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Though indeed of Italian background, violinist Zino Francescatti was a Frenchman, born in Marseilles in 1902. His real name was René-Charles Francescatti. Both his parents played the violin, and his father René had been a student of Paganini. The younger Francescatti performed the Paganini Violin Concerto No. 1 at his official Paris debut in 1925.

By that time Francescatti was already an experienced performer. He gave his first concert at age 5 and played the Beethoven violin concerto at 10. From his late teens he concertized regularly, and after arriving in Paris in 1924 he formed a duo with none less than Maurice Ravel and embarked on an international tour. In the 1920s and 1930s Francescatti toured the globe, although his U.S. debut didn't come until 1939, once again with the Paganini Concerto No. 1, in a New York Philharmonic concert.

Despite his fondness for Paganini, Francescatti was more identified with elegant, natural-seeming playing than with sheer virtuoso fireworks. Later in life he toured and recorded with the similarly fluid French pianist Robert Casadesus in duo repertory; they recorded a complete set of Beethoven's violin and piano sonatas, lyrical works ideally suited to their combined styles. Living in New York but often returning to France to perform and teach, Francescatti made durable recordings of several major repertory works, including the Beethoven concerto with conductor Bruno Walter and the Columbia Symphony Orchestra. Francescatti retired in 1976, moved back to France, and sold his prized Stradivarius instrument to Salvatore Accardo. In 1987 he used part of the proceeds to establish an educational foundation and a violin competition in the city of Aix-en-Provence.

Despite the deep-rooted European traditions exemplified in his playing, Francescatti's memory has not been particularly well served by reissue houses. An exception, however, is the Bridge release An Evening of Paganini (Great Performances from The Library of Congress, Vol. 17), which won a Best Recording of the Year award from Fanfare magazine. The disc presents a 1954 Paganini recital Francescatti gave with pianist Artur Balsam. The Zino Francescatti in Performance two-disc set released by the Music & Arts label offers Francescatti concerto performances from the 1940s and 1950s with various orchestras. Some of his original concerto recordings on the Columbia label have been reissued as part of the Sony Masterworks Heritage series.

Robert Casadesus was the quintessential French musician, a passionate perfectionist who carried the Gallic virtues of precision, clarity, and elegance into the mid-twentieth century as an embodiment of the living spirit of classicism -- precision animated by passion, clarity attained through sensuous scintillance, and elegance as the expression of the most lucidly aware animation. Born in Paris to a distinguished family of musicians -- his father and three uncles enjoyed careers as performers and composers -- Robert took first prize for piano at the Paris Conservatoire at age 14. Studies with Louis Diémer -- early enthusiast of the French clavicenistes, premiere soloist and dedicatee of Franck's Variations symphoniques for piano and orchestra -- graced Casadesus with the mantle of the inheritor. In 1921 he married fellow Diémer pupil Gabrielle (Gaby) L'Hôte. The following year he earned Ravel's friendship with his performance of Gaspard de la nuit, which led to European tours with the composer and legendary soprano Madeleine Grey. "You are a composer," Ravel wrote, "because you have the courage to play 'Gibet' as I imagined it, that is, as a slow piece...And virtuoso pianists do not want to play it like that. They double the tempo and make it much faster. That is why I think you are a composer." Indeed, Casadesus' catalog eventually embraced some 68 works, including seven symphonies, concertos for two and three pianos and orchestra, 27 chamber works, and 20 works for piano. It is music for connoisseurs, music of formal concision not devoid of passionate expression, but highly wrought, suggestive, and understated in, typically, lyrically attenuated slow movements, tender and strange, and conclusions of fastidious tumult. It is the antithesis of Mahler's confessional expansiveness, while Stravinsky's neo-Classical manner seems gimmicky and carnivalesque by comparison. Casadesus was a distinguished teacher, beginning his career as professor of piano at the American Conservatory in Fontainebleau in 1921, and replacing Isidor Philipp as its head in 1935. But it is primarily as a touring pianist and recording artist that Casadesus is remembered, appearing throughout Europe and the United States over 2,000 times in a career spanning half a century, often in duo-piano recitals with his wife. His authoritative, exhilarating recordings of the Mozart piano concertos with George Szell and the Cleveland Orchestra, the Beethoven violin sonatas and the Franck Sonata with Zino Francescatti, Franck's Variations symphoniques and d'Indy's Symphonie cévenole with Ormandy and the Philadelphia Orchestra, and the piano works of Ravel -- to name but the most prominent -- are among the very greatest.