Concert magic: featuring Yehudi Menuhin
The Power of illumination In the newspaper business they have a saying that one picture is worth a thousand words. No matter how hard you try to describe a person or a scene, your portrayal can never come close to the accuracy of a camera. In the case of a musician, you could say that a minute of re...
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| Format: | Elektronisch Video |
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[Place of publication not identified]
BBC Produktion Berlin
[2005]
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| Zusammenfassung: | The Power of illumination In the newspaper business they have a saying that one picture is worth a thousand words. No matter how hard you try to describe a person or a scene, your portrayal can never come close to the accuracy of a camera. In the case of a musician, you could say that a minute of recorded sound is worth any number of words. How else can you convey a violinist's tone to someone who has never heard him? And if you have film of him, your task is made yet easier. Film cannot wholly replace the thrill of seiing and hearing a concert, but it can be a reasonable substitute. Strangely, film-makers were slow to appreciate the possibilities of capturing live music on celluloid. Many great musicians of the 1930s left us very little film of their playing or none at all, even though the means existed to make excellent documentary studies. When, soon after the Second World War, Yehudi Menuhin was approached by the Hollywood producer Paul Gordon, the violinist immediately saw the potential of having some of his performances caught on film for posterity. He was so enthusiastic that it seems he worked for Gordon's Concert Film Corporation for very little money, banking on the movie making a profit and paying him royalties, such as he received for his sound recordings. His father, a much better businessman, was appalled, especially as he felt that Yehudi was dirtying his hands in having anything to do with Hollywood. The film, entitled Concert Magic, and featuring other artists besides Menuhin, was shot in the last months of 1947 at the studio formerly used by the comedian Charles Chaplin. Released about a year later, it was reasonably well received, but never caught on. Television was beginning to take over this sort of territory, and as a medium it was better able to present musical performances with immediacy and flair. Concert Magic has been virtually unseen for many years. Yet Paul Gordon and his namesake Paul Ivano, the cameraman on the project, did an excellent job of presenting short pieces of music in a direct, unfussy manner. The film is very watchable, even though the other solo performers are not in Menuhin's class: the Polish pianist Jakob Gimpel, one of three brothers who at one time played as a trio, is some-what matter-of-fact in the way he delivers his solos; and the US contralto Eula Beal does not suggest that she is going to become a household word (nor did she). There is the usual quota of Hollywoodisms: the way the selections are introduced seems calculated to put a mass audience off, rather than convert it to classical music, and silly mistakes creep in. The pianist Adolph Baller -- whose fingers were broken by the Nazis but who managed to recover well enough to be Menuhin's accompanist for a number of years -- |
| Beschreibung: | 1 Online-Ressource (1 video file (1 hr., 13 min., 17 sec.)) sound, color |
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| 505 | 8 | 0 | |t Violin sonata no. 1 in D major, op. 12. Allegro con brio |r Ludwig van Beethoven -- |t Partita for solo violin no. 3 in E major, BWV€1006. Preludio |r Johann Sebastian Bach -- |t Scherzo-Tarantelle |r Henri Wieniawski -- |t Ave Maria |r Johann Sebastian Bach, Charles Gounod -- |t Three concert etudes S 144. Un sospiro |r Franz Liszt -- |t Mazurkas, op. 7. No. 1 in B flat major |r Frederic Chopin -- |t Trois études, op. 104b. No. 2 in F major |r Felix Mendelssohn-Bartholdy -- |t St. Matthew's passion, BWV 244. Wir setzen uns mit Tränen nieder |r Johann Sebastian Bach -- |t Perpetuum mobile, op. 11 |r Niccolò Paganini -- |t Erlkönig, D. 328 |r Franz Schubert -- |t Étude in E major, op. 10, no. 3 |t Étude in F major, op. 10, no. 3 |t Waltz in E minor, op. posth. |r Frederic Chopin -- |t Six romances, op. 6. None but the lonely heart |r Pyotr Ilyich Tchaikovsky -- |t Caprice no. 23 in D major, op. 3, "Il€Labirinto€Armonico" |r Pietro Antonio Locatelli -- |t Orchestral suite no. 3 in D major, BWV 1068. Aria |r Johann Sebastian Bach ; arranged by August WIlhelmj -- |t Caprice in A minor, op. 1 no. 24 |r Niccolò Paganini ; arranged by Fritz Kreisler -- |t Ave Maria, D. 839 |r Franz Schubert ; arranged by August Wilhelmj |
| 511 | 0 | |a Yehudi Menuhin, violin ; with, Jakob Gimpel, Adolph Baller, piano ; Eula Beal, contralto | |
| 518 | |a Charlie Chaplin Studios, Hollywood, USA.: | ||
| 520 | 3 | |a The Power of illumination In the newspaper business they have a saying that one picture is worth a thousand words. No matter how hard you try to describe a person or a scene, your portrayal can never come close to the accuracy of a camera. In the case of a musician, you could say that a minute of recorded sound is worth any number of words. How else can you convey a violinist's tone to someone who has never heard him? And if you have film of him, your task is made yet easier. Film cannot wholly replace the thrill of seiing and hearing a concert, but it can be a reasonable substitute. Strangely, film-makers were slow to appreciate the possibilities of capturing live music on celluloid. Many great musicians of the 1930s left us very little film of their playing or none at all, even though the means existed to make excellent documentary studies. | |
| 520 | 3 | |a When, soon after the Second World War, Yehudi Menuhin was approached by the Hollywood producer Paul Gordon, the violinist immediately saw the potential of having some of his performances caught on film for posterity. He was so enthusiastic that it seems he worked for Gordon's Concert Film Corporation for very little money, banking on the movie making a profit and paying him royalties, such as he received for his sound recordings. His father, a much better businessman, was appalled, especially as he felt that Yehudi was dirtying his hands in having anything to do with Hollywood. The film, entitled Concert Magic, and featuring other artists besides Menuhin, was shot in the last months of 1947 at the studio formerly used by the comedian Charles Chaplin. Released about a year later, it was reasonably well received, but never caught on. Television was beginning to take over this sort of territory, and as a medium it was better able to present musical performances with immediacy and flair. | |
| 520 | 3 | |a Concert Magic has been virtually unseen for many years. Yet Paul Gordon and his namesake Paul Ivano, the cameraman on the project, did an excellent job of presenting short pieces of music in a direct, unfussy manner. The film is very watchable, even though the other solo performers are not in Menuhin's class: the Polish pianist Jakob Gimpel, one of three brothers who at one time played as a trio, is some-what matter-of-fact in the way he delivers his solos; and the US contralto Eula Beal does not suggest that she is going to become a household word (nor did she). There is the usual quota of Hollywoodisms: the way the selections are introduced seems calculated to put a mass audience off, rather than convert it to classical music, and silly mistakes creep in. The pianist Adolph Baller -- whose fingers were broken by the Nazis but who managed to recover well enough to be Menuhin's accompanist for a number of years -- | |
| 546 | |a Vocal selections sung in German | ||
| 650 | 4 | |a Sonatas (Violin and piano) | |
| 650 | 4 | |a Suites (Violin) | |
| 650 | 4 | |a Violin and piano music | |
| 650 | 4 | |a Violin and piano music, Arranged | |
| 650 | 4 | |a Sonatas (Violin and piano) | |
| 650 | 4 | |a Suites (Violin) | |
| 650 | 4 | |a Violin and piano music | |
| 650 | 4 | |a Violin and piano music, Arranged | |
| 653 | 1 | |a Menuhin, Yehudi / 1916-1999 / Interviews | |
| 653 | 1 | |a Menuhin, Yehudi / 1916-1999 | |
| 653 | 6 | |a Internet videos | |
| 653 | 6 | |a Interviews | |
| 653 | 6 | |a Internet videos | |
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| 700 | 1 | |a Menuhin, Yehudi |d 1916-1999 |e Sonstige |4 oth | |
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| 700 | 1 | |a Baller, Adolph |e Sonstige |4 oth | |
| 700 | 1 | |a Beal, Eula |d 1919-2008 |e Sonstige |4 oth | |
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| 700 | 1 | 2 | |a Wieniawski, Henri |d 1835-1880 |t Scherzo-tarantelle |
| 700 | 1 | 2 | |a Bach, Johann Sebastian |d 1685-1750 |t Wohltemperierte Klavier |n 1. T. |n Nr. 1 |p Praeludium |o arranged |
| 700 | 1 | 2 | |a Liszt, Franz |d 1811-1886 |t Études de concert |n (1849) |n No 3 |
| 700 | 1 | 2 | |a Chopin, Frédéric |d 1810-1849 |t Mazurkas |m piano |n op. 7 |n No. 1 |
| 700 | 1 | 2 | |a Mendelssohn-Bartholdy, Felix |d 1809-1847 |t Präludien und Etuden |m piano |n op. 104 |p Etuden |n No. 2 |
| 700 | 1 | 2 | |a Bach, Johann Sebastian |d 1685-1750 |t Matthäuspassion |p Erbarme dich, erbarme dich, mein Gott |
| 700 | 1 | 2 | |a Paganini, Nicolò |d 1782-1840 |t Moto perpetuo |o arranged |
| 700 | 1 | 2 | |a Schubert, Franz |d 1797-1828 |t Erlkönig |
| 700 | 1 | 2 | |a Chopin, Frédéric |d 1810-1849 |t Etudes |m piano |n op. 10 |n No. 3 |
| 700 | 1 | 2 | |a Chopin, Frédéric |d 1810-1849 |t Etudes |m piano |n op. 10 |n No. 8 |
| 700 | 1 | 2 | |a Chopin, Frédéric |d 1810-1849 |t Waltzes |m piano |n B. 56 |r E minor |
| 700 | 1 | 2 | |a Tchaikovsky, Peter Ilich |d 1840-1893 |t Romansy |n op. 6 |p Net, tolʹko tot, kto znal |
| 700 | 1 | 2 | |a Locatelli, Pietro Antonio |d 1695-1764 |t Arte del violino |p Capricci |n n. 23 |o arranged |
| 700 | 1 | 2 | |a Bach, Johann Sebastian |d 1685-1750 |t Suites |m orchestra |n BWV 1068 |r D major |p Air |o arranged |
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| 700 | 1 | 2 | |a Schubert, Franz |d 1797-1828 |t Ellens Gesang |n D. 839 |
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Datensatz im Suchindex
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| author2 | Beethoven, Ludwig van 1770-1827 Bach, Johann Sebastian 1685-1750 Wieniawski, Henri 1835-1880 Bach, Johann Sebastian 1685-1750 Liszt, Franz 1811-1886 Chopin, Frédéric 1810-1849 Mendelssohn-Bartholdy, Felix 1809-1847 Bach, Johann Sebastian 1685-1750 Paganini, Nicolò 1782-1840 Schubert, Franz 1797-1828 Chopin, Frédéric 1810-1849 Chopin, Frédéric 1810-1849 Chopin, Frédéric 1810-1849 Tchaikovsky, Peter Ilich 1840-1893 Locatelli, Pietro Antonio 1695-1764 Bach, Johann Sebastian 1685-1750 Paganini, Nicolò 1782-1840 Schubert, Franz 1797-1828 |
| author2_role | |
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| author_additional | Ludwig van Beethoven -- Johann Sebastian Bach -- Henri Wieniawski -- Johann Sebastian Bach, Charles Gounod -- Franz Liszt -- Frederic Chopin -- Felix Mendelssohn-Bartholdy -- Niccolò Paganini -- Franz Schubert -- Pyotr Ilyich Tchaikovsky -- Pietro Antonio Locatelli -- Johann Sebastian Bach ; arranged by August WIlhelmj -- Niccolò Paganini ; arranged by Fritz Kreisler -- Franz Schubert ; arranged by August Wilhelmj |
| author_facet | Beethoven, Ludwig van 1770-1827 Bach, Johann Sebastian 1685-1750 Wieniawski, Henri 1835-1880 Bach, Johann Sebastian 1685-1750 Liszt, Franz 1811-1886 Chopin, Frédéric 1810-1849 Mendelssohn-Bartholdy, Felix 1809-1847 Bach, Johann Sebastian 1685-1750 Paganini, Nicolò 1782-1840 Schubert, Franz 1797-1828 Chopin, Frédéric 1810-1849 Chopin, Frédéric 1810-1849 Chopin, Frédéric 1810-1849 Tchaikovsky, Peter Ilich 1840-1893 Locatelli, Pietro Antonio 1695-1764 Bach, Johann Sebastian 1685-1750 Paganini, Nicolò 1782-1840 Schubert, Franz 1797-1828 |
| author_sort | Beethoven, Ludwig van 1770-1827 |
| building | Verbundindex |
| bvnumber | BV048407427 |
| collection | ZDB-1-MTV |
| contents | Violin sonata no. 1 in D major, op. 12. Allegro con brio Partita for solo violin no. 3 in E major, BWV€1006. Preludio Scherzo-Tarantelle Ave Maria Three concert etudes S 144. Un sospiro Mazurkas, op. 7. No. 1 in B flat major Trois études, op. 104b. No. 2 in F major St. Matthew's passion, BWV 244. Wir setzen uns mit Tränen nieder Perpetuum mobile, op. 11 Erlkönig, D. 328 Étude in E major, op. 10, no. 3 Étude in F major, op. 10, no. 3 Waltz in E minor, op. posth. Six romances, op. 6. None but the lonely heart Caprice no. 23 in D major, op. 3, "Il€Labirinto€Armonico" Orchestral suite no. 3 in D major, BWV 1068. Aria Caprice in A minor, op. 1 no. 24 Ave Maria, D. 839 |
| ctrlnum | (ZDB-1-MTV)ocn956369306 (OCoLC)956369306 (DE-599)BVBBV048407427 |
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In the case of a musician, you could say that a minute of recorded sound is worth any number of words. How else can you convey a violinist's tone to someone who has never heard him? And if you have film of him, your task is made yet easier. Film cannot wholly replace the thrill of seiing and hearing a concert, but it can be a reasonable substitute. Strangely, film-makers were slow to appreciate the possibilities of capturing live music on celluloid. Many great musicians of the 1930s left us very little film of their playing or none at all, even though the means existed to make excellent documentary studies. </subfield></datafield><datafield tag="520" ind1="3" ind2=" "><subfield code="a">When, soon after the Second World War, Yehudi Menuhin was approached by the Hollywood producer Paul Gordon, the violinist immediately saw the potential of having some of his performances caught on film for posterity. He was so enthusiastic that it seems he worked for Gordon's Concert Film Corporation for very little money, banking on the movie making a profit and paying him royalties, such as he received for his sound recordings. His father, a much better businessman, was appalled, especially as he felt that Yehudi was dirtying his hands in having anything to do with Hollywood. The film, entitled Concert Magic, and featuring other artists besides Menuhin, was shot in the last months of 1947 at the studio formerly used by the comedian Charles Chaplin. Released about a year later, it was reasonably well received, but never caught on. Television was beginning to take over this sort of territory, and as a medium it was better able to present musical performances with immediacy and flair. </subfield></datafield><datafield tag="520" ind1="3" ind2=" "><subfield code="a">Concert Magic has been virtually unseen for many years. 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| id | DE-604.BV048407427 |
| illustrated | Not Illustrated |
| index_date | 2024-07-03T20:24:27Z |
| indexdate | 2024-07-10T09:37:16Z |
| institution | BVB |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-033785902 |
| oclc_num | 956369306 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 1 Online-Ressource (1 video file (1 hr., 13 min., 17 sec.)) sound, color |
| psigel | ZDB-1-MTV |
| publishDate | 2005 |
| publishDateSearch | 1947 |
| publishDateSort | 1947 |
| publisher | BBC Produktion Berlin |
| record_format | marc |
| spelling | Concert magic featuring Yehudi Menuhin BBC Produktion Berlin ; Paul Gordon, director [Place of publication not identified] BBC Produktion Berlin [2005] ©2005 1 Online-Ressource (1 video file (1 hr., 13 min., 17 sec.)) sound, color tdi rdacontent c rdamedia cr rdacarrier Violin sonata no. 1 in D major, op. 12. Allegro con brio Ludwig van Beethoven -- Partita for solo violin no. 3 in E major, BWV€1006. Preludio Johann Sebastian Bach -- Scherzo-Tarantelle Henri Wieniawski -- Ave Maria Johann Sebastian Bach, Charles Gounod -- Three concert etudes S 144. Un sospiro Franz Liszt -- Mazurkas, op. 7. No. 1 in B flat major Frederic Chopin -- Trois études, op. 104b. No. 2 in F major Felix Mendelssohn-Bartholdy -- St. Matthew's passion, BWV 244. Wir setzen uns mit Tränen nieder Johann Sebastian Bach -- Perpetuum mobile, op. 11 Niccolò Paganini -- Erlkönig, D. 328 Franz Schubert -- Étude in E major, op. 10, no. 3 Étude in F major, op. 10, no. 3 Waltz in E minor, op. posth. Frederic Chopin -- Six romances, op. 6. None but the lonely heart Pyotr Ilyich Tchaikovsky -- Caprice no. 23 in D major, op. 3, "Il€Labirinto€Armonico" Pietro Antonio Locatelli -- Orchestral suite no. 3 in D major, BWV 1068. Aria Johann Sebastian Bach ; arranged by August WIlhelmj -- Caprice in A minor, op. 1 no. 24 Niccolò Paganini ; arranged by Fritz Kreisler -- Ave Maria, D. 839 Franz Schubert ; arranged by August Wilhelmj Yehudi Menuhin, violin ; with, Jakob Gimpel, Adolph Baller, piano ; Eula Beal, contralto Charlie Chaplin Studios, Hollywood, USA.: The Power of illumination In the newspaper business they have a saying that one picture is worth a thousand words. No matter how hard you try to describe a person or a scene, your portrayal can never come close to the accuracy of a camera. In the case of a musician, you could say that a minute of recorded sound is worth any number of words. How else can you convey a violinist's tone to someone who has never heard him? And if you have film of him, your task is made yet easier. Film cannot wholly replace the thrill of seiing and hearing a concert, but it can be a reasonable substitute. Strangely, film-makers were slow to appreciate the possibilities of capturing live music on celluloid. Many great musicians of the 1930s left us very little film of their playing or none at all, even though the means existed to make excellent documentary studies. When, soon after the Second World War, Yehudi Menuhin was approached by the Hollywood producer Paul Gordon, the violinist immediately saw the potential of having some of his performances caught on film for posterity. He was so enthusiastic that it seems he worked for Gordon's Concert Film Corporation for very little money, banking on the movie making a profit and paying him royalties, such as he received for his sound recordings. His father, a much better businessman, was appalled, especially as he felt that Yehudi was dirtying his hands in having anything to do with Hollywood. The film, entitled Concert Magic, and featuring other artists besides Menuhin, was shot in the last months of 1947 at the studio formerly used by the comedian Charles Chaplin. Released about a year later, it was reasonably well received, but never caught on. Television was beginning to take over this sort of territory, and as a medium it was better able to present musical performances with immediacy and flair. Concert Magic has been virtually unseen for many years. Yet Paul Gordon and his namesake Paul Ivano, the cameraman on the project, did an excellent job of presenting short pieces of music in a direct, unfussy manner. The film is very watchable, even though the other solo performers are not in Menuhin's class: the Polish pianist Jakob Gimpel, one of three brothers who at one time played as a trio, is some-what matter-of-fact in the way he delivers his solos; and the US contralto Eula Beal does not suggest that she is going to become a household word (nor did she). There is the usual quota of Hollywoodisms: the way the selections are introduced seems calculated to put a mass audience off, rather than convert it to classical music, and silly mistakes creep in. The pianist Adolph Baller -- whose fingers were broken by the Nazis but who managed to recover well enough to be Menuhin's accompanist for a number of years -- Vocal selections sung in German Sonatas (Violin and piano) Suites (Violin) Violin and piano music Violin and piano music, Arranged Menuhin, Yehudi / 1916-1999 / Interviews Menuhin, Yehudi / 1916-1999 Internet videos Interviews Gordon, Paul Sonstige oth Menuhin, Yehudi 1916-1999 Sonstige oth Gimpel, Jakob Sonstige oth Baller, Adolph Sonstige oth Beal, Eula 1919-2008 Sonstige oth Beethoven, Ludwig van 1770-1827 Sonatas violin, piano no. 1, op. 12, no. 1 D major Allegro con brio Bach, Johann Sebastian 1685-1750 Sonaten und Partiten violin BWV 1001-1006 Partita no. 3 Preludio Wieniawski, Henri 1835-1880 Scherzo-tarantelle Bach, Johann Sebastian 1685-1750 Wohltemperierte Klavier 1. T. Nr. 1 Praeludium arranged Liszt, Franz 1811-1886 Études de concert (1849) No 3 Chopin, Frédéric 1810-1849 Mazurkas piano op. 7 No. 1 Mendelssohn-Bartholdy, Felix 1809-1847 Präludien und Etuden piano op. 104 Etuden No. 2 Bach, Johann Sebastian 1685-1750 Matthäuspassion Erbarme dich, erbarme dich, mein Gott Paganini, Nicolò 1782-1840 Moto perpetuo arranged Schubert, Franz 1797-1828 Erlkönig Chopin, Frédéric 1810-1849 Etudes piano op. 10 No. 3 Chopin, Frédéric 1810-1849 Etudes piano op. 10 No. 8 Chopin, Frédéric 1810-1849 Waltzes piano B. 56 E minor Tchaikovsky, Peter Ilich 1840-1893 Romansy op. 6 Net, tolʹko tot, kto znal Locatelli, Pietro Antonio 1695-1764 Arte del violino Capricci n. 23 arranged Bach, Johann Sebastian 1685-1750 Suites orchestra BWV 1068 D major Air arranged Paganini, Nicolò 1782-1840 Caprices violin M.S. 25 No. 24 arranged Schubert, Franz 1797-1828 Ellens Gesang D. 839 BBC Produktion Berlin Sonstige oth https://edu.medici.tv/en/concerts/yehudi-menuhin-in-concert-magic Verlag URL des Erstveröffentlichers Volltext digital rdatr video file |
| spellingShingle | Concert magic featuring Yehudi Menuhin Violin sonata no. 1 in D major, op. 12. Allegro con brio Partita for solo violin no. 3 in E major, BWV€1006. Preludio Scherzo-Tarantelle Ave Maria Three concert etudes S 144. Un sospiro Mazurkas, op. 7. No. 1 in B flat major Trois études, op. 104b. No. 2 in F major St. Matthew's passion, BWV 244. Wir setzen uns mit Tränen nieder Perpetuum mobile, op. 11 Erlkönig, D. 328 Étude in E major, op. 10, no. 3 Étude in F major, op. 10, no. 3 Waltz in E minor, op. posth. Six romances, op. 6. None but the lonely heart Caprice no. 23 in D major, op. 3, "Il€Labirinto€Armonico" Orchestral suite no. 3 in D major, BWV 1068. Aria Caprice in A minor, op. 1 no. 24 Ave Maria, D. 839 Sonatas (Violin and piano) Suites (Violin) Violin and piano music Violin and piano music, Arranged |
| title | Concert magic featuring Yehudi Menuhin |
| title_alt | Violin sonata no. 1 in D major, op. 12. Allegro con brio Partita for solo violin no. 3 in E major, BWV€1006. Preludio Scherzo-Tarantelle Ave Maria Three concert etudes S 144. Un sospiro Mazurkas, op. 7. No. 1 in B flat major Trois études, op. 104b. No. 2 in F major St. Matthew's passion, BWV 244. Wir setzen uns mit Tränen nieder Perpetuum mobile, op. 11 Erlkönig, D. 328 Étude in E major, op. 10, no. 3 Étude in F major, op. 10, no. 3 Waltz in E minor, op. posth. Six romances, op. 6. None but the lonely heart Caprice no. 23 in D major, op. 3, "Il€Labirinto€Armonico" Orchestral suite no. 3 in D major, BWV 1068. Aria Caprice in A minor, op. 1 no. 24 Ave Maria, D. 839 Sonatas Sonaten und Partiten Scherzo-tarantelle Wohltemperierte Klavier Études de concert Mazurkas Präludien und Etuden Matthäuspassion Moto perpetuo Erlkönig Etudes Waltzes Romansy Arte del violino Suites Caprices Ellens Gesang |
| title_auth | Concert magic featuring Yehudi Menuhin |
| title_exact_search | Concert magic featuring Yehudi Menuhin |
| title_exact_search_txtP | Concert magic featuring Yehudi Menuhin |
| title_full | Concert magic featuring Yehudi Menuhin BBC Produktion Berlin ; Paul Gordon, director |
| title_fullStr | Concert magic featuring Yehudi Menuhin BBC Produktion Berlin ; Paul Gordon, director |
| title_full_unstemmed | Concert magic featuring Yehudi Menuhin BBC Produktion Berlin ; Paul Gordon, director |
| title_short | Concert magic |
| title_sort | concert magic featuring yehudi menuhin |
| title_sub | featuring Yehudi Menuhin |
| topic | Sonatas (Violin and piano) Suites (Violin) Violin and piano music Violin and piano music, Arranged |
| topic_facet | Sonatas (Violin and piano) Suites (Violin) Violin and piano music Violin and piano music, Arranged |
| url | https://edu.medici.tv/en/concerts/yehudi-menuhin-in-concert-magic |
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