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  THIS IS A SEALED VINYL LP
This is the 12" LP Album of Arturo Delmoni's
"Songs My Mother Taught Me" Arturo Delmoni, violin Meg Bachman Vas, piano

This is a sealed brand new, pristine copy of the classic LP of Arturo Delmoni's "Songs My Mother Taught Me". 
This rare record is highly regarded on Harry Pearson's Recommended LP list in The Absolute Sound.
This a review from Stereophile (June, 1988)
Performers are: Arturo Delmoni, violin; Meg Bachman Vas, piano
Tracks: Kreisler: Tempo di Menuetto  Brahms: Hungarian Dance No.1 Valdez: Gypsy Serenade  Paradis: Sicilienne Sarasate: Romanza Andaluza Massenet: Meditation  Tartini: Variations on a Theme of Corelli  Smetana: From the Home Country  Gluck: Melodie  Vieuxtemps: Romance "Desespoir" Faure: Apres Un Reve D'Ambrosio: Canzonetta Mendelssohn: Song Without Words ("May Breeze") Kreisler: Sicilienne et Rigaudon Dvorak: Songs My Mother Taught Me
North Star DS 0004. David Hancock, eng.; Bruce Foulke, prod. A-D. TT: 52:51
Here, at last, is one huge exception to the "Rule": an outstanding musical performance superbly recorded. Songs My Mother Taught Me is the product of a love affair between violinist Arturo Delmoni and the almost defunct practice of programming only short pieces in recitals. Delmoni's aim was to recreate that lost practice, and the result is stunning.
The musicianship here is densely compassionate. The recording is the finest I have ever heard in the small-ensemble category. It easily surpasses the Francesco Trio's Dvorak effort on Wilson and has an unequivocal edge on the Mayorga/Steinhardt collaboration on Sheffield. It is, in short, an answer to the prayers of the music lover/audiophile.
Delmoni may not be a household name, but his playing is a tribute to his teachers—Jascha Heifetz, Josef Gingold, and Nathan Milstein. There could be no finer pedigree, and if this recording is an indication, Delmoni may be on his way to joining their ranks.
He has chosen 15 works ranging in playing time from 2:35 to 4:52. They are all from the Romantic repertoire, and, as presented here, make up far more than a collection of encore crowd-pleasers.
Delmoni eschews the pyrotechnics that dazzle in favor of a warm lyricism that, through its judicious musicianship, lets the music stand on its own. There is no cheap virtuosity here—Delmoni's bow is a rapier, not a broadsword. The showmanship often employed in such pieces as these is replaced with what comes across as a loving respect for music over technique. Don't misunderstand—there's plenty of technique here, but it isn't the reason Delmoni recorded this album.
From the brightness of the Sarasate to the darkness of the Gluck to the turmoil of the Vieuxtemps, the music comes across as unfailingly right. Delmoni is a musician of sensitivity and power.
Accompanist Meg Bachman Vas is of similar temperament. Some other recordings of these works put the pianist in a more prominent role. But, like Delmoni, Vas seems intent on presenting the music, not herself, and in doing so speaks profusely for her own skills and taste.
The recording gets it all down in almost startling fidelity. A Studer A80 and Cambridge C35 microphones were used in New York City's Church of the Holy Trinity. There was no equalization or noise reduction in the chain.
The music simply is there in timbre, ensemble, and ambience. You hear the wood of the violin and the horsehair of the bow; you hear the piano sounding board—not in the garish detail of a close-miked job, but in the lush bloom of the concert hall. It isn't the real thing right there in your listening room, but it's about as close as we've come so far.
All of these attributes are slightly more pronounced in the LP format, especially the ambiance. The CD, by comparison, seems to box up the soundstage, but that is its most severe shortcoming.
This is a recording to own whether you have a Japanese rack system or a no-limits-known setup. Both playing and sound are among the best you will ever have heard.
This is a very rare copy, especially still sealed.

**Will ship internationaly, buyer pays actual cost.**