During the late 1930s the Great Depression was still raging. Kreisler, Heifetz, the young Menuhin, Szigeti and Milstein represented the topmost echelon of violinists in...

During the late 1930s the Great Depression was still raging. Kreisler, Heifetz, the young Menuhin, Szigeti and Milstein represented the topmost echelon of violinists in box office draw, followed by Elman, Huberman, Spalding, the young Ricci and Morini. Many a European violinistic luminary had made an American debut during the Depression years, hoping for success. Despite everything, the United States was still the Mecca for musical artists, in terms of financial reward. But in the face of intense competition only a violinist of the very highest qualifications - and one whose musical personality and character were in some measure different from those of the reigning elite - could hope to launch a top-level concertizing career. Such an artist was René Charles (Zino) Francescatti. At thirty-seven, he was already a fully seasoned performer when he made his American debut in November, 1939, playing the Paganini Concerto No.1 (complete version) with the New York Philharmonic. His rise to stardom had been long and arduous, but he was recognized eventually not only as the heir to Thibaud, once the 'greatest French violinist', but also as one of the world's leading violinists. Fellow-violinist Henry Roth said: 'As a bravura technician, Francescatti belongs in the first rank. And what is more important - he never sacrifices beauty of sound or sincerity of purpose in the interest of technical exhibitionism.' - This collection features never-before-released live performance recordings of favourite concertos and chamber works he excelled in.