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Background -

How big is the violin Grumiaux's playing? Three feet? Six feet? A dozen feet? And how long is the bow Grumiaux's using? Four feet? Eight feet? Twenty feet? The answer is somewhere past beyond comprehension. In his 1960 recording of Bach's complete sonatas and partitas for solo violin, Grumiaux sounds like he's playing a violin roughly the size of a redwood with a bow roughly the size of all outdoors. Naturally, it takes enormous strength to wield such tools, and thankfully, Grumiaux has what it takes. No matter how superhuman Bach's demands, he never falters and always conquerors. Better yet, Grumiaux has the tremendous technique to handle such tools. His tone is majestic, his intonation is flawless, his phrasing is seamless, and his tempos are infectious. Best of all, Grumiaux has the breadth of heart, the depth of soul, and the height of spirit to interpret the works. From the black midnight of the D minor Partita's Chaconne to the bright daylight of the C major Sonata's Fugue, Grumiaux understands the stakes involved -- nothing less than damnation and redemption -- and is able to make great drama as well as great music out of it. This set equals the greatest recordings ever made of any of the works and should be heard by anyone who loves the music. Philips' stereo sound was amazingly lifelike in its time. - James Leonard

Of the Franco-Belgian school, Arthur Grumiaux is considered to have been one of the few truly great violin virtuosi of the twentieth century. In his relatively short life his achievements were superb. He brought to performances guaranteed technical command, faithfulness to the composer's intent, and sensitivity toward the intricate delineations of musical structure. His fame was built upon extraordinary violin concerto performances and chamber-music appearances with his own Grumiaux Trio.
Grumiaux was born in Villers-Perwin, Belgium, in 1921, to a working-class family, and it was his grandfather who urged him to begin music studies at the age of 4. He trained on violin and piano with the Fernand Quintet at the Charleroi Conservatory, where he took first prize at the age of 11. The following year he advanced his studies by working with Alfred Dubois at the Royal Conservatory in Brussels, and also worked on counterpoint and fugue with Jean Absil. He received his first few major awards prior to reaching the age of 20; he took the Henri Vieuxtemps and François Prume prizes in 1939, and received the Prix de Virtuosité from the Belgian government in 1940. During this time he also studied composition privately in Paris with the famous Romanian violinist Georges Enesco, Menuhin's teacher. His debuts were made in Belgium with the Brussels Philharmonic Orchestra playing Mendelssohn's concerto, and in Britain with the BBC Symphonic Orchestra in 1945. Due to the German invasion of his homeland, there existed a short time gap between these two important events. During that time he played privately with several small ensembles, while refraining from public performance of any kind. Regardless of this slight delay in the initiation of his international career, once started, it quickly developed. Following his British debut, he advanced into Belgium academia when he was appointed professor of violin at the Royal Conservatory, where he had once studied. There, he emphasized the importance of phrasing, the quality of sound, and the high technical standards of artistry.

Grumiaux's playing has been included on over 30 recordings, nearly all under Philips, although his name is also seen on the labels of EMI, Belart and Music & Arts. The titles on these releases tend to be the compositions of Bach, Beethoven, Brahms, Mozart, and Schubert, and on occasion include works by Ravel and Debussy. One of his greatest joys in life was his partnership with the pianist Clara Haskil. On occasion, the two would switch instruments for a different perspective and relationship. Grumiaux was left with a professional and personal absence when she died from a fall at a train station, en route to a concert with him. In addition to his solo work, he has recorded Mozart quintets with the Grumiaux Ensemble, and various selections with the Grumiaux Trio, comprised of the Hungarian husband-wife duo Georges Janzer (violin) and Eva Czako (cello). His successful performance career led up to royal recognition, as in 1973, he was knighted baron by King Baudouin, for his services to music, thus, sharing the title with Paganini. Despite a struggle with diabetes, he continued a rigorous schedule of recording and concert performances, primarily in Western Europe, until a sudden stroke in Brussels took his life in 1986. At the age of 65, Grumiaux left behind the memory of his elegant and solid musicianship. - Meredith Gailey LP made by PHILIPS Records, in the NETHERLANDS (Holland / Dutch)
LP released in 1963 LP is recorded in STEREO Record Catalog Number: 835 200 AY Record Labels are primarily RED with Silver Lettering (early issue, with grooved record labels). This listing is for a super rare, out of print LP title - an OPENED and in near MINT minus / excellent plus overall condition LP PRESSED and ISSUED by PHILIPS Records of a highly collectible title from their catalog - a superb title featuring -

J.S. Bach // Arthur Grumiaux

Track Listing -

Bach: Sonata No.3 In C Major BWV 1006 • A1. Adagio
• A2. Fuga
• A3. Largo
• A4. Allegro Assai

Bach: Partita No.3 In E Major
• B1. Preludio
• B2. Loure
• B3. Gavotte En Rondeaux
• B4. Menuet I-II
• B5. Bourrée
• B6. Gigue
Performers / Credits / Other Information -
• Composed By – Johann Sebastian Bach
• Sleeve Notes – Bernard Jacobson
• Violin – Arthur Grumiaux
Colour of names of "Bach" and "Arthur Grumiaux" on front sleeve are green
Catalog numbers on top right of back of sleeve are 835 200 AY
Made in Holland
• Matrix / Runout (Side A Machine pressed): AA 835 200 1Y 2 670 131
• Matrix / Runout (Side B Machine pressed): AA 835 200 2Y 2 670 122
CONDITION Details: The LP jacket is in near mint minus overall condition. The jacket is tight and clean, with NO seam splits. The corners are solid. The colors on the jacket are sharp and clean with just the slightest discoloration on the front and back due to aging and shelf wear. There is NO hand written notes on the front or back. The jacket front is covered in clear plastic (laminated) or "clairifoil", the back does not have any clear plastic. The corners and seams show slight shelf wear due to aging as well (see pictures with this listing for more detail as they are of the actual item). 
The LP is in near mint minus / excellent plus overall condition! There are no serious marks on the vinyl. There are some light marks on the LP which are caused by sliding the LP in and out of the paper inner sleeve. Most of the time, these types of marks are not audible, but it really depends on the sensitivity of your audio gear. Considering the vintage of this LP, the vinyl looks terrific! However, this is not a new audiophile LP....some extraneous sound is inevitable and should be expected for a vintage LP. A record from the 1960s is rarely perfect. However this LP retains much of the original gloss and sheen! There are NO serious spindle marks on the record labels either.
A Short Note About LP GRADING - Mint {M} = Only used for sealed items. Near Mint {NM} = Virtually flawless in every way. Near Mint Minus {NM-} = Item has some minor imperfections, some audible. Excellent {EXC} = Item obviously played and enjoyed with some noise. Very Good Plus {VG+} = Many more imperfections which are noticeable and obtrusive.

For best results, always thoroughly clean your LPs before playing them, even for brand new, sealed items.

LPs can be audiophile quality pressings (any collector of fine MFSL, half speeds, direct to discs, Japanese/UK pressings etc., can attest to the difference a quality pressing can make to an audio system).

Do not let this rarity slip by!