Members of the audience as long ago as 1973 have been inquiring about Yovanovitch recital recordings. They searched, and found nothing. There are a very large number indeed, as a visitor to the Discography page can see, starting from 1973, which have been hidden away until the present day.
 
The whole catalog is now available. These recordings trace an artist’s development yet reveal constant and unchanging characteristics. Thus they are personal and go beyond the concept of intellectual property.

I decided against publication since Music Industries exist for the purpose of money making and tend to concentrate on immediate financial gain, rather than consider the possibility of long term involvement, essential for the survival of Great European Music.

There was a good possibility of the entire catalog becoming the property of an “artist’s agent” or “record distributor” and receiving nothing in return.
Better to hide them in a secret place and wait for more civilized times, although that may be a long wait.

The Complete Recordings appearing here are indeed “Complete”, and compiled from tapes made in preparation for the very first professional recording for State radio/TV in 1973, after one year’s full time study at the university. At the time, it seemed to be a “Trial by Fire” which made the Inquisition look like a garden party!

Throughout the very many recordings made for various State Broadcasting Authorities, in Europe and elsewhere, I allowed a maximum of two takes only, to preserve the freshness and spontaneity of the performance.

The recordings were always unedited and broadcast after I had left the country and furthermore, the producers were reluctant to forward duplicate tapes to the artist.

Thus, the recordings from the seventies are often not broadcast productions, but made in the State rehearsal studios with my own “equipment” and in live concerts.

Later recordings were made in Australia, England, Hungary, New Zealand and the USA, mostly in a staggering variety of wholly unsuitable situations, but always on the nine-foot concert grand.

The best sounding recordings were made during the nineties in a huge oval church in California with a high-speed machine.

I therefore ask the listener to catch the spirit of the composer, if it is apparent, and accept the variable engineering quality, the results of differing technologies on different continents over a period of more than thirty years.
Whatever reasons you have for listening to amplified music, please remember that a recording is only a “postcard” of the concert itself.