Ravi Shankar KBE, whose name is often preceded by the title Pandit, was an Indian sitarist and composer.

超值三碟精装！

Vio. Con. rec. 28-29 Aug 1947, Kunsthaus, Lucerne. Penguin Guide rosette. Gramphone Magazine, 11.1997: "The question that most collectors will be asking is whether – or how – this Lucerne set compares with the 1953 EMI recording that Menuhin and Furtwangler made in London with the Philharmonia. The answer is simple: the older sessions achieved the better performance, the newer ones, the better recording. Alan Sanders’s excellent booklet-note recounts a touching occasion where Menuhin unknowingly tuned in to a broadcast of the Lucerne recording and “reflected that he would dearly love to be able to realize the Beethoven Concerto in such a fashion”. The collaboration with Furtwangler had obviously inspired a rare and distant inspirational flight, one that even memory could not adequately recall. And it is a great performance: ardent, inward, unhurried, with a rapturously beautiful Larghetto (faster than the Philharmonia recording though not as broad as its Moscow predecessor) and with superior playing of Kreisler’s two cadenzas. Turning to the worthy Philharmonia remake witnesses a noticeable drop in intensity and a rather more awkward delivery of the solo line."

"... (with) Menuhin emphasising the poetic element in the two Concertos, this coupling is an eminently recommendable one." Gramophone

One of the great musicians of the twentieth century in classic recordings from the late 1950s. Gramophone described Menuhin as being 'on first-class form' and able to 'project vividly' these two works, surely the most popular of all violin concertos.

The accompaniment is from the Philharmonia Orchestra, then at its formidable best, under two skilful and sympathetic conductors, Efrem Kurtz and Walter Susskind.

The recordings have been digitally remastered at Abbey Road Studios for this reissue.

梅纽因(Yehuhi Menuhin,1916-1999)，犹太血统的美国小提琴家，4岁开始学琴，启蒙教师是安克尔(S·Anker)，后又从旧金山交响乐团首席珀辛格学习，7岁在旧金山交响乐团音乐会上演奏门德尔松的小提琴协奏曲，8岁在纽约曼哈顿歌剧院举行音乐会，得神童之名。1926年在欧洲先后从布什和埃乃斯库学习，1929年在柏林演奏巴赫（E大调）、贝多芬和布拉姆斯的协奏曲，1931年在莱比锡演奏门德尔松的协奏曲，1932年在伦敦演奏埃尔加的协奏曲，连续获轰动。梅纽因的演奏，是辉煌的技巧、磅礴的气势与火热的激情的结合。他有两个黄金阶段，一是20年代末与30年代的成名阶段，这一阶段他的演奏是气势如虹的青春年少阶段；第二阶段是二战结束后，与富特文格勒合作的阶段，这一阶段，技艺激情都远不如以前，但是他的成熟期。其实梅纽因的立体声录音，技巧远不如先前，并不多见当年的神韵。