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The playing of Belgian violinist Arthur Grumiaux (1921-1986) did not display the propulsion and thrust of a Heifetz, the enveloping warmth of an Oistrakh, or the sensuality of a Perlman. But more than 150 recordings, almost all of them for Philips, secured Grumiaux's place in posterity long ago. His sound in Mozart sonatas and concertos was crystalline; his style in the Beethoven, Brahms, and Berg concertos was angelic; and his technique in Tchaikovsky, Paganini, and Ravel was aristocratically refined and flawlessly precise. Prior to his exclusive contract with Philips, however, Grumiaux made a few recordings in 1951-52 for the Boston label, most of which have been reissued on the Parnassus label. The violinist was to re-record these works by Bach, Mozart, Debussy, Bartók, and Ravel for Philips. But if the later performances are delivered with slightly more refinement, these earlier ones may have somewhat more panache. Bach's mighty Chaconne impresses with its attention to dynamics and the sonority and precision of its chordal playing. Performances (with pianist Gregory Tucker) of the Sonatas in G (K. 301) and E Minor (K. 304) make one understand why Grumiaux's name was once synonymous with Mozart's music. His playing in the Debussy Sonata (with pianist Paul Ulanowsky) may not possess the subtle phrasing of Oistrakh, but Grumiaux's gleaming sound and simply etched lines give the music a more appropriately modernist aura, as well as more propulsion and drive. And the final page of Ravel's
Tzigane is executed with never-to-be surpassed velocity and exactness of intonation.
--Stephen Wigler
