1949
• 1. First Movement (Pesante)
• 2. Second Movement (Allegro Vivace)
• 3. Third Movement (Allegro Deciso)

1948
• 4. First Movement (Pesante)
• 5. Second Movement (Allegro Vivace)
• 6. Third Movement (Allegro Deciso)

1949
• Orchestra : Melbourne Symphony Orchestra
• Conductor : Sir Bernard Heinze
• Broadcast by 3LO in Melbourne (ABC)

1948
• Orchestra : Sydney Symphony Orchestra
• Conductor : not credited on original discs
• Broadcast on 2BL Sydney, ABC radio network 1950's.

Jascha Spivakovsky (18 August 1896 – 23 March 1970) was a virtuoso pianist. He was known for his tone quality (the secrets of which were handed down to him from Anton Rubinstein), his "crystal piano playing" technique handed down from Franz Liszt, and his interpretation of all styles of composition from Baroque to the most modern.
His teacher, Professor Moritz Maher-Mahr had studied with both Franz Liszt and Anton Rubinstein, and Spivakovsky’s playing style (as noted by contemporary critics) bore an uncanny resemblance to that of Hans von Bulow (Liszt’s first great student) in its "pithiness of interpretation" and to Anton Rubinstein in its "overwhelming passion" and beautiful "golden" tone. His position in pianistic history is thus unique in that he was virtually the only pianist to synthesize the two styles, bringing together two pianistic lines, emanating from Beethoven through to Liszt on the one hand, and from Mozart through to Anton Rubinstein on the other.
As a child prodigy, he performed for the royal families of Europe and was heralded by critics as "the heir of (Anton) Rubinstein" after giving an entire Schumann recital in Leipzig. At 14 years of age he outclassed an adult field to win the Bluthner Prize, awarded by three of the greatest pianists of the time, Ossip Gabrilowitsch, Leopold Godowsky and Ferruccio Busoni.
After World War I he became recognized as one of the world’s foremost pianists and appeared as soloist with leading orchestras under many of the finest conductors. He gave a series of historical concerts of 15 concertos with the Berlin Philharmonic Orchestra under Wilhelm Furtwangler, tracing the development of the concerto from Bach to Brahms. In 1926, legendary composer and conductor Richard Strauss personally requested that Spivakovsky perform Strauss’s own Burlesque in D Minor, with the Vienna Philharmonic Orchestra conducted by Strauss himself. The performance was an outstanding success and Strauss, audience and critics were delighted.
He formed a duo with his younger brother Tossy Spivakovsky, a violinist and also a prodigy who became the youngest ever concertmaster of the Berlin Philharmonic Orchestra. The great scientist Albert Einstein, himself an amateur violinist, befriended them and regularly attended their concerts.
His first tour of Australasia in 1922 was a phenomenal success. The audiences rushed the stage during the performances and refused to leave the halls until the lights were turned out. He pioneered radio broadcasting of music in Australia.
In 1930, he and Tossy formed the Spivakovsky-Kurtz Trio with the addition of 'cellist Edmund Kurtz, which became highly regarded for its ensemble and solo playing through the flawless musicianship of its members. After World War 2, Spivakovsky gave his first performances in the United States, Canada and India, as well as return performances in Britain, Europe, Iceland, Scandinavia, Australasia, Israel and Africa. His debut at Carnegie Hall in 1948 was a triumph and the New York Times gave a glowing review, highlighting his "command of tone that borders on the remarkable".
In 1952, he was chosen to perform as soloist at a concert celebrating the Coronation of Queen Elizabeth ll and gave the first Australian performance of Benjamin Britten’s Concerto in D Major. He also gave many first Australian performances of new works, including Ernst Bloch’s monumental Concerto Symphonique, which he learned from the manuscript. In his later years he forged new pathways, combining expression and intellectuality, to the appreciation of audiences and critics alike.
When Jascha was preparing to record the Ludwig van Beethoven violin sonatas with his brother Tossy, his death intervened. Since then he has become less well known than other keyboard virtuosos of his era, because he made virtually no commercial recordings.