovsky that convey more of the work's poetry, such as Oistrakh's 60th birthday "live" concert account with Rozhdestvensky - it's in an indispensable 5-disc Melodiya CD set (and it doesn't have the Huberman version's large cuts in the score, especially in the 3rd mvt). Another poetic version I wouldn't be without is the "live" 1940 Erica Morini reading, with Igor Stravinsky conducting the NY Phil. on a Doremi CD.

3. This way with Beethoven, to my ears, is a shade relentless, and I find most of Szell's conducting here rather foursquare and metronomic. I could name a dozen conductors who bring more feeling and perception to this score than Szell, perhaps none more so than the "live" 1953 Furtwangler account with Schneiderhan (mine's on DG Heliodor LP). The wacky 1st mvt. cadenza used by Huberman - a Frankensteinian amalgam of Beethoven & Paganini - is fascinating, but hardly comparable to the usual cadenzas by Joachim or Kreisler. Beethoven didn't write a cadenza here, but he did compose one for his piano transcription of the violin concerto (with a prominent part for tympani). An interesting performance of the latter was on an ancient SPA LP conducted by F. Charles Adler, with Helen Schnabel (Artur Schnabel's daughter-in-law) as soloist. Among historic performances of the violin concerto, I still prefer Kreisler/Blech (with the Kreisler cadenza, of course, on M&A), Szigeti/Walter (on EMI - it uses the Joachim cadenza, although Szigeti's stereo re-make with Dorati for Mercury used the Busoni cadenza), and Adolf Busch/Fritz Busch (mine is on M&A LP: Busch plays his own tasteful cadenza).

4. In my reviews of several Weingartner Beethoven performances on Naxos, I noted that the transfers suffered from excessive use of noise reduction, and that's EXACTLY what's wrong with THIS Beethoven concerto. This Huberman is also available on an APR CD (with Huberman's stunning account of Lalo's "Symphonie Espagnole") in FAR better sound (and also for a much higher price). Even my cheap Magic Talent CD (where the Beethoven is coupled with the interesting Casals/Szell recording of Dvorak's Cello Concerto) has much better sound than this Naxos.

If you are primarily interested in Huberman's GREAT account of the Tchaikovsky, this inexpensive Naxos CD is more than adequate. But if you are a Szell fan or appreciate Huberman's way with the Beethoven more than I do, you'll probably be a little disappointed here.

Huberman the forgetten virtuoso.......2004-09-01

Not everybody knows about Bronislaw Huberman since his recordings are fewer compared to Heifetz. I have listened many concertos of Beethoven and Tchaikovsky from many virtuosos including Heifetz and Perlman. But Huberman's playing is noble and elegant and i can say that this is the best performance of Beethoven and Tchaikovsky ever...

Superb performances, bettered elsewhere but still unique.......2003-11-11

Bronislaw Huberman was one of the most versatile, emotive and exciting violinists who ever lived. Despite the fact that he was a Polish Jew, he was often described as having the "soul of a gypsy," meaning that he played with the same emotion and fire as a Rrom fiddler, though he had the technique for and knowledge of classical music. The results were performances unlike any others, combining a sharp spiccato attack with portamento slides and a variance of tone color from dry, edgy sounds to the most sumptuous vibrato. Such a technique was indeed closely related, not only to Gypsy violinists, but also to Klezmer musicians who Huberman would have had first-hand knowledge of. (Similar techniques were also introduced to jazz by Italian-American violinist Joe Venuti.)

Huberman's recordings fall neatly into four sections: the 1903-04 G&T recordings, the 1925-26 Brunswick acoustics, the 1929-1935 Columbia electrics, and the 1940-46 broadcast transcriptions. In each of these, however, his tone recorded differently. The 1903 G&Ts are obviously the worst, his sound coming across as thin, rough and scrapy. The mid-1920s Brunswicks, though also acoustics, are just the opposite, his tone sounding sweet and inviting. In the British Columbias, the sound varies. Some, like the Tchaikovsky concerto, the Bach concerti and Lalo's "Symphonie Espagnole," are extraordinarily beautiful, while others, like the Beethoven concerto, the "Kreutzer" sonata with Ignacy Friedman, the Bruch Kol Nidre and the Mozart concerto No. 3, sound rather acidic in places with rough bowing. That this was the fault of the recording equipment and not of Huberman, however, is attested to by the last group of recordings, which have assumed greater and greater importance in the digital age. Thanks to more sophisticated techniques of reprocessing old recordings, we can hear Huberman's tone "up close and personal," and it is much like the Brunswicks or the better Columbias.

These performances of the Beethoven and Tchaikovsky concerti have achieved legendary status over the decades, largely because of the violinist's non-traditional approach. Both are very well-conducted by names that would become famous in America, William Steinberg (here named "Hans Wilhelm") and George Szell, who in the wake of Toscanini's demise suddenly found himself compared to the Italian maestro (quite favorably, by the way) until his death in 1970. Both conductors are very much in tune with both Huberman and the music; Steinberg, in fact, later recorded a magnificent stereo version of the Beethoven concerto with the usually-cold Nathan Milstein.

Of the two recordings, I find the Tchaikovsky the more riveting. From Huberman's first entrance, he is totally in command, riding and driving the score like an experienced cowboy taming a bucking bronco. Absolutely nothing is held back, emotionally or tonally. Huberman's pizzicato and spiccato attacks are utterly fearless, his use of vibrato sumptuous, his portamento artistic, and his tempi unbelievably fast. Nor was this a one-time excursion. Music & Arts Programs of America has recently issued an April 1946 performance of this concerto by Huberman with the Philadelphia Orchestra conducted by Ormandy, normally a pretty moderate conductor, with the same results. In fact, the first movements of both performances have the same time down to the second! I personally prefer this later performance to the earlier as the sound is clearer and more natural, and the playing of the Philadelphia forces more modern in concept, but the 1929 reading was and is a landmark in the history of recording.

The Beethoven poses more of a problem. Szell was, even then, a proponent of the Toscanini school, which meant no unscored lingering over details. Huberman, who was a good sort, acceded to this approach, but his phrasing sounds more hectic and scrambled than in control. Moreover, this was one of his "scrapy"-sounding Columbia recordings, so that one flinches here much more often than in the Tchaikovsky. Yes, it is a bold, highly individual reading, like everything Huberman did, and for that it must be treasured, but I for one prefer the radio broadcast he did with a pick-up orchestra, recently released on the Arbiter label.

For the price, however-and as an introduction to basic Huberman 101-this CD could hardly be bettered. Collectors who have wondered whether Huberman is worth collecting or not can start here with confidence; the transfers, as usual with Naxos, are superb, much finer than any previous incarnation. No matter what you think of his tone, Huberman was a transcendent genius and a broad-based humanitarian whose overview of any work included not only its structure but its spiritual content. Like Toscanini, Olivero, Cortot and Jon Vickers, Huberman's approach to music was an emotional expression of the soul more important than mere notes. This lifted him into an exalted category where quirks of tempo, phrasing and voicing become blurred by the ecstasy of his vision.

You could spend a lot more and get a lot less!.......2001-10-22

Since I live in the greater Cleveland area, I suppose it's natural for me to have an affinity for Szell's Beethoven--although my standard of comparison is always Furtwangler. What makes this recording great, however, is Huberman's incredible immersion in the Beethoven (he's no slouch with Tchaikovsky, either!). He was not afraid to take risks! There's a grittiness to this performance that puts it right at the top of my choices of performances of this concerto. It certainly deserves multiple hearings. The cadenzas are particularly brilliant, and this is one of those 78-era recordings that has a particularly beautiful sound, I suspect even before the fine remastering job Naxos has done. There are a few such recordings that stand out in my mind, not the least among them Rachmaninov's own recording of his second concerto.

The restoration of the Tchaikovsky is very nice, too, but I think you'll notice that the quality of the original is not up to the standard of the Beethoven.

I've had the opportunity over the years to hear a number of note-perfect, pretty, phoned-in performances of both of these concerti, both live and on records. You may have had this experience--the performance is wonderful while it's happening, but a half-hour later one has a hard time remembering what one heard. This is definitely NOT such a performance of the Beethoven. It's one to remember. While audiophiles may not find the sound altogether pleasing, if you care about these concerti, this CD belongs in your library--and at Naxos' incredible price, one can hardly afford not to own it.

Unbelievable bargain!.......2000-06-15

This is an unbelievable bargain! Huberman's recordings of Beethoven and Tchaikovsky concerti are among the best ever made. The Beethoven is probably the most heroic and freewheeling recording I have ever heard (and cadenzas have incredible brilliance). Tchaikovsky is dramatic and wonderfully expressive. Huberman's tone production is undoubtedly old-fashioned (with relatively sparing use of vibrato), but his personality comes through with remarkable clarity. The transfer is excellent. Perhaps not for "hi-fi" buffs (after all the recording dates from late 1920s to 1930s), but for pretty much everybody else, it is strongly recommended.

Mendelssohn: Songs without Words; Beethoven: Violin Sonata No. 9 "Kreutzer"; Liszt: Hungarian Rhapsody No. 2

Average customer rating:

Drama, Impetuosity and Glorious Tone: The Grand Style

Mendelssohn: Songs without Words; Beethoven: Violin Sonata No. 9 "Kreutzer"; Liszt: Hungarian Rhapsody No. 2

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
Similar Items:

Complete Recordings, Vol. 3

ASIN: B000260QFG
Release Date: 2004-07-20

Tracks:

Op. 19, No. 3 in A Major
Op. 19, No. 6 in G Minor
Op. 102, No. 5 in A Major
Op. 30, No. 6 in F Sharp Minor
Op. 38, No. 2 in C Minor
Op. 38, No. 6 in A Flat Major
Op. 53, No. 2 in E Flat Major
Op. 53, No. 4 in F Major
Op. 67, No. 2 in F Sharp Minor
I. Adagio Sostenuto: Presto
II. Andante And Variations
III. Finale, Presto
I. Adagio Sostenuto: Presto (alternative Take Of Side 1)
Hungarian Rhapsody No. 2

Customer Reviews:

Drama, Impetuosity and Glorious Tone: The Grand Style.......2004-08-04

Ignaz Friedman (1882-1948) was a student of the fabled Theodor Leschetizky (1830-1915) and was even his teaching assistant for a time. Leschetizky's pupils were generally noted for their singing legato tone and Friedman had that in spades. He was also a dramatic, not to say an impetuous, player and that is obvious in his recordings here, made in 1930-31 for English Columbia. The nine selections from Mendelssohn's 'Songs Without Words' are not played as miniatures but as tone poems, an unusual approach in these pieces so beloved, in their day, by piano students. For instance, Op. 67, No. 2 in f sharp minor is a complete drama conveyed in less than two minutes.

Friedman was a touring soloist. He almost never played chamber music in public and this recording of Beethoven's 'Kreutzer' Sonata, Op. 47, is the ONLY chamber music recording he ever made. The violinist is Friedman's exact contemporary, the hugely talented Bronislaw Huberman (1882-1947), in his day one of the reigning kings of the instrument. Two takes of the first movement were made and a different version was issued in the US and in Europe. Both are included here. Frankly I hear little difference, although perhaps the second take (included as the first movement of the complete sonata; the first take then follows on a separate track after the sonata has been completed) is a bit more dramatic. Both of these players were huge personalities and yet they were able to collaborate as if on the same wave-length in this performance. It IS an exciting traversal, if a little over the top in the first movement. The performance of the variations movement (II) is possibly the best I've ever heard. The two performers not only breathe together but both players sing as only great instrumentalists can do. I'm not generally fond of violin portamenti, standard in Huberman's day, but they are certainly not intrusive here. The Presto is a romp that threatens to go out of control but never does, making it all the more exciting. Whew!

The disc concludes with Friedman playing the Liszt 'Hungarian Rhapsody No. 2,' the most famous of the nineteen Liszt wrote. Again, Friedman's dramatic and impetuous style is in evidence; can you imagine a piece for which this would more appropriate? Lots of rubato, lots of dynamic contrasts, incredible singing tone. And particularly when he gets to the 'friska' it's a real heaven-stormer. I'd never heard this version before and I'm still gaping at it. Frankly, if you love this Hungarian Rhapsody as I do, it would be worth Naxos's budget price for this performance alone!

Transfer engineer Ward Marston is responsible for the extremely life-like sound, only slightly noticeable as 70 years old! He had wonderful sound to work with, one must admit; those English Columbias were marvels in their time.

Heartily recommended.

TT=75:14

Scott Morrison

Average customer rating:

Fascinating but flawed
Essential recording of the Beethoven Concerto
Grand Beethoven!
Amazon says "1998," but this is a 1930 recording
revelatory new huberman cd

Concert and Recital Recrdings

Manufacturer: Arbiter
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
Similar Items:

Bronislaw Huberman In Performance

ASIN: B00000FXYO
Release Date: 1998-12-02

Customer Reviews:

Fascinating but flawed.......2001-08-31

In some ways, this CD is superior to the companion volume of Brahms Sonata No. 1, Bach Partida and short works by Schubert and Sarasate, as the sound quality is almost uniformly excellent for its time. And, as has been pointed out by the other reviewers here, having anything "live" by Huberman is almost a Holy Grail for classical music lovers. Yet certain caveats must be given.
First, the Beethoven concerto. It is true that Huberman is freer, more relaxed and expansive here than in the 1934 recording with George Szell, but the third-rate pick-up orchestra used here somewhat nullifies his reading. Right from the outset, the winds are slightly out of tune and the upper strings hack and scrape with rather alarming results; the French horns crack at the beginning of the second movement. Just try to imagine Nadja Salerno-Sonnenberg playing this concerto with your local civic orchestra, and you'll have a good idea of what this sounds like.
Second, the "Kreutzer" Sonata. The producers have only given us the first and third movements here, since these are "alternate" takes to the version that used to be on an EMI CD. But the EMI CD is now out of print, so all you can get of this great performance now are these first and last movements. Shame on them! Including the second movement would only have extended the playing time another 8 1/2 minutes, to about 77 for the whole CD, which is certainly a reasonable length.
Thirdly, the Bach. The transcript from which this was taken cuts off a few bars before the end of the work. Since Huberman recorded this piece commercially, albeit at a somewhat quicker tempo, they really should have spliced the last few bars in. This is what other reissue companies have done with missing segments of otherwise complete works, and I agree with the practice.
Does this mean that this disc is not worth getting? Hardly. As I said earlier, ANY "live" Huberman is tantamount to finding the Holy Grail...and there is something very sweet, almost chivalrous about the radio announcer saying, "Thank you, Mr. Huberman" after the Violin Concerto. I almost felt like adding my own thanks, especially for his fantastic playing of the (now-forgotten) Joachim cadenza, and his magical entrance to the third movement.

Essential recording of the Beethoven Concerto.......1999-11-24

Huberman's approach to the violin is highly unusual by modern standards. His aesthetic world predates the reigning ideal of the mellifluous, voluptuous tone and smooth, edge-free phrasing first popularized by Kreisler and solidified into aesthetic dogma by Heifetz, Milstein, Oistrakh and Szeryng. To a degree that is almost shocking today, Huberman bypasses any such considerations and goes straight for the musical core, the human value embodied in the piece. Without a question, this interpretation of the Beethoven Concerto explores Beethoven's philosophy more deeply than any other. Huberman makes you think: about art and individualism, about the relationship between aesthetics and meaning, about music as a force for the good. That doesn't mean that Huberman is boring or stodgy. On the contrary: he is thrilling, incredibly dramatic, with more raw excitement than any modern violinist.

Grand Beethoven!.......1999-07-29

When I saw this CD at Tower, I practically jumped. Huberman's discography is shamefully small, considering his talent. It is great to have a live recording of Beethoven concerto, as well as alternate take of Kreutzer sonata. Huberman sounds freer in the concerto than his earlier studio recording with Szell, although I think the orchestral support was stronger with Szell. For information, this live recording dates after his recovery from airplane injuries that broke his hands. He really recovered himself, and there is absolutely no deterioration in his playing. Huberman's "Kreutzer" sonata has been my personal favorite ever since my first encounter. Nobody captured the demonic, wild intensity of this piece like Huberman. As I listen, I often think of Tolstoy's novel inspired by the piece. Huberman's passion is matched by staggering pianism of Ignaz Friedman. Smetana piece is fine, although poorer in sound (and I prefer Kreisler's recording for this piece). Bach is deeply felt, and pity the ending is cut-off due to time limitation of the original 78's acetate. This is not a CD for people who are interested in sound quality per se. But for people who can listen extract the performance through dated sound (but, really, it is NOT all that bad considering its age), these recordings are revelation! Enjoy this one of the most individualistic violinist of the century. Cheers!

Amazon says "1998," but this is a 1930 recording.......1999-01-03

I was very disappointed. Nothing prepared me for the fact that these recordings were made 70 years ago in 1930. The information on Amazon's Web Page says, "Arbiter ... 1998." The outside of the CD box, however, tells one immediately when the music was recorded.

The quality of the recordings made then is simply painful to listen to by today's standards.

revelatory new huberman cd.......1999-01-02

Mr. Allan Evans is pursuing his dedicated, not really "comercial" work of proposing rare valuable recordings on his own label, Arbiter.

The CD contains absolutely first-rate interpretations in acceptable -- even if not Hi-Fi (that's why a star is missing)-- sound. The Beethoven live recording is a more flexible and improvisatoric alternative to the classic 1934 Vienna recording. Huberman's spiritual world, now almost lost, is splendidly fixed in the "idealistic" sound of his violin, not as much expressing the ideal of Heifetz-like perfectionism as high, complex humanistic values.

Tracks:

Vn Con in D, Op.61: I. Allegro Ma Non Troppo - Bronislaw Huberman
Vn Con in D, Op.61: II. Larghetto - Bronislaw Huberman
Vn Con in D, Op.61: III. Rondo Allegro - Bronislaw Huberman
Vc Con in b, Op.104: I. Allegro Vivo - Pablo Casals
Vc Con in b, Op.104: II. Adagio Ma Non Troppo - Pablo Casals
Vc Con in b, Op.104: III. Allegro Moderato - Pablo Casals

Customer Reviews:

Awesome Beethoven.......2002-10-30

This is the finest rendition of Beethoven's Violin Concerto I have ever heard. It is robust, energetic and passionate, without sacrificing the lyricism that has endeared the work to generations of music-lovers. That Huberman was a genius is evident from this recording.

As for George Szell--what can I say? He is arguably the outstanding conductor of the 20th century. Huberman and Szell are an unbeatable combination.