This is a three LP set of Bach by Arthur Grumiaux, as recorded by Philips.   This is a stereo set.  The LP’s look to be in excellent condition. I saw no signs of wear, such as scuffs, scratches, etc.  Three Sonatas and Three Partitas for solo violin by Bach.  I offer a seven day money back guarantee of satisfaction so long as you pay the mailing costs each way.  Included is a booklet in German, French and English.  6 pages.  The foam insert is even intact!  The box cover is split in the corners and about 2 inches is missing from the cover corner on the bottom right on both sides of the corner.  The front of the box is in good shape.  The records are in their original sleeves.  The records were pressed in Holland. The labels are red with silver lettering.  Philips is a high quality record label on a par with DGG, as I recall, when I was younger.  The record number is A 02205/7 L and/or 835 198/200 AY according to the booklet. 

If you need more information, please email me at miker2001@msn.com

Here is the set, as described by Wiki

The Sonatas and Partitas for solo violin (BWV 1001–1006) are a set of six works composed by Johann Sebastian Bach. They consist of three sonatas da chiesa, in four movements, and three partitas, in dance-form movements.

The set was completed by 1720, but was only published in 1802 by Nicolaus Simrock in Bonn. Even after publication, it was largely ignored until the celebrated violinist Josef Joachim started performing these works. Today, Bach's Sonatas and Partitas are an essential part of the violin repertoire, and they are frequently performed and recorded.

The Sei Solo – a violino senza Basso accompagnato, as Bach titled them, firmly established the technical capability of the violin as a solo instrument. The pieces often served as an archetype for solo violin pieces for the following generations of composers, including, but not limited to, Eugène Ysaÿe, Béla Bartók, and Paul Hindemith.

I will ship via media mail, at actual cost. If you want insurance, priority, etc. I will bill at actual cost.  The set weighs 2 lbs, so I figure 3 lbs by the time packaging is included. I am an armchair picker selling a few things for fun. 

Sonata No. 1 in G minor, BWV 1001

1. Adagio
2. Fuga (Allegro)
3. Siciliana
4. Presto

Though the key signature of the manuscript suggests D minor, such was a notational convention in the baroque period, and therefore does not necessarily imply that the piece is in the Dorian mode. The second movement, the fugue, would later be reworked for the organ (in the Prelude and Fugue, BWV 539) and the lute (Fugue, BWV 1000), with the latter being two bars longer than the violin version.

Partita No. 1 in B minor, BWV 1002

1. Allemanda - Double
2. Corrente - Double (Presto)
3. Sarabande - Double
4. Tempo di Borea - Double

This partita substitutes a Bourrée (marked Tempo di Borea) for the gigue, and each movement is followed by variations called double in French.

Sonata No. 2 in A minor, BWV 1003

1. Grave
2. Fuga
3. Andante
4. Allegro

Partita No. 2 in D minor, BWV 1004

1. Allemanda
2. Corrente
3. Sarabanda
4. Giga
5. Ciaccona

In the original manuscript, Bach marked 'Segue la Corrente' at the end of Allemanda. The powerful Ciaconna (chaconne in English) surpasses the length of the other four movements combined. This movement is considered a pinnacle of the solo violin repertoire, in that it remains one of the most technically and musically demanding pieces since Bach's time.

Sonata No. 3 in C major, BWV 1005

1. Adagio
2. Fuga
3. Largo
4. Allegro assai

The opening movement of the work introduced a peaceful, slow stacking up of notes, a technique once thought to be impossible on bowed instruments. The fugue is the most complex and extensive out of the three, with the subject derived from the chorale Komm, heiliger Geist, Herre Gott; it sounds almost exactly like London Bridge is Falling Down. Bach employed every element imaginable on this fugue, which included a stretto, an inversion, as well as diverse sorts of double counterpoint.

Partita No. 3 in E major, BWV 1006

1. Preludio
2. Loure
3. Gavotte en rondeau
4. Menuet I
5. Menuet II
6. Bourrée
7. Giga

And here is what Wiki says about Grumiaux:

Arthur Grumiaux

From Wikipedia, the free encyclopedia

Arthur Grumiaux

Arthur Grumiaux

Background information

Birth name

Arthur Grumiaux

Born

March 21, 1921
Villers-Perwin, Belgium)

Died

October 16, 1986
Brussels, Belgium

Occupations

Violinist, Pianist

Arthur Grumiaux (March 21, 1921–October 16, 1986) was a Belgian violinist who was also proficient in piano.

Contents

[hide]

• 1 Youth
• 2 Career
• 3 Recordings
• 4 Honours
• 5 His violin
• 6 Death
• 7 External links
• 8 References

Youth

Grumiaux was born in Villers-Perwin, Belgium to a working-class family, and it was his grandfather who urged him to begin music studies at the age of only 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 Henry 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 George Enescu, Menuhin's teacher.

Career

His debuts were made in Belgium with the Brussels Philharmonic Orchestra playing Mendelssohn's concerto, and in Britain with the BBC Symphony 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. His playing often brought comparisons to another great Belgian violinist Eugène Ysaÿe and also to Pablo de Sarasate of Spain. His reputation and renown among violinists themselves was such that his legacy is felt by hearing elements of his unmistakable style and standards present in several new generations of violinists.

One of his greatest joys in life was his partnership with the pianist Clara Haskil, the Romanian-born Jewish Swiss classical pianist. On occasion, the two would switch instruments for a different perspective and relationship. Grumiaux was left with a professional and personal loss when she died from a fall at a train station, en route to a concert with him.

Recordings

Grumiaux's playing was 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, also including works by Corelli, Ravel, Debussy and Franck. In addition to his solo work, he recorded Mozart quintets with the Grumiaux Ensemble, and various selections with the Grumiaux Trio, which consisted of Grumiaux and the Hungarian husband-wife duo Georges Janzer (viola) and Eva Czako (cello). (Janzer had been a founding member of the Vegh Quartet, in which he served from 1940-1978).

Grumiaux's recordings of Bach's Sonatas & Partitas for Unaccompanied Violin, are frequently cited as a supreme reflection of the violinist's art and as first choices among the many recordings available. One movement from this set, the "Gavotte en rondeaux" from the Partita No. 3, is included on the Voyager Golden Record, attached to the Voyager spacecraft, as a sample of the culture of Earth.

Honours

Grumiaux's successful performance career led up to royal recognition, and in 1973 he was knighted baron by King Baudouin for his services to music, thus sharing the title with Paganini.

His violin

He owned both a Guarneri and a Stradivarius. The Guarneri was the "Rose" Guarneri del Gesu of 1744. The Stradivarius was "Ex-General Dupont" 1727. Jean-Baptiste Vuillaume 1866 (now known as ex-Grumiaux) and is now played by Jennifer Koh.

 Death

Despite a struggle with diabetes, Grumiaux 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.

I HAVE LOOKED MORE CLOSELY AT THE RECORDS. I LOOKED AT EACH DISC, EACH SIDE. I SAW NO SCUFFS, SCRATCHES, OR SIGNS OF WEAR.  I ALSO SAW NO BUMPS OR OTHER MANUFACTURING DEFECTS. I HAVE NOT PLAYED THE DISCS, HOWEVER.  I AM NOT A DEALER EXPERIENCED IN THIS SORT OF THING, BUT DOING MY BEST TO DESCRIBE THE RECORDS. AGAIN, IF YOU ARE NOT SATISFIED, I WILL TAKE THEM BACK PROVIDED THE BUYER PAYS THE POSTAGE BOTH WAYS. 

THE ACTUAL WEIGHT OF THE RECORDS WITH THE COVER IS 2 POUNDS. I ESTIMATED A LITTLE HIGHER FOR THE PACKAGING WHEN I WROTE UP THE LISTING.

OKAY, AT THE SUGGESTION OF A POTENTIAL BUYER, I HAVE PUT THE DISCS ON MY OLD RECORD PLAYER.  IT IS AN OLD STEREO RECORD PLAYER WITH AN OLD SHURE NEEDLE.  I PLAYED SOME OF EACH SIDE. THERE IS SOME WOW (DONT KNOW HOW ELSE TO DESCRIBE IT) TO THE DISCS, AS THEY DONT LAY PERFECTLY FLAT ON THE PLATTEN.  YOU NOTICE IT ON THE OUTER EDGES OF THE DISC.  THERE IS SOME OCCASIONAL SURFACE NOISE.  IT IS MORE NOTICEABLE ON THE OUTER EDGES OF THE RECORD, AND OBVIOUSLY THE QUIETER PARTS.  THE LAST DISC HAS VERY LITTLE SOUNDS OTHER THAN THE VIOLIN PLAYING.  I AM VERY NEW TO THIS AND BASICALLY AN ARMCHAIR PICKER.  AGAIN, I WILL TAKE THE RECORDS BACK IF YOU ARE NOT HAPPY WITH THEM.  I DONT FIND IT DISTRACTING, AND WAS LISTENING CLOSELY.