Shura CherkasskyThe 1982 San Francisco Recital

- Lully: Suite de piècesJean Baptiste Lully (1632-1687), although known as the founder of French grand opera,

was born in Florence, Italy, becoming a naturalized French citizen in 1661. At the age of thir-teen he was taken to France by the Chevalier de Guise, to amuse Mlle. de Montpensier, hav-ing learned to play the violin and guitar from a Franciscan monk. However, he was initiallygiven kitchen work. It was only when he was heard playing the violin that Lully was prompt-ly transferred to Mademoiselle’s own orchestra. This was for only a short time, for he set tomusic a satirical poem reflecting on Mlle. de Montpensier, who expelled him from her house.After studying the harpsichord and composition he obtained a position in the band of LouisXIV and soon organized another group, which acquired the reputation of being the finestorchestra in France. By this time Lully was unrivaled as a violinist, and was most solidly inthe favor of the king, writing ballets and masques in which both he and the king took part.Eventually he was given sole authority to produce operas in France, establishing an “Academie Royale de Musique” (now the Grand Opera), and the theater of his rival,Cambert, was closed upon order of the king.

From then on Lully was the dominating power in French music. He not only composedprolifically, but also created new traditions in theatre discipline; taught singers how to walkon the stage; invented steps for the ballet; changed the entrances, and above all, insisted on aprecision of attack in the orchestra. It has been said that he “more than once broke a violinon the back of a man who was not playing to his taste, but when the rehearsal was at an endwould send for the man, pay him three times the value of his instrument, and take him outto dine.”

He was an amusing bundle of contradictions. A master of truckling and deceit, he wassometimes recklessly impudent to those who held power over him. Once, when a mechanicaldifficulty caused delay in beginning a performance of one of his operas which the King wasattending, a message was sent to Lully that the Grand Monarque was tired of waiting. “TheKing is master here,” retorted Lully, “and is at liberty to be as tired of waiting as he pleases!”For fourteen years, as overlord of the Opera, he acted as director, composer, conductor, stage-manager, ballet-master, and machinist (if electricity had been in use, Lully would have man-aged the lights). He did all these things with superlative ability, energy, and resource; yet

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this amazing Italian found time to become(as biographer W. F. Apthorp has pointedout), “not only the true founder of FrenchOpera, but to adapt, with surpassing clev-erness and insight into the French charac-ter, what was essentially Italian opera tothe French taste.” From 1658 to 1671, hewrote about thirty ballets and divertisse-ments, and between 1672 and 1696,twenty operas, in addition to instrumentaland church music. He was a master of var-ious styles, from tragedy to burlesque. Heturned upside down the traditions of thecourt ballet. He knew the theatre back-wards and forwards. His sense of stageeffect was keen and intuitive; and he knewa subtler and deeper secret: how to makemusic speak with dramatic veracity andpoint.

At the end this buffon odieux (asBoileau called him) – this rake, knave,intriguer, who had lifted himself out ofthe obscurity of his Italian origin into aposition where he talked back to a King, – died of an abscess of the toe. His estate consistedof fifty-eight sacks of louis d’or and Spanish doubloons, diamonds, and silver plate, worth inall about seven million francs.

To the very last he was cheerfully unscrupulous, for (according to a story told immedi-ately after his death) he cheated to attain Heaven. His confessor, so runs the familiar tale,required as a condition that Lully should burn all that he had written of his new opera,Achille et Polyxène. Lully gave the abhorred score to the confessor, who triumphantly threwit in the fire. “What, Baptiste!” remonstrated a prince who visited Lully soon after, “you havedestroyed your opera?” “Gently, Sir,” whispered the expiring rascal: “I have another copy.”So he died, radiant, corrupt, and unashamed, a poet and a genius; and his epitaph in the

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Jean Baptiste Lully

Church of Saint-Pères declares that “God gave him. . . a truly Christian patience in the sharppain of his last illness.”

The so-called Suite de Pièces was not actually assembled by Lully. Lully’s fame was so greatthat his editors often collected his dances and published them as keyboard suites. These tran-scriptions from Lully’s operas and ballets were particularly abundant in the nineteenth cen-tury and appeared in editions produced by Théodore Lack and Louis Oesterle. ShuraCherkassky performed Lully’s Suite de Pièces utilizing as a point of musical departureOesterle’s edition published by G. Schirmer in 1904. Cherkassky changes the order of thepieces, making the suite more cohesive, and adds his own touches of ornamentation in a veryRomantic style.

Mendelssohn: Scherzo a Capriccio in F-sharp minor“Felix” (Latin for “the happy one”) was a well-chosen name for Mendelssohn, for the

Goddess of Fortune gave him her choicest gifts, a diadem of genius for his curly head, inher-ited wealth from his father, a winning charm of manner and a graceful upright physique. Thefrustrations, maladjustments, and conflicts of most great composers make the life of FelixMendelssohn as refreshing as sunshine. Born in Hamburg, February 3, 1809, Ludwig FelixMendelssohn-Bartholdy was the grandson of the Jewish pragmatic philosopher, MosesMendelssohn – known as the “German Plato” – and son of the banker, AbrahamMendelssohn. His mother Lea Salomon-Bartholdy was his first piano teacher. He studiedwith Ludwig Berger (piano), Carl Friedrich Zelter (theory), and Wilhelm Hennig (violin). Atnine he played the piano part of a trio by Wolff in public; at ten he sang alto in theSingakademie; at eleven he was introduced to Goethe who spoke the highest praises of hispiano-playing and insisted that the wunderkind stay with him in Baden for two weeks. Attheir first meeting the poet requested he play a Bach fugue, and though he forgot a part ofthe composition, he was able to extemporize the missing portion weaving contrapuntal linesinto a heavy brocaded baroque fabric that pleased all who were present for the performance.Shortly after Beethoven’s Ninth Symphony came out, Mendelssohn, then 15, could play it allon the piano without a score. At seventeen he wrote the overture to Shakespeare’s “A Midsummer Night’s Dream.” Light, aerial music was his unsurpassed speciality.

Between 1827 and 1835, Mendelssohn’s activity took him from city to city on theContinent and in England. His popularity increased to a point where he was deluged withinvitations to the finest homes. In 1829 he conducted the first performance, after Bach’s

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death, of the great St. Matthew Passion. Thenext several years saw the production of manyimportant works, among which were the firstvolume of the Songs Without Words, theHebrides Overture, the Italian andReformation symphonies and the G minorPiano Concerto. In 1835, Mendelssohnbecame the conductor of the GewandhausOrchestra in Leipzig, and eight years after thathe helped to found the Leipzig Conservatory.

On May 8, 1847 after a grueling concertschedule in England, taking a rest in Frankfurtam Main, Mendelssohn was brought word ofhis sister Fanny’s untimely death. She had beenrehearsing with a chamber group for a perfor-mance in the family home when she suddenlylost consciousness and died a few hours later.This was more than Mendelssohn could bear.He himself fell to the ground unconscious, ablood vessel in his head ruptured mirroring thephantom hemorrhage of his beloved Fanny,sharer of his hopes, and an emotional double ofhis inner self. There seemed no joy left in the world for Mendelssohn from that point on.Mendelssohn a young man of thirty-eight died of a paralytic stroke on the fourth of November1847. He was put to rest in the family vault in Berlin.

Mendelssohn probably composed his little-known Scherzo a Capriccio in F-sharp minor in1835-36. The piece was not given an opus number, but appeared in a collection called Albumdes Pianistes, published in Bonn. This highly charged masterpiece is a blend of vitality andpoignancy. The scherzo is built from the alternation of several contrasting themes or seg-ments, the first light and staccato, the second more legato and expressive, and a third markedcon fuoco (with fire). This and other neglected piano works by Mendelssohn were alwaysfavorites of Shura Cherkassky, who played them since his childhood.

Felix Mendelssohn

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- Tchaikovsky: Grand Sonata in G Major, Op. 37

Piano works composed over a period of26 years (1867-1893) comprise a by nomeans insignificant part of Tchaikovsky’schamber music. True, his compositions forthe piano cannot claim a leading place in hismusical legacy, nevertheless against thebackground of the post-Lisztian piano liter-ature of Western Europe, his works for thepiano are distinguished by their variety andoriginality. Tchaikovsky was an excellentpianist from his youth. When he graduatedin 1859 he played Liszt’s extremely difficultfantasia on theme’s from “Lucia diLammermoor,” and when the MoscowConservatory opened in 1866 he gave a bril-liant performance of a piano transcriptionof the overture to “Russlan and Ludmila.”His personal tastes in piano music causedTchaikovsky to single out RobertSchumann as his favorite composer for thepiano. Schumann’s restless lyricism, the

range of his ideas and even his exposition with its ingenious rhythms exercised a tremendousinfluence on Tchaikovsky. Considerable too was the influence of Chopin. On the otherhand, he was indifferent to Liszt’s radical reforms in piano execution, subtle, dazzling virtu-osity and effervescence of design, although he had the greatest respect for Liszt as a compos-er. It is not difficult to trace these diverse influences in Tchaikovsky’s piano music. As always,they were transmuted in the crucible of his genius and bore the unmistakable stamp of hiscreative individuality. It is this individuality that makes Tchaikovsky’s piano compositions sodifficult to perform: the pianist must project himself into the images expressed in the musicbefore he can reveal the profound essence that is sometimes concealed behind some simplesalon dance or elegant concert showpiece.

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Pyotr Il’yich Tchaikovsky

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Tchaikovsky composed only two works he labeled “Sonata” and both were for solo piano.The first, in c-sharp minor, Opus 80, was one of his earliest works of any kind, composed in1865. Tchaikovsky considered this Sonata a student work and withheld it from publication.The rather late opus number was affixed at the time of the posthumous publication in 1900.Tchaikovsky’s second sonata was begun on March 13, 1878, a few days before he started workon his celebrated Violin Concerto. Tchaikovsky completed it on August 7th of that year andit was premiered in Moscow by Nikolai Rubinstein on November 2, 1879.

The “Grand Sonata” (at it is sometimes known) is in G Major and in four movements.The work is unusually rich in musical ideas. The first movement is built up of measuredmarch rhythms and impassioned recitatives, giving the impression of a greatly augmentedintroduction confined within the sonata framework. The march movement in 3/4 changes toa recitative theme. Elements of improvisation and drama merge in the solemn phrases ofmusical oratory. A passionate restless second theme is contrasted to the calm serenity of theconcluding part. The solemn development is crowned by a tense march in 3/4. The samemarch motif predominates in the brilliant coda. The second movement, marked Andante, isextremely poetic. Its main theme, touched by a sorrowful lyricism, is set off by a number ofwhimsical episodes and is somewhat reminiscent of Schumann. The light, unforced Scherzomight well belong to a Schumann Novellette. The finale, however, is dominated, like the firstmovement, by the composer’s preoccupation with constructing a large-scale, elaborate dis-course. The Sonata in G Major, Opus 37 closes on an orchestrally majestic tone.

Chopin: Polonaise Fantaisie in A-flat Major, Op.61 andChopin: Waltz in A-flat Major, Op.42Frederic Chopin arrived almost immediately at a personal idiom that is absolutely unmis-

takable – an original style so pervasive that a fragmentary bar or two will serve to identify acomposition as his. With a rarer sense of what kingdom he could make his own, he chose towrite music for the piano. He never composed an opera or an oratorio, a symphony nor evena string quartet. These large forms he left to others. He worked in a dozen or more forms, sev-eral of them his own creation. Chopin has left us mazurkas, fresh and narrative; waltzes, pris-matic from his alembic imagination; nocturnes, the perfection of chivalrous dreams; scherzos,tragic to the heart’s core; preludes, Wordsworthian in simplicity and charm; etudes, completeas sonnets; impromptus, full of life or touched with tenderest romance; polonaises, theexquisite expression of the pageantry of his native land; and three sonatas, each a tremen-

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dous tragedy. He is a composer par excel-lence of inexhaustible variety in infinitedetail.

Chopin’s first published composi-tion, in 1817 at the age of eight, was aPolonaise, and in the next five years hefollowed that with three more.Altogether there are sixteen Polonaisesfor piano solo, although the standard col-lections usually contain only eleven, ofwhich four are posthumous publications.In addition, there is the GrandePolonaise, Opus 22 with orchestraaccompaniment, to which Chopin addedan introductory unaccompaniedAndante Spianato. He also wrote thePolonaise, Opus 3, for cello and piano.

The polonaise is a Polish processionaldance in 3/4 time, and moderate intempo. According to Grove’s Dictionary,“the French name dates back to the 17th

century, a period during which three French princesses in succession became consorts ofPolish kings and French customs and the French language were current at the court.” In itsnumerous forms the polonaise served both as a peasant dance and for court ceremonies. ThePolonaise Fantaisie in A-flat Major, Opus 61, composed in 1845-46, was Chopin’s last large-scale composition for the piano. In a letter to his family of December 1845 Chopin, alreadyseriously ill with tuberculosis, wrote. “I should now like to finish my violoncello sonata, bar-carolle and something else I don’t know how to name.” The title he eventually did providedemonstrates the work’s hybrid name: rhythms and other elements of the Polonaise are blend-ed into a very free, almost improvisatory structure. Franz Liszt characterized the work as“marked with feverish and restless anxiety” and found it dominated by “a deep sadness, broken constantly by startled movements, by sudden alarms, by disturbedrest.” Without a doubt it is one of Chopin’s most profound and moving compositions, and

Fryderyk Chopin portrait-coin by Antoine Bovy, 1837

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as James Huneker once remarked, “a work that unites the characteristics of superb and orig-inal manipulation of the Polonaise form, the martial and the melancholic.”

During his visit to Vienna, Chopin wrote: “I have acquired nothing particularly Viennese;and I still cannot play waltzes.” Perhaps he could not play waltzes in the traditional Vienneseballroom manner, but he certainly could compose dance poems in that form. His waltzes wereprobably inspired by Johann Strauss I (the father), whose popularity was at a peak whenChopin came to Vienna. Some of Chopin’s waltzes are stylized dances and could be suited forthe ballroom, others, however, are lyric poems in waltz-time, which some biographers havedescribed as “dances of the soul.” All of them are characterized by aristocratic elegance. TheWaltz in A flat Major, Opus 42 is one of the most beautiful and brilliant of the Chopinwaltzes. By some writers it is acclaimed to depict the Duchess of Richmond’s ball on the eveof Waterloo, described in Thackeray’s Vanity Fair. Robert Schumann, in speaking of it,regards it as a salon piece of the noblest kind, and if played for dancers, states that “half theladies should be countesses at least.” Shura Cherkassky plays this work as an encore to hisrecital with gusto and panache and a true Romantic sensibility.

Hofmann: Kaleidoskop, Op.40, No.4Josef Casimir Hofmann was born in Cracow, Poland, January 20, 1876. His mother was

a singer. His father, Casimir Hofmann, was professor of harmony and composition at theWarsaw Conservatory, conductor of the opera, and a composer of operettas. Young Josef stud-ied the piano with his father. When he was six years old he played in public at a charity con-cert in Warsaw. At age nine he gave concerts in Germany, Denmark, Norway, Sweden, andlater he played in Vienna, Paris, and London.

He came to the United States in 1887 and made his first appearance in New York onNovember 28 of that year. It was a “private recital for the press” given at Wallack’s Theatre,“before a representative gathering of literary, musical, and dramatic people to the number of200, when the new world heard for the first time the piano played in the most masterly man-ner by a child only a few months over ten years old” thus Henry Krehbiel in the New YorkTribune of the day after. “The audience,” Krehbiel wrote, “saw a pleasant and robust lookingboy, dressed in dark gray jacket and pair of knickerbockers, and with an enormous sailorcollar to his shirt, reaching halfway down his back. He acknowledged with perfect ease andself-possession the applause that greeted him, and took his seat at one piano, his father atanother. The first number was the Variations by Saint-Saëns on a Theme by Beethoven, for

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two pianos. . . . The audience listened at firstin amazement, then in admiration, and atlast surrendered themselves to a feeling ofaffectionate regard for the Heaven-giftedgenius. While he played, Hofmann ceased tobe a boy. The soul of a man, and to a greatextent, a man’s power, seemed to have passedinto him.”

Hofmann’s first appearance in public wason the following day, at the MetropolitanOpera House – a concert “unique in the his-tory of New York,” according to HenryKrehbiel. His program included Beethoven’sFirst Concerto, a “theme and variations” byRameau, a Berceuse and Waltz composed byhimself; a Chopin Waltz and Nocturne, andthe Weber-Liszt Polacca for piano andorchestra. Mr. Krehbiel doubted “if the featsof Liszt in his prodigy years could have beenmore amazing. . . . There can be no talk of realdepth of feeling in such a case, but the tasteof the lad is exquisite, his command of tone-color amazing, his reposefulness of deliverywould reflect credit on any other artist, hissense of symmetry is most delightful, and his

digital agility as great as that which the majority of piano players attain after practicing asmany years as this little lad has lived.”

In the course of his first American tour, young Hofmann gave fifty-two concerts in twomonths and a half, thereby attracting the notice of the Society for the Prevention of Crueltyto Children. The boy was rescued from exploitation, and was withdrawn from the public plat-form for his own good, largely through the generosity and public spirit of the late AlfredCorning Clark. He returned to Europe with his father, studied at Berlin with Urban andMoszkowski, and in 1892 became a pupil of Anton Rubinstein, with whom he studied for

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Josef Hofmann

two and a half years. In 1894 he reappeared in public at Dresden, and in 1897 began anoth-er concert tour of Europe and America. When he resumed his concert career he was almostuniversally acclaimed as one of the most astounding keyboard artists of all time. His extra-ordinary success was due in part to a breathtaking technical wizardry that has probably neverbeen surpassed, but equally to an incredibly sensitive control of tone and other pianisticresources of musical variety. In 1937 Hofmann celebrated his golden jubilee with a concertat the Metropolitan Opera House in New York City. His final public appearance was atCarnegie Hall on January 16, 1946. Hofmann made his home for the most part in Aiken,South Carolina. In addition to his concert career, he was also a prolific composer, and a verysucessful inventor, with more than 60 patents to his credit. From 1926 until 1938 he washead of the Curtis Institute of Music, where one of his most gifted students was ShuraCherkassky.

Hofmann wrote over 100 compositions. Kaleidoskop was published by Julius HeinrichZimmermann Verlag in 1908 as part of a set of four Charakterskizzen für Klavier, Opus 40(the other three were titled: Vision, Jadis, and Nenien). Hofmann dedicated these four piecesto the pianist, Leopold Godowsky. A kaleidoscope is an optical instrument, invented in 1816by Sir David Brewster. In the 19th century kaleidoscopes eventually became very populartoys. Most kaleidoscopes consist of a cylindrical tube through a length of which pass tworeflecting planes touching along one edge to form two sides of a triangular prism. One endof the tube is fitted with an eyepiece, the other is closed by two circular pieces of glass (theouter frosted, the inner clear) between which are loose fragments of colored glass or other col-orful objects. As the tube is rotated, the colorful bits and pieces fall into a variety of patternsmultiplied by reflection. Hofmann’s Kaleidoskop is a pianistic version of the popular opticaltoy, where the piano notes tumble in the cylinder, creating a cornucopia of musical reflectionsand refractions. In Shura Cherkassky’s authoritative interpretation, Kaleidoskop dazzles uswith its shimmering colors!

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Shura Cherkassky

Shura Cherkassky (1911-1995)

Born in Odessa on October 17, 1911, Shura Cherkassky was among the last of the post-Romantic tradition of master pianists. During his youth, he immigrated to Baltimore, andstudied in Philadelphia with the renowned Josef Hofmann, a pupil of Anton Rubinstein. Hisdebut concert tour in 1923 included appearances with Walter Damrosch and the New YorkSymphony and a command performance at The White House for President Warren G.Harding.

Shura Cherkassky’s enormous popularity in Germany and Austria sprang from his firstmajor European tour in 1946, when a concert in Hamburg established him as one of the lead-ing pianists of the day. All over Europe Cherkassky had his following of enthusiastic admir-ers, from Scandinavia to the Mediterranean. He regularly performed at the prestigious musicfestivals of Europe, including those of London, Salzburg, Bergen, Zagreb, Carinthia andVienna, and had collaborated with some of the world’s most distinguished conductors:Comissiona, Dorati, Giulini, Haitink, Karajan, Kempe, Leinsdorf, Ormandy, Shostakovich,Sir Adrian Boult, Sir Charles Groves and Sir Georg Solti.

Shura Cherkassky’s concert career encompassed the entire musical world. In addition toEurope, he made several tours throughout the Far East, including China, Hong Kong,Singapore, Thailand, and Japan. He also toured Australia, New Zealand, South Africa andIndia. His triumphant return to his native Russia in 1976 had great emotional significancefor him, and he was re-invited for subsequent tours in 1977 and 1979.

Early in 1976 Shura Cherkassky returned to the United States after an absence of tenyears. His New York recital was received with such resounding acclaim that he devoted animportant part of each season to North America. An international artist might be expected toremain stationary during his holidays, but not Cherkassky. His passion for constant traveltook him to Afghanistan, Thailand, Israel, Egypt, the Greek Islands, the African Coast,Northern Europe, the South Pacific, Latin and South America, Siberia and China.

Shura Cherkassky, died in London, on December 27, 1995. Writing in Gramophone,music critic and long-time friend, Bryce Morrison stated: “Few, if any pianists, have mademusic so entirely their own, coloring and projecting every bar and note with an instantly rec-ognizable zest and brio. Rejoicing in spontaneity and listening askance to younger colleagueswith set and inflexible ideas, he could turn a work – whether a Beethoven sonata, a ChopinScherzo, a contemporary offering or a delectable trifle from a bygone age by Rebikov or

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Albéniz-Godowsky – this way and that, reflect-ing its contours and tints as if through somerevolving prism. . . . Musically speaking he wasone of life’s great adventurers, tirelessly seekingout novel angles, nooks and crannies, deployinga heaven-sent cantabile (“Nobody seems to careabout sound any more,” Cherkassky oncelamented) and, at his greatest, complementinghis plethora of ideas with a rich and transcen-dental pianism.”

“We were fortunate to meet ShuraCherkassky in 1978 when he performed inBerkeley, California,” write producers Marinaand Victor Ledin. “He performed a program ofSchumann, Bartok, Chopin, and Mussorgsky...and after the concert we went for a frozen yogurttreat.” “He granted us permission in 1982 torecord his San Francisco recital, which wasbroadcast on public radio. He remarked to us atthat time that all of the compositions he wasabout to play felt fresh to him... Not one to everplay any piece of music twice the same way, heon several occasions told us that these San

Francisco performances were among his favorite interpretations. For those who were not for-tunate enough to have experienced a live Cherkassky concert performance, we hope that thisrecording will prove as musically enriching as it was for us.”

Over his long career, Shura Cherkassky recorded for London/Decca, Nimbus, Vox,Deutsche Grammophon, L’Oiseau-Lyre, Reader’s Digest, HMV, Concert Hall Society, Cupol,Columbia, RCA Victor and Tudor.

Shura Cherkassky

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To place an order or to be included on mailing list:Ivory Classics™

P.O. Box 341068 • Columbus, Ohio 43234-1068Phone: 888-40-IVORY or 614-761-8709 • Fax: 614-761-9799

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Credits

Digitally recorded in concert on April 18, 1982 at Davies Symphony Hall, San Francisco, California

Producers: Marina and Victor Ledin

Recording Engineer: Jack Vad

Remastering Producer: Michael Rolland Davis

Remastering Engineer: Ed Thompson

Thanks to Ms. Christa Phelps and the Cherkassky Estate

Liner Notes: Marina and Victor Ledin

Design: Communication Graphics

Cover Photograph: Shura Cherkassky, May 1993, by Malcolm Crowthers

Inside Tray Photo: Shura Cherkassky, June 1994

Interior Photos: Shura Cherkassky (Pages 12 and 14) by Clive Barda

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®

Jean-Baptiste Lully: Suite de pièces 12:39Allemande 2:32Air tendre 2:52 Courante 1:56Sarabande 2:40Gigue 2:39

Felix Mendelssohn: Scherzo a Capriccioin F-sharp minor (1835-6)

Presto scherzando 6:26

Pyotr Il’yich Tchaikovsky: Grand Sonatain G Major, Opus 37 32:43

I. Moderato e risoluto 13:10II. Andante non troppo quasi moderato; Moderato con animazione 9:56

III. Scherzo: Allegro giocoso 2:38IV. Finale: Allegro vivace 6:59

Fryderyk Chopin: Polonaise Fantaisie in A-flat Major, Op.61

Allegro maestoso 11:50

Josef Hofmann: Kaleidoskop, Op. 40, No.4

Presto 4:55

Fryderyk Chopin:Waltz in A-flat Major, Op.42

Vivace 3:47

Total Playing Time: 72:43

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Remastering Producer: Michael Rolland Davis • Remastering Engineer: Ed Thompson

Recorded in Concert on April 18, 1982 at Davies Symphony Hall, San Francisco, California

1999 Ivory Classics™ • All Rights Reserved.Ivory Classics™ • P.O. Box 341068

Columbus, Ohio 43234-1068 U.S.A. Phone: 888-40-IVORY or 614-761-8709 • Fax: 614-761-9799e-mail@ivoryclassics.com • Website: www.IvoryClassics.com

STEREO64405-70904

THE 1982 SAN FRANCISCO RECITAL

Shura CherkasskyShura CherkasskyTHE 1982 SAN FRANCISCO RECITAL