ARENSKY TRIO IN D MINOR Eileen Joyce Piano Henri Temianka Violin Antoni Sala 78

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FIRST recording of ARENSKY Trio in D Minor Op 32

by the cream of British Chamber musicians:

Eileen Joyce Piano

Henri Temianka Violin

Antoni Sala Cello

This was the first complete work recorded in 1938 by the young Eileen Joyce.

Mr. Sala's rich tone is well matched with the sweetness and purity of Temianka's and these two achieve an excellent balance with Miss Joyce, though very occasionally, in the Finale, she seems a bit too strong in tone. Her own performance is most brilliant—in such sections as the up-and-down whirls in the Scherzo—and appealing. Full of vital energy and compelling enthusiasm, it is yet tender and subdued where necessary.
The recording, of great excellence all through, is really wonderful in the Scherzo. Here, then, is a notable recording—apparently the first complete one—and a notable first partnership in a work which will delight all but the frozen of heart

 Condition: EXCELLENT minus, unworn but veryscuffed. 12mm scratch may cause click on Elegie. 3 mm scratch start Finale part 2,

Here the original review from THE GRAMOPHONE

INSTRUMENTAL AND CHAMBER MUSIC Eileen Joyce (piano), Temianka (violin) and Antoni Sala ('cello) : Trio in D minor, Op. 32 (Arensky). Parlo. E11386-8 (three 12 in., 12s.).
At the eleventh hour I receive this delectable recording, and with the Scherzo movement cracked ! Nothing daunted, I pieced it together as well as was possible and could hear that the enthusiasm and brilliance of the performance might well have cracked it ! The D minor Trio used to be one of the most popular works in its particular form but now it seems to have dropped out of the repertory. I have not myself heard it for many years. The anti-romantics, as Mr. Cobbctt suggests, have no good words for it : but as most of us are romantic at heart this music will always have its welcome. To quote Cobbett again " music by such composers as Arensky, at chosen moments, will always prove attractive to those who think that sensuous beauty has its place in art." Unlike some other Russian composers, Arensky is aware that he is a minaturist and knows when to stop. This is a great virtue. From the opening theme of the First Movement —which, by chance, resembles Drdla's well-known Serenade, in its melodic shape—to the end of the work, Arensky gives us an abundance of charming and, in the Elegy, touching melodies. But if his writing is sensuous it has also plenty vigour, and, in the Scherzo, humour. There is a beautiful moment in the Finale when, after a sudden pause in its energetic course, Arensky unexpectedly writes a long slow coda, which contains allusions to the second theme of the Slow Movement and to the opening theme of the First Movement.
Perhaps the most richly sensuous piece of writing comes in the Trio of the Scherzo—huge luscious chords for the piano and en a most beguiling,waltz theme.
The work is dedicated to the memory of Karl Davidof, a famous Russian cellist, and gives that instrument many rewarding passages. Appropriately the cellist starts the lovely tune of the Elegy (second movement) but the distribution of melodic interest is very fairly done and everyone is well provided for.
Mr. Sala's rich tone is well matched with the sweetness and purity of Temianka's and these two achieve an excellent balance with Miss Joyce, though very occasionally, in the Finale, she seems a bit too strong in tone. Her own performance is most brilliant—in such sections as the up-and-down whirls in the Scherzo—and appealing. Full of vital energy and compelling enthusiasm, it is yet tender and subdued where necessary.
The recording, of great excellence all through, is really wonderful in the Scherzo. Here, then, is a notable recording—apparently the first complete one—and a notable first partnership in a work which will delight all but the frozen of heart. The first movement is complete on Ei 1386. Arensky has written another Trio (F minor) which is said to be more characteristic, and a fine piano quintet. I recall also some pleasant works for two pianos and for solo piano. Companies kindly note !

Henri Temianka (19 November 1906 in Greenock, Scotland – 7 November 1992 in Los Angeles) was a virtuoso violinist, conductor, author and music educator.[1]

[edit] Early years
Henri Temianka, London, c.1932Henri Temianka was born in Scotland of Polish-Jewish parents. He studied violin with Carel Blitz in Rotterdam from 1915 to 1923, with Willy Hess at the National Conservatory in Berlin from 1923 to 1924, and with Jules Boucherit in Paris from 1924 to 1926. He then enrolled at the Curtis Institute of Music in Philadelphia, where he studied violin with Carl Flesch, who reported of him in 1927, “Was brought over by me. First class technical talent, somewhat sleepy personality, has still to awake.” In 1928, Flesch said, “His violinistic personality is for the moment still above his human one. Life shall be his best teacher in this regard.”[2] Later he stated, "...he has made an intensive study of my method of teaching, of which I consider him the best exponent in England." In his memoirs he said, "...there was above all Henry [sic] Temianka, who did great credit to the Institute: both musically and technically, he possessed a model collection of talents."[3] Temianka's playing was further influenced by Eugène Ysaÿe, Jacques Thibaud and Bronis?aw Huberman. He also studied conducting with Artur Rodzi?ski at Curtis, and became its first graduate in 1930.[4]

[edit] CareerAfter a brilliant New York debut in 1928, described by Olin Downes in The New York Times as “one of the finest accomplishments in years,” Temianka returned to Europe and rapidly established himself as one of the era’s foremost concert violinists. He made extensive concert tours through almost every country in Europe and appeared with major orchestras both in Europe and the U.S. under conductors including Pierre Monteux (who gave him his first Paris appearance), Sir John Barbirolli, Sir Adrian Boult, Fritz Reiner, Sir Henry J. Wood, George Szell, Otto Klemperer, Dimitri Mitropoulos, and William Steinberg. In Leningrad he was engaged for a single performance, but his virtuosity was so impressive that he was retained for five performances with five complete programs within a week.

In 1935 he won third prize in the first Henryk Wieniawski Violin Competition in Warsaw, Poland; Ginette Neveu took first prize, and David Oistrakh second. In that year he also premiered a suite that the then-unknown Benjamin Britten had written for him and pianist Betty Humby, and performed music by Sergei Prokofiev, with the composer at the piano in Moscow; and Ralph Vaughan Williams conducted his violin concerto for him in London. In 1936 he founded the Temianka Chamber Orchestra in London. He was the concertmaster of the Scottish Orchestra from 1937 to 1938. He gave his first concert in Los Angeles, a violin recital, at the Wilshire Ebell in 1940. From 1941 to 1942 he was the concertmaster of the Pittsburgh Symphony under Fritz Reiner, performing as soloist in concertos including the Beethoven and Mozart A major.

His appearances as violin soloist and guest conductor in Europe and both North and South America were interrupted by World War II, during which he became a senior editor in the U.S. Office of War Information. Because of his fluency in four languages (English, French, German and Dutch), he translated and edited sensitive documents.[5] Through a combination of his bureaucratic connections there and contacts from his international performing career, and with assistance from HIAS, he was able to secure the release of his parents from the Nazi concentration camp in Gurs, France, in 1941. However, upon arriving in Spain, they were thrown in jail by Franco’s police. Temianka recalled that a concert he had given in Madrid in 1935 had been attended by a powerful Spanish aristocrat and president of the Bilbao Philharmonic Society, Ignacio de Gortazar y Manso de Velasco,[6] the 19th Count of Superunda (see also José Manso de Velasco, 1st Count of Superunda). The Count personally escorted Temianka’s parents from jail to his mansion, and then arranged for their passage by ship to Cuba and the United States, where they became citizens. Temianka described these remarkable events in his second book Chance Encounters (not yet published).

In 1945 he performed at Carnegie Hall. Over the next 45 years he made appearances in more than 3,000 concerts in 30 countries, with some 500 concerts in the Los Angeles metropolitan area alone, appearing as violin soloist, conductor of the California Chamber Symphony, first violinist of the Paganini Quartet, and in remarkable chamber music recitals such as Beethoven and Bach violin sonata cycles with pianists Lili Kraus, Leonard Pennario, Rudolf Firkušný, George Szell and Anthony Newman. He performed the Bach Double Violin Concerto with David Oistrakh, Yehudi Menuhin, Henryk Szeryng and Jack Benny. His chamber groups performed at the Dorothy Chandler Pavilion of the Los Angeles Music Center and the Mark Taper Forum. In the 1980s his California Chamber Virtuosi gave concerts at Pepperdine University and at the J. Paul Getty Museum in Malibu, California.

As an avid chamber music player, Temianka hosted frequent private musical evenings in his Los Angeles home, playing with the likes of Yehudi Menuhin, Jascha Heifetz, Isaac Stern, Joseph Szigeti, David Oistrakh, Henryk Szeryng, Leonard Pennario, William Primrose, Gregor Piatigorsky, Jean-Pierre Rampal and other luminaries. Temianka was equally adept on the viola as the violin, and sometimes played it during these evenings, as well as in concert in 1962 with Isaac Stern in a performance of Mozart's Sinfonia Concertante (which he also performed on violin with William Primrose on viola).

In 1980 the Grove Dictionary of Music and Musicians said of Temianka that he was "...known for his flawless mastery of his instrument, a pure and expressive tone, and forceful yet elegant interpretations."

[edit] The Paganini QuartetTemianka founded the Paganini Quartet in 1946. The quartet drew its name from the fact that all four of its instruments, made by Antonio Stradivari (1644–1737), had once been owned by the Italian virtuoso violinist and composer Niccolò Paganini (1782–1840). The other original members were Gustave Rosseels, second violin; Robert Courte, viola; and Robert Maas, cello. Subsequent members included Charles Libove, Stefan Krayk and Harris Goldman, violin; Charles Foidart, David Schwartz and Albert Gillis, viola; and Adolphe Frezin and Lucien Laporte, cello.

The quartet made its world debut at the University of California at Berkeley. Critic Alfred Frankenstein wrote in the San Francisco Chronicle on 11 November 1946, "Perhaps never before has one heard a string quartet with so rich, mellow and superbly polished a tone."

During its 20-year international career, the Paganini Quartet concertized continuously in large cities and small towns throughout the United States, as well as in famous concert halls around the world. In 1946-47 they played all the Beethoven string quartets in concert at the Library of Congress. (In that series Temianka also performed all the Beethoven violin sonatas with pianist Leonard Shure.) At Mills College in 1949, the Paganini and Budapest Quartets presented the world premiere of Darius Milhaud's 14th and 15th string quartets, followed by the two groups' performance of both works simultaneously as an octet.

In subsequent years they made joint appearances with Arthur Rubinstein, Andrés Segovia, Claudio Arrau and Gary Graffman. The quartet recorded many of the Beethoven quartets as well as those of Gabriel Fauré, Giuseppe Verdi, Claude Debussy, Maurice Ravel and others. They also played the world premieres of works by Darius Milhaud, Mario Castelnuovo-Tedesco and Benjamin Lees.

[edit] The California Chamber Symphony (CCS)In 1960 Temianka founded and conducted a chamber orchestra based at Royce Hall, UCLA, the California Chamber Symphony. The orchestra gave more than 100 concerts over the ensuing 23 years, including premieres of major works by such major composers as Aaron Copland, Dmitri Shostakovich, Darius Milhaud, Alberto Ginastera, William Schuman, Gian Carlo Menotti, Malcolm Arnold and Carlos Chávez. Soloists who performed with the CCS under Temianka's direction included David Oistrakh, Jean-Pierre Rampal and Benny Goodman.

Temianka broke tradition by speaking to his audiences from the stage about the music and composers. (For this reason the series was originally titled "Let's Talk Music".) He created a “Concerts for Youth” series and also brought music to hospitals, prisons, and schools for the handicapped. He recognized and was in many instances responsible for the first appearances of a number of rising musicians, including Christopher Parkening, Jeffrey Kahane, Nathaniel Rosen, Paul Shenley, Timothy Landauer, Daniel Heifetz, and the Romero family of guitarists from Spain. He also made a number of major television appearances with the CCS, and appeared as conductor with other orchestras including the Los Angeles Philharmonic and Buenos Aires Philharmonic.

Unique concerts given under the auspices of the CCS included the opera Noye's Fludde by Benjamin Britten, in which hundreds of children participated; a "Monster Concert", in which 12 Steinway pianos and 36 pianists were brought on stage for pieces by Louis Moreau Gottschalk and others; Alberto Ginastera's Cantata para America Magica, an extraordinary work based on pre-Columbian Latin American songs and scored for soprano and 53 percussion instruments; and Christus Apollo, a cantata written by Jerry Goldsmith, based on a text by Ray Bradbury and narrated by Charlton Heston.

[edit] ViolinsIn the 1930s Temianka played a Silvestre violin, with which he made his early Vintage recordings, and subsequently a Januarius Gagliano and a Carlo Bergonzi.[7] The Stradivari he played during the years of the Paganini Quartet was the "Comte Cozio di Salabue" of 1727.[8] It is now played by Martin Beaver, first violinist of the Tokyo String Quartet, which has played since 1995 on the same quartet of Stradivari instruments once owned by Paganini. These remarkable instruments—the viola had inspired Paganini to commission Hector Berlioz's Harold en Italie -- were also played by the Cleveland Quartet for almost 15 years, beginning in 1982, and are presently owned by Nippon Music Foundation of Japan, after deacquisition by the Corcoran Gallery in the mid-1990s for $15 million.[9] When the years of the Paganini Quartet came to an end, Temianka played a Michelangelo Bergonzi of 1759. His recordings of the Handel Sonatas were made on an Andrea Guarneri of 1687.

[edit] HonorsPepperdine Honorary Doctorate 1986.

French Officier des Arts et des Lettres 1979.

American String Teachers Assoc.: Distinguished Teacher Award 1970 and Distinguished Service Award 1989.

Gramophone Award 1947 (for recordings of Beethoven "Rasumofsky" quartets).

Resolutions by the California Legislature, County of Los Angeles and City of Los Angeles.

Franklin S. Harris Fine Arts Award at Brigham Young University 1977.

[edit] StudentsHenri Temianka's students included Leo Berlin (who became concertmaster of the Stockholm Philharmonic), Nina Bodnar (who won the 1982 Thibaud International Competition in Paris), Amalia Castillo, Alison Dalton, Marilyn Doty, Eugene Fodor, Michael Mann, Dolores Miller, Phyllis Moad, Karen Tuttle (who later became a violist) and Camilla Wicks.

[edit] Other activitiesTemianka was a visiting professor and guest lecturer at many universities in the United States and abroad, including the Universities of California, Kansas, Illinois, Michigan, Colorado, Toronto, Southern California and the Osaka Music Academy of Japan. He held professorships at University of California, Santa Barbara (1960–64) and Long Beach State College (now California State University, Long Beach) (1964–76). He also taught master classes at various universities including Brigham Young in Utah, and produced films in music education.

[edit] Quotations“You have a choice: to create, or not to create.”

“The happiest times have always been when we have chamber music at our house—veritable orgies of informal music-making, gastronomy, and story-swapping, with everybody in shirtsleeves. The warmth of musical and human empathy is unique. As we play, unrehearsed, a quartet of Beethoven or Mozart, there are extraordinary flashes of insight, thrilling moments of truth when we share the same concept of an exquisite phrase, sculpt the same melodic line, linger and savor the same ritardando or diminuendo. In those moments we spontaneously look up from our music, exchanging ecstatic smiles and glances. It is a level of spiritual communication granted few human beings.” -- from Facing the Music.[10]

[edit] RecordingsIn the 1930s Temianka made solo recordings, mostly on the Parlophone label, of works by Henryk Wieniawski, Gaetano Pugnani, Franz Schubert, Robert Schumann, Johann Sebastian Bach, Karol Szymanowski, Pablo de Sarasate, Camille Saint-Saëns, Anton Arensky, Jean Sibelius and Frank Bridge. In The Book of the Violin,[11] Dominic Gill appraised Temianka’s recording of the Schubert Rondo in A, D.438, as follows: “The divine playing of this work in 1937 by Henri Temianka stands out as a pinnacle among the great violin recordings of all time.” All of these recordings were reissued on CD by Biddulph Recordings in 1992.

In the LP era, he recorded sonatas by George Frideric Handel, Édouard Lalo, Vincent d'Indy, Edvard Grieg and Antonín Dvo?ák, and the Tchaikovsky Piano Trio in A minor.

With the Paganini Quartet, he recorded many of the Beethoven string quartets, Joseph Haydn's “Emperor” and Mozart’s “Dissonant” quartets, and quartets by Britten, Debussy, Ravel, Schumann, Verdi, Ginastera, Lajhta, and Benjamin Lees; the Schumann Piano Quintet and Fauré Piano Quartet No. 1 with Arthur Rubinstein (reissued on BMG CD in 1999); and the Brahms Piano Quintet with Ralph Votapek.

He also appeared as violin soloist in a 1941 recording of Richard Strauss’s Don Quixote by the Pittsburgh Symphony under Fritz Reiner, featuring cellist Gregor Piatigorsky. Conducting the Los Angeles Percussion Ensemble, he recorded Ginastera’s Cantata para America Magica and Carlos Chavez’s Toccata for Percussion Instruments for Columbia Records.

Eileen Alannah Joyce CMG (1 January 1908 – 25 March 1991) was an Australian pianist whose career spanned more than 30 years. She lived in England in her adult years.
Her recordings made her popular internationally (less so in the USA) in the 1930s and 1940s, particularly during World War II; at her zenith she was compared in popular esteem with Gracie Fields and Vera Lynn.[1] When she played in Berlin in 1947 with the Berlin Philharmonic Orchestra, an eminent German critic classed her with Clara Schumann, Sophie Menter and Teresa Carreño.[2] When she performed in the United States in 1950, Irving Kolodin called her "the world's greatest unknown pianist".[3] She became even better known during the 1950s, when she played 50 recitals a year in London alone, which were always sold out.[3] She also performed a series of "Marathon Concerts", playing as many as four concertos in a single evening. Her Mozart was described as "of impeccable taste and feeling", she was a Bach player "of commanding authority", and "a Lisztian of both poetry and bravura".[3] Her playing of the second movement of Rachmaninoff's 2nd Piano Concerto in the films Brief Encounter and The Seventh Veil (both 1945) helped popularise the work. A 1950 biography of Eileen Joyce's early life became a best-seller and was translated into various languages;[2] a feature film Wherever She Goes (1951) was based on the book, but was much less successful.
Despite her fame, her name slipped from public sight after her retirement in the early 1960s.

Eileen Joyce was born in Zeehan, a mining town in Tasmania. She was born in Zeehan District Hospital and not, as many reference works claim, in a tent.[4] She frequently claimed her birthday was 21 November in either 1910 or 1912,[5] but a search of Tasmanian birth registrations shows she was born on 1 January 1908.[4] She was the fourth of seven children of Joseph Thomas Joyce (born 1875), son of an Irish immigrant, and Alice Gertrude May.[6] One of her three elder sisters (all born in Zeehan) died shortly after birth, and one of her three younger brothers died at age two.[7]
The family had moved to Western Australia by 1911. They lived firstly in Kununoppin and later in Boulder.[4] Despite their poverty, her parents encouraged her musical development and she began music lessons at age 10.[7] She attended St Joseph's Convent School in Boulder where she was taught music by Sister Mary Monica Butler. When she was aged 13, her family's financial circumstances meant that Eileen had to leave school. However, they managed to find enough money to pay for piano lessons with a private teacher, Rosetta Spriggs (a great-grandpupil of Antonín Dvo?ák). She made Eileen known to a visiting Trinity College examiner, Charles Schilsky, a former violinist with the Lamoureux Orchestra in Paris. Schilsky was extremely impressed with Eileen: he later wrote "There is no word to explain Miss Joyce's playing other than genius. She is the biggest genius I have ever met throughout my travels". He approached the Roman Catholic Archbishop of Perth and arranged for Eileen to be sent to Loreto Convent in Claremont, Perth, to continue her schooling. Her music teacher there was Sister John More. She entered the 1925 and 1926 Perth Eisteddfods, winning the Grand Championship in 1926. Schilsky continued to make her name known, and wrote a long letter to the Perth newspapers urging her to be sent to Paris to study. In May 1926, the Premier of Western Australia Philip Collier set up an "Eileen Joyce Fund" with the aim of collecting ?1,000 to help Eileen's future career. In August 1926, Percy Grainger, on a concert tour, was introduced to Eileen Joyce by Sister John More. He heard her play, and then wrote an open letter to the people of Perth: "I have heard Eileen Joyce play and have no hesitation in saying that she is in every way the most transcendentally gifted young piano student I have heard in the last twenty-five years. Her playing has that melt of tone, that elasticity of expression that is, I find, typical of young Australian talents, and is so rare elsewhere".[8] He suggested she would have the same celebrity as Teresa Carreño and Guiomar Novaes.[4] Grainger recommended she study with an Australian master so that her playing would not become "Europeanised" or "Continentalised", and in his view Ernest Hutcheson, then teaching in New York, was the best choice.[4] A short time after Grainger left, Wilhelm Backhaus arrived for a tour of Western Australia. He also heard her and suggested the Leipzig Conservatorium, then regarded as the mecca of piano teaching, would be more suitable (Hutcheson himself had studied there).[4]
From 1927 to 1929 she studied at the Leipzig Conservatorium, firstly with Max Pauer and later with Robert Teichmüller. Here she learned unusual repertoire such as Max Reger's Piano Concerto and Richard Strauss's Burleske in D minor. She then went to the Royal College of Music in London where, with assistance from Myra Hess, she studied under Tobias Matthay. She also had lessons with Adelina de Lara for a short period in 1931.[7]
On 6 September 1930 she made her professional debut in London at a Henry Wood Promenade Concert, playing Prokofiev's Piano Concerto No. 3. Her first solo recital in England was on 23 March 1931, the day her famous compatriot Dame Nellie Melba died in Sydney.[9] In 1932 she attended Artur Schnabel's masterclasses in Berlin for two weeks.[7]
In 1933, she made the first of her many recordings. This session produced Franz Liszt's Etude de Concert in F minor and Paul de Schlözer's Etude in A flat, Op. 1, No. 2.[7] Her recording of the latter piece can be heard on this YouTube link.
In 1934, for the Proms' 40th season, she played Busoni's Indianische Fantasie.[6] She became one of the BBC’s most regular broadcasting artists, as well as being in demand for concert tours in the provinces. In 1935, she was a supporting artist for Richard Tauber.
Eileen Joyce was the first pianist to play Shostakovich's piano concertos in Britain - the First on 4 January 1936, with the BBC Symphony Orchestra under Sir Henry Wood; and the Second on 5 September 1958, with the same orchestra under Sir Malcolm Sargent, at the Albert Hall.[7]
In 1938, Eric Fenby said he was thinking of writing a concerto for her, but this did not happen.[7] On 18 July 1940, the London Philharmonic Orchestra (LPO) presented a "Musical Manifesto" concert to raise funds, after its founder, Sir Thomas Beecham, said he could no longer afford to fund it. The author J. B. Priestley, a long time supporter of the orchestra, made a speech, which was widely publicised and which helped attract public support. Three conductors – Sir Adrian Boult, Basil Cameron and Malcolm Sargent - took part, and Eileen Joyce played Grieg's Piano Concerto in A minor (under Cameron's direction).[10] During the war she performed regularly with Sargent and the LPO, especially in blitzed areas. She was a frequent performer in Jack Hylton's "Blitz Tours" during the war,[11] and she appeared regularly at the National Gallery concerts organised by Dame Myra Hess.[12]
Though small in stature, Joyce was strikingly beautiful, with chestnut hair and green eyes. Because of a then-common prejudice against pianists with British-sounding names, her advisors had long urged her to adopt a name with a continental flavour, but she stubbornly refused.[8] Perhaps partly in compensation, but perhaps simply as a natural expression of herself, she enjoyed and exploited the glamour of celebrity. She changed her evening gowns to suit the music she was playing: blue for Beethoven,[11] red for Tchaikovsky,[8] lilac for Liszt, black for Bach, green for Chopin, sequins for Debussy, and red and gold for Schumann.[2][13] She also arranged her hair differently depending on the composer - up for Beethoven,[13] falling free for Grieg and Debussy,[13] and drawn back for Mozart.[8] The critics sneered, but her audiences loved it. Up until 1940 she designed her own gowns, but in August she volunteered as a firewatcher, which revived her chronic rheumatism, so on the LPO tours she had to wear a plaster cast encasing her shoulder and back. She bought gowns specially designed by Norman Hartnell to cover the cast, and she often wore Hartnell thereafter.[7] Richard Bonynge was a music student in Sydney during her 1948 tour, and he said: "She brought such glamour to the concert stage. We all used to flock to her concerts, not least because of the extraordinary amount of cleavage she used to show!".[8]
She had numerous recital programs and over 70 concertos in her repertoire, including such unusual works as the Piano Concerto in E flat by John Ireland and Rimsky-Korsakov's concerto. In 1940 she made the first recording of the Ireland concerto, with the Hallé Orchestra under Leslie Heward,[7] and was chosen to play it at a 1949 Proms concert celebrating Ireland's 70th birthday, with the LPO under Sir Adrian Boult.[6] This performance was also recorded and released commercially.[7]
However, there were three concertos that Eileen Joyce played more than any others, and were her firm favourites: the Grieg Piano Concerto in A minor, the Tchaikovsky Piano Concerto No. 1, and most of all, the Rachmaninoff Piano Concerto No. 2. She never played any other Rachmaninoff concertos. She studied the 3rd Concerto but, far from being unable to play it, she simply did not like it.
She appeared with all the principal UK orchestras as well as many overseas orchestras. She toured Australia in 1936, during which she was the soloist at the Adelaide Symphony Orchestra's first Celebrity Concert, conducted by William Cade;[14] and in 1948, during which she performed the Grieg concerto at the gala opening concert of the Tasmanian Symphony Orchestra, under Joseph Post.[7][15] In June 1947 she appeared at Harringay Arena in the Harringay Music Festival with Sir Malcolm Sargent.[16] She had planned to tour the United States in 1940 and 1948, but both tours were cancelled, the first one on account of the war. She finally appeared in Philadelphia and Carnegie Hall, New York in 1950, with the Philadelphia Orchestra under Eugene Ormandy (she had earlier appeared with them in Britain in 1948, on the orchestra's first major overseas tour). While her Philadelphia concerts attracted excellent reviews, the New York critics were much less impressed. This was possibly due to the conservative repertoire she chose on Ormandy's strong advice (Beethoven's "Emperor" Concerto and Prokofiev's 3rd), rather than the works she would prefer to have played (the Grieg concerto, Rachmaninoff's 2nd and Tchaikovsky’s 1st). She was never particularly popular or even well-known in the United States, and she never returned.
Her other tours abroad were to New Zealand in 1936 and 1958; France in 1947; the Netherlands in 1947 and 1951; Germany in 1947 (where she played for Allied troops; she was the first British artist for more than a decade to give concerts with the Berlin Philharmonic Orchestra),[2] 1949 and 1958; Italy in 1948; Belgium in 1950 and 1952; South Africa in 1950; Norway in 1950 (she had planned to tour Sweden on this trip, but she fell down a flight of stairs after performing the Grieg concerto in Oslo, and the remainder of her trip was cancelled); she did, however, visit Sweden in 1951 and 1954; Yugoslavia in 1951, visiting Belgrade (now in Serbia), Zagreb (now in Croatia), and Ljubljana (now in Slovenia); Brazil and Argentina in 1952; Finland in 1952; Spain and Portugal in 1954; the Soviet Union in 1956 and 1958; Denmark and other Scandinavian countries in 1958; and India and Hong Kong in 1960.
In November 1948, Eileen Joyce broke the previous record of 17 appearances at London's Royal Albert Hall in a single calendar year.[2] She had often performed two concertos in a single concert, and in the late 1940s and early 1950s she gave a series of "Marathon Concerts", in which she played up to four concertos in a single evening. For example, on 10 December 1948, in Birmingham, she played César Franck’s Symphonic Variations, Manuel de Falla’s Nights in the Gardens of Spain, Dohnányi’s Variations on a Nursery Tune and Grieg’s Piano Concerto in A minor. On 6 May 1951 at the Royal Albert Hall she performed Haydn’s D minor Harpsichord Concerto, Tchaikovsky’s Piano Concerto No. 1, John Ireland’s Concerto in E flat, and Grieg’s concerto, with the Philharmonia Orchestra, under conductor Milan Horvat.[7] On another occasion, she played Chopin's Piano Concerto No. 1, Rachmaninoff's Piano Concerto No. 2, John Ireland's concerto and Beethoven's "Emperor" Concerto.[6]
She expressed a new-found interest in the harpsichord, receiving lessons from Thomas Goff, and in 1950 she gave the first of a number of harpsichord recitals. In the 1950s she also gave a series of concerts featuring four harpsichords, her colleagues including players such as George Malcolm, Thurston Dart, Denis Vaughan, Simon Preston, Raymond Leppard, Geoffrey Parsons and Valda Aveling.[7]
In 1956 she was Gerard Hoffnung's first choice as soloist in Franz Reizenstein's Concerto Popolare, to be played at the inaugural Hoffnung Music Festival. She declined, and the job went to Yvonne Arnaud. She appeared as soloist at Sir Colin Davis's debut as a conductor, with the Royal Philharmonic Orchestra (RPO), on 22 September 1957, playing Tchaikovsky's Concerto No. 1.[7] On 28 November 1957, she participated in the premiere performance of Malcolm Arnold’s Toy Symphony, Op. 62, at a fund-raising dinner for the Musicians Benevolent Fund. This work has parts for 12 toy instruments, which were taken by Eileen Joyce, Eric Coates, Thomas Armstrong, Astra Desmond, Gerard Hoffnung, Joseph Cooper, and other prominent people, all conducted by the composer.[10][17]
In 1960, during her tour of India, her Delhi recital was attended by the Prime Minister, Jawaharlal Nehru. During that tour, which also included Hong Kong, she announced she was retiring, and her final recital was at a festival in Stirling, Scotland on 18 May 1960, where she played two sonatas by Domenico Scarlatti, Beethoven's Appassionata sonata, and works by Mendelssohn, Debussy, Chopin, Ravel, Granados and Liszt. She did, however, return to the concert platform a handful of times over the next 21 years, the first not until 1967, when she played Rachmaninoff's Piano Concerto No. 2 with the RPO conducted by Anatole Fistoulari, at the Royal Albert Hall.[6] This was the work that had made her famous in the film Brief Encounter in 1945, and it was to be her last concerto performance. Also in 1967 she appeared with three other harpsichordists and the Academy of St Martin in the Fields under Neville Marriner. In 1967 she started to foster the career of the ten-year-old Terence Judd. In 1969 she appeared alongside fellow Australian pianist Geoffrey Parsons in a two-piano recital at Australia House, London. In 1979 she gave a two-piano recital with Philip Fowke. She appeared again with Geoffrey Parsons on 29 November 1981 at a fund-raising concert at the Royal Opera House, Covent Garden.[9] This proved to be her very last appearance as a pianist (another one was scheduled in 1988 but had to be cancelled).[18]
In August 1981 Eileen Joyce served on the jury of the 2nd Sydney International Piano Competition of Australia (SIPCA), alongside Rex Hobcroft, Cécile Ousset, Abbey Simon, Claude Frank, and Roger Woodward. In 1985 she conducted preliminary auditions in London for the 3rd SIPCA, and attended the competition in Sydney as Music Patron and deputy chairman of the jury. She gave Rex Hobcroft an anonymous donation of $20,000 for the competition.[7] She was also Music Patron for the 4th SIPCA in 1988.[19]
On 21 March 1991 she fell in her bathroom, fracturing her hip. She was taken to East Surrey Hospital, where she died on 25 March. On 8 April she was cremated and her ashes were interred at St Peter's Anglican Church, Limpsfield, next to Sir Thomas Beecham.[4] On 7 June, a memorial service was conducted at St Peter's Church.[7] Other musicians also interred at the same churchyard are Frederick Delius and his wife, Norman Del Mar,[20] Jack Brymer and Beatrice Harrison.[21]
[edit]Conductors

The list of conductors with whom Eileen Joyce worked includes: Ernest Ansermet, Sir John Barbirolli, Sir Thomas Beecham, Eduard van Beinum, Sir Adrian Boult, Warwick Braithwaite, Basil Cameron, Sergiu Celibidache, Albert Coates, Sir Colin Davis, Norman Del Mar, Anatole Fistoulari, Grzegorz Fitelberg, Sir Alexander Gibson, Sir Dan Godfrey, Sir Hamilton Harty, Sir Bernard Heinze, Milan Horvat, Enrique Jordá, Herbert von Karajan, Erich Kleiber, Henry Krips, Constant Lambert, Erich Leinsdorf, Igor Markevitch, Sir Neville Marriner, Jean Martinon, Charles Münch, Eugene Ormandy, Joseph Post, Victor de Sabata, Sir Malcolm Sargent, Carlos Surinach, and Sir Henry J. Wood.
In a 1969 interview she said the greatest conductor she had ever worked with was Sergiu Celibidache.[7] She said "he was the only one who got inside my soul". In the late 1940s and 1950s, she and her partner Christopher Mann worked tirelessly to get Celibidache good engagements in Britain.
[edit]Work in film

With her partner Christopher Mann's influence, Eileen Joyce contributed to the soundtracks of a number of films. She is best known as the soloist in Rachmaninoff's Piano Concerto No. 2, used to great effect in David Lean's film Brief Encounter (1945).
She also provided the playing for the piano music in the 1945 film The Seventh Veil, but this was uncredited in the film. This music again included the Rachmaninoff 2nd Concerto, and also Grieg's Concerto in A minor; as well as solo pieces by Mozart, Chopin and Beethoven (the slow movement of the Pathétique Sonata assumed a particular importance in the film).
She appeared in Battle for Music, [1] a 1945 docu-drama about the struggles of the London Philharmonic Orchestra during the war, in which a number of prominent composers and performers appeared as themselves.[7]
Arthur Bliss’s music for the 1946 film Men of Two Worlds[2] (released in the USA as Kisenga, Man of Africa, and re-released as Witch Doctor) includes a section for piano, male voices and orchestra, titled "Baraza", which Bliss said was "a conversation between an African Chief and his head men". Eileen Joyce played this for the film, with Muir Mathieson conducting. Bliss also wrote this out as a stand-alone concert piece, which Eileen Joyce both premiered in 1945 and recorded in 1946. This recording was more favourably received than the film was.[22][23]
She was in the 1946 British film A Girl in a Million, [3] in which she plays a part of Franck's Symphonic Variations. In 1947, her playing of Schubert's Impromptu in E flat is heard in the segment "The Alien Corn" in the Dirk Bogarde film Quartet.[7] She was also seen as herself in Trent's Last Case (1952), playing Mozart's C minor Concerto, K. 491 at the Royal Opera House with an orchestra under Anthony Collins.[7]
Prelude: The Early Life of Eileen Joyce by Lady Clare Hoskyns-Abrahall was a best-selling 1950 biography that was translated into several languages as well as Braille. While it told the main elements of her story, it was in places ludicrously fictionalised. It was dramatised for radio in the UK, Australia, New Zealand, the Netherlands, South Africa, Norway and Sweden.[2] Wherever She Goes was a 1951 black-and-white feature film based on the book, directed by Michael Gordon. It was shot on location in Australia. Eileen Joyce's character was played by Suzanne Parrett (in the only film she ever made[24]), and Parrett's performance double was Pamela Page. Eileen Joyce briefly appears as herself at the start and end of the film, playing the Grieg concerto. The film was much less successful than the book on which it was based, although it was one of the very few Australian films made before 1970 to be given a (limited) release in New York.[25]

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 Quick NOTE ON GRADING AND SHIPPING:

As you can see from my feedback, I try hard to earn your POSITIVE FEEDBACK and FIVE STAR RATINGS.

If for any reason your transaction was NOT SATISFACTORY, pls contact me and I will work something out with you. YOU WILL NEVER HAVE A REASON TO GIVE ME A NEGATIVE RATING or a LOW STAR RATING.

Quick note on grading:

The Grade (Excellent to Fair, I don't give Mint) refers to the WEAR of the record. Any other defects are stated separately, when prefaced with "HOWEVER" or "BUT" they will be significant.

When I listen to a record, I may also give it an aural grade (again E to F), and make a SUBJECTIVE judgment of the pressing quality for hiss and surface noise.
"SUPERQUIET" is basically noiseless, like a vinyl pressing.
"VERY QUIET" is an exceptionally quiet record for a given pressing.
"Quiet" is a record that is a great example without undue noise for a give pressing.

These judgments are SUBJECTIVE and will depend one the styli, phonograph etc. you use on your own equipment.

Pls check my other auctions for more great records and phonograph items:

Some items will come on-line later this week. Pls check again my auctions for more great items after Thursday Dec 1, 8:30 pm PST

http://shop.ebay.com/carsten_sf/m.html

http://shop.ebay.com/carsten_sf/m.html

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This is WEEK 2 of THREE consecutive weeks of auctions.

I am happy to hold your items and bill you at the end of the auction cycle. Pls send me a note if you would like me to hold records

Multiple item shipping: I am happy to combine items for shipment in one parcel.

If you win multiple items, pls send me an INVOICE REQUEST to calculate the correct postage. Ebay check out will not give you the multiple item discount!

Records will be packed safely between corrugated cardboard in a sturdy box with plenty of padding for safe shipment.

Shipment is usually Media Mail, unless another service is requested. Shipping is at your risk.

I charge actual postage plus a small fee for packing materials

As always, I guarantee your satisfaction. If you don't like the item, just return it, and I will refund the full purchase price.

If you are in the San Francisco area, I encourage pick-up in person.

EBAY NOW CHARGES 9% on all SHIPPING CHARGES
Also, USPS has increased postal rates. Since I am always shipping at cost, I am sorry to say that after keeping my shipping rates stable for 5 years, I unfortunately now have to increase the prices.

However, if you are interested in lowering you shipping cost, pls send me a message, and I may be able to arrange for better rates !!!

Here a quick breakdown of my costs, you see that due to the new Ebay policy you will pay anywhere from $.50 to $.80 in additional Ebay fees on the first record

US Domestic Shipping:

Here is a guideline for US Media Mail Shipping:

Prices below are for regular 78 rpm records. Up to about 5 records, I will ship Edison Discs for the same rates. Albums from Album Sets count as 1 record. Above that and for international shipments, it will be actual weight plus a small packing charge (1-3$ depending on size of shipment)

1 record: 4.75$

2 records: 5.75$

5 records: 7.50$

10 records: 9.50$

MANY MORE RECORDS: Don't worry. I safely ship 40 - 50 pounds of records double boxed in moving boxes, and even then Media Mail will probably not exceed 30$.

The numbers above include the 9% Ebay fee on shipments.
Pls ignore the automatically calculated prices on the ebay site, as I will weigh every parcel and charge based on actual weight.

Please send me a message if you would like to lower your shipping rates!

International Buyers:

All'attenzione degli acquirenti italiani:

ATTENTION TO ITALIAN BUYERS:

Due to rare problems with delivery in ITALY, I will NOT GUARANTEE delivery of parcels sent by US Postal Service First Class and Priority Mail. If you prefer secure delivery, I will be happy to quote you either Registered Mail or shipment by FEDEX

I am very happy to ship records worldwide.

Prices below are for regular 78 rpm records. For Edison Discs in  international shipments, it will charge for the actual weight plus a small packing charge (1-2$) - for small quantities, it will not be much different from the charge for regular 78s.

Pls contact me for a shipping estimate, or send me an invoice request after close of auction.

Be aware that US Postal Rates can be high. Here are some examples.

Your best bet is the Large Priority box, everything that fits into a 12"x12"x5 1/2" box up to 20 pounds ships for 60$ (35$ Canada) worldwide.

However, I can get competitive rates from FedEx and the US Postal service for any kind of parcel weight

Africa, Eastern Asia and Japan as well as Europe

1 record = 2 lbs $25 - $28

4 lbs = $37

20 lbs or all that fits into a 12"x12"x 5 1/2" box ((12" albums won't fit)= $60

I may be able to get some better FedEx rates.
Pls email with your address for an estimate.

Canada

1 record = 2 lbs $ 11 - $13

4 lbs = 22$
20 lbs or all that fits into a 12"x12"x 5 1/2" (12" albums won't fit)= $38
I may be able to get some better FedEx rates.
Pls email with your address for an estimate.

AND AGAIN -THANK YOU FOR YOUR INTEREST

As you can see from my feedback, I take great care in presenting, grading and shipping your items. I really want you to be happy with the purchase. If you feel that anything is wrong with the item or the shipping, contact me and we will work it out !!!

Pls contact me with your country, home town and postal code before bidding for an estimate.

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As always, I would appreciate any suggestions and corrections from you, pls contact me with any question.

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