Beethoven, Brahms: Violin Concertos

Editorial Reviews
Amazon.com
During a career spanning six decades, Jascha Heifetz, surely one of the greatest violinists of all time, left a recorded legacy of an enormous repertoire, including solo pieces, sonatas, a lot of chamber music, and, of course, all the famous violin concertos--from Baroque to the 20th century--some in several versions made many years apart with different orchestras and conductors. In addition to RCA's complete, 65-CD collection, there are many reissues of parts of his discography; this is a singularly felicitous coupling. Of two versions of each concerto, these are the earlier ones. Both performances are breathtaking in their effortless virtuosity, pristine perfection, aristocratic nobility, and elegance. And, of course, there is Heifetz's incomparable tone. Pure, never sweet or lush, with a focused, intense vibrato and infinite variety of nuance and inflection, it has a warm glow on the lower strings and a glorious radiance in the upper register that truly resembles the voices of angels in its soaring ecstasy.

He plays Auer's fiendishly difficult cadenzas with stunning bravura; they are justifiably overshadowed by Joachim's and Kreisler's and rarely heard. The record shows that even an artist of Heifetz's stature and personality depends on the accompanying forces for successful self-expression. In the Beethoven, Toscanini's famous penchant for brisk tempi and strict, unbending rhythm sometimes results in superficiality and severely limits the soloist's freedom and flexibility, but Heifetz's charm and elegance make the Finale effervescent. By contrast, the Brahms under Koussevitzky is expansive, intense, urgent, dramatic, warm, fiery, and very free; the slow movement is inward, leisurely, and ecstatic, the Finale exuberant. The performance should lay to rest the image of Heifetz as a cold, impersonal player, an impression originally created by his restrained appearance on stage. --Edith Eisler

Tracks:

Beethoven: Violin Concerto In D: Allegro Ma Non Troppo
Beethoven: Violin Concerto In D: Larghetto
Beethoven: Violin Concerto In D: Rondo
Brahms: Violin Concerto In D: Allegro Non Troppo
Brahms: Violin Concerto In D: Adagio
Brahms: Violin Concerto In D: Allegro Giocoso, Ma Non Troppo Vivace

Customer Reviews:

Milstein shines.......2007-01-16

No other violinist has a silvery tone quite like Nathan Milstein. To have a coupling of his recordings of the two greatest violin concertos is a rare treat indeed. His perfomance of the Beethoven is unsurpassed in its lightness of touch - the slow movement really is heavenly!

The orchestral accompaniment is well judged; it's just a shame that, even with digital remastering, it doesn't come over with the quite the depth and clarity of detail of a modern recording. However, given the choice between that and a fine performance, I'll choose the latter every time.

Milstein at the top of his Game.......2006-09-08

Recorded in 1957 and 1954 respectfully, these are not for those of you who insist on modern digital recordings. However, if you love great violin playing look no further. Amazon has lowered the price to under eight dollars as further inducement, though to be brutally honest there are thousands of classical reissues that go for far more as "rarities" and cannot hold a candle to Milstein's playing. As early as 1955 David Hall was touting Milstein's recording of the Brahms Concerto offered here as "doing him full justice as an artist and a musician". Since then Milstein's achievement has been universally acknowledged as perhaps his single greatest recording. Almost all critics believe he was one of the very top violinists of the last century. This performance shows why.
Milstein wrote the cadenzas for both concertos, and both show refinement and melodic thoughtfulness over busywork or facile display. I am fortunate to have the original records, the first issued in the early days of long-playing records. To my ear an A - B comparison reveals the remastering was very successful with most of Milstein's extraordinary and entrancing tone intact on the CD.
Steinberg who was always underrated does a fine job here with the Pittsburg Symphony Orchestra. In several places the older sound flattens their tone out, but generally they sound good and always are alert, consistently on hand to offer the soloist well-integrated bracing support. This was an orchestra that played Beethoven very well under Steinberg - they would later go on to record a complete cycle of the symphonies when it was still considered something of an undertaking. Their perfromance of the Beethoven seventh symphony (in fine stereo) shines out from that series - a fine example of musical architecture and propulsion. Steinberg could be very good - his DG recording of the Planets and Also Sprach with the Boston Symphony shows him at his best - it is a modern day classic recorded near the end of his career.
But this recording belongs to Milstein, and if you are not familiar with him and love violin playing you could do no better than this issue. And for playing like this the sooner the better! Wonderful CD.

Bring Nathan to Your Desert Island.......2001-12-24

The Beethoven and Brahms violin concertos are the two pinnacles of the violin concerto repertoire, and Nathan Milstein is many a violinist's violinist, so it's hard to ignore this CD. Throw in that these are the finest of Milstein's several recordings of these two classic works, both exceptional accounts of the artist at his peak in the mid-1950s, skillfully remastered in 2001 by Angel/EMI at Abbey Road Studios using state-of-art "noise-shaping" technology, and you end up with a desert-island CD.

Tracks:

I. Allegro
II. Affettuoso
III. Allegro
I. Allegro
II. Andante
III. Allegro Assai
I. Allegro
II. Adagio
III. Allegro Assai
I. Vivace
II. Largo Ma Non Tanto
III. Allegro

Tracks:

Rhapsody No. 2 (Lassu [Moderato] - Friss [Allegro Moderato])
I. Allegro Non Troppo
II. Andante Tranquillo
III. Allegro Molto
I. Andante
I. Allegretto (Scherzando)
II. Allegro
II. Adagio

Tracks:

Romance No. 1 In G Major
I. Allegro Ma Non Troppo (Cadenza: Kreisler)
II. Larghetto
III. Rondo (Allegro) (Cadenza: Kreisler)
I. Allegro Moderato
II. Adagio
III. Finale (Allegro Energico)

Tracks:

Romance No. 2 In F Major, Op. 50
I. Allegro Non Troppo (Cadenza: Kreisler)
II. Adagio
III. Allegro Giocoso, Ma Non Troppo Vivace - Poco Piu Presto
I. Allegro Molto Appassionato
II. Andante
III. Allegretto Non Troppo - Allegro Molto Vivace

Tracks:

I. Allegro
II. Andante
III. Allegro Molto
I. Andante Tranquillo
II. Presto Capriccioso Alla Napolitana & Trio (Canzonetta)
III. Vivace

Tracks:

I. Allegro Moderato (Cadenza: Menuhin)
II. Adagio Molto
III. Finale (Presto) (Cadenza: Menuhin)
I. Allegro
II. Andante Cantabile
III. Rondo (Andante Grazioso - Allegro Ma Non Troppo)
I. Allegro Maestoso
II. Andante
III. Presto

Tracks:

I. Allegro Non Troppo
II. Scherzando (Allegro Molto)
III. Intermezzo (Allegretto Non Troppo)
IV. Andante
V. Rondo (Allegro)
I. Allegro Non Troppo
II. Andantino Quasi Allegretto
III. Molto Moderato E Maestoso - Allegro Non Troppo
Introduction & Rondo Capriccioso, Op. 28
Havanaise, Op. 83

Tracks:

I. Allegro Maestoso (Cadenza: Emile Sauret)
II. Adagio Espressivo
III. Rondo (Allegro Spiritoso)
I. Andante - Moderato - Cadenza
II. Adagio Religioso
III. Scherzo (Vivace) & Trio
IV. Finale (Allegro)
I. Allegro Non Troppo
II. Cadenza
III. Adagio
IV. Allegro Con Fuoco

Tracks:

Serenade Melancolique
I. Allegro Moderato
II. Adagio Di Molto
III. Allegro Ma Non Tanto
I. Praeludium (Largo)
I. Allegro Cavalleresco
II. Intermezzo (Poco Adagio)
II. Rondo (Allegretto Scherzando)

Tracks:

I. Allegro
II. Largo
III. Allegro
I. Allegro Non Molto
II. Adagio
III. Presto
I. Allegro
II. Adagio
III. Allegro
I. Allegro Non Molto
II. Largo
III. Allegro
I. Vivace - Allegro - Adagio - Vivace - Allegro - Largo Andante
II. Allegro
III. Grave - Andante Largo - Allegro
Fantasia Concertante On A Theme Of Corelli

Customer Reviews:

Mostly Magnificent Menuhin, with a Few Reservations.......2004-01-06

The recent trend toward classical box sets focusing on the performer instead of the composer (see my reviews of the various DG/Decca "Original Masters" sets) continues with EMI's new "Yehudi Menuhin - The Violinist." Sure EMI's past sets have showcased individual performances by Samson Francois, Eugen Jochum and Rudolf Kempe to name a few, but it was always under the heading of a given composer's works, and in the cases mentioned above, to Chopin's piano pieces, Bruckner's Symphonies and Strauss' Orchestral Works respectively. Therefore, this Menuhin collection is the first of EMI's "Budget Box Sets" to showcase a performer playing the works of a variety of composers.

As Menuhin was an EMI recording artist for an incredible 68 years (1931-99), his performances for the label number in the hundreds. With so much music from which to choose, this 10-disc set aims "to highlight some of those alternative versions, including recordings that have not been easily available since the days of LP and others that have never previously appeared on CD." Therefore, the obvious mainstream, easily attainable recordings are omitted here -- for example, the Beethoven/Mendelssohn VCs with Furtwangler, the Elgar VC with the composer conducting, and the Bruch/Mendelssohn VCs with Susskind and Kurtz.

However, a lot of this material has been on disc before on titles which the serious collector most likely already owns. Most of the Bach is currently available as part of the Bach "Budget Box Series" title. The Bruch, Mendelssohn, Brahms and Vivaldi VCs were all available in the now out-of-print 2CD EMI Seraphim series. The Elgar and the Walton are still available in the "British Composers" series. And perhaps most annoyingly, the previously unpublished Beethoven VC and Tchaikovsky "Serenade melancolique" (available as a single disc), and the Beethoven Romance No. 2 (available on an EMI Encore title) were both reissued just a few months back.

But let's focus on the positive, which are the other rare performances, the most significant being the never before reissued 1954 performance of Mozart's Violin Concerto No. 4 with John Pritchard and the Philharmonia. Other elusive recordings include Viuextemps and Paganini VCs with Fistoulari, Lalo and Saint-Saens works with Goossens, and excellent Berg and Bartok accounts with Boulez. Though I'm delighted at their inclusion, of lesser importance is a 1965 Bartok VC No. 2 with Dorati -- his mono EMI with Furtwangler and an earlier account with Dorati on Mercury Living Presence are far superior. Also, neither the Sibelius (Boult, 1955) nor Nielsen (Woldike, 1952) Concertos are truly Menuhin's cups of tea.

My last complaint has to do with the packaging. I know I'm being rather trite but it seems that EMI has taken the "slim" out of slim, paper-sleeved box sets with their latest batch of releases. Both this title and the new box of Liszt Orchestral Works by Masur are noticeably thicker than previous EMI sets featuring a similar number of discs. A minor point, but us serious classical collectors need every centimeter of space on our increasingly crowded CD shelves, not to mention the amount of wasted packaging.

Overall though, despite the fact that "Yehudi Menuhin - The Violinist" is not as essential a reissue as its counterparts in the "Original Masters" series, it is a delightful set that most collectors will thoroughly enjoy.

Average customer rating:

Playing the right notes, in Baroque music, will get you 10% there
Great
A cherished artist, though with declining technique, alas
Yeh, he's still got it
A comment about the Brahms

The Great Violin Concertos

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Great Recordings Of The Century - Mendelssohn, Bruch: Violin Concertos / Menuhin, Susskind, Kurtz
Bach: Sonatas & Partitas for Solo Violin
Yehudi Menuhin: In Memoriam
Gould Meets Menuhin
Great Recordings Of The Century - Beethoven: Triple Concerto; Brahms: Double Concerto / Oistrakh, Rostropovich, Richter

ASIN: B000002SBS
Release Date: 1991-07-05

Tracks:

Concerto For Two Violins In D Minor, BWV 1043: I: Vivace
Concerto For Two Violins In D Minor, BWV 1043: II: Largo ma non tanto
Concerto For Two Violins In D Minor, BWV 1043: III: Allegro
Violin Concerto No. 3 In G, K.216: I: Allegro
Violin Concerto No. 3 In G, K.216: II: Adagio
Violin Concerto No. 3 In G, K.216: III: Rondeau (Allegro - Andante - Allegretto)
Violin Concerto No. 5 In A, K.219 'Turkish': I: Allegro aperto
Violin Concerto No. 5 In A, K.219 'Turkish': II: Adagio
Violin Concerto No. 5 In A, K.219 'Turkish': III: Rondeau (Tempo di Menuetto - Allegro)

Tracks:

Violin Concerto in D, Op.61: I: Allegro ma non troppo
Violin Concerto in D, Op.61: II: Larghetto
Violin Concerto in D, Op.61: Rondo (Allegro)
Violin Concerto In E Minor, Op.64: I: Allegro molto appassinatio - Presto
Violin Concerto In E Minor, Op.64: II: Andante
Violin Concerto In E Minor, Op.64: III: Allegretto non troppo - Allegro molto vivace

Tracks:

Violin Concerto In E Minor, Op. 64: I: Vivace
Violin Concerto In E Minor, Op. 64: II: Adagio
Violin Concerto In E Minor, Op. 64: III: Allegro
Violin Concerto No. 3 In G, K. 216: I: Allegro
Violin Concerto No. 3 In G, K. 216: II: Adagio
Violin Concerto No. 1 In G Minor, Op.26: III: Finale (Allegro energico)

Customer Reviews:

Playing the right notes, in Baroque music, will get you 10% there.......2007-01-03

I recently heard "Concerto For Two Violins In D Minor" from this recording on the radio. I was very disappointed. The technique and tone quality and all of that was fine, but the interpretation was quite off. I wouldn't even call this a "modern" interpretation, rather, I would call this a "complete lack of interpretation".

In the Baroque style, the first and last movements would have been nearly twice as fast, and the middle movement probably would have been played slower. As they were performed here, they almost seemed the same. The Baroque era was all about contrast. Echo dynamics, which were so clearly indicated in most Bach scores even when other dynamics were left out (such as the opening measures to the Prelude to the first suite for unaccompanied cello) were half-hearted and seemed more like an afterthought here. One is left wondering if the reduced tempos were due to lack of technical ability (of the soloists or the accompanying orchestra) or just a complete breakdown in musical communication.

I would recommend a more faithful production, such as a recording by the Academy of Ancient Music (or anything with Andrew Manze) over this recording any day.

Note: These opinions are all based only on the Concerto For Two Violins In D Minor.

Great.......2006-04-07

Yehudi played the d major violin concerto so beautiful. The rondo was my favorite, the pause in the begging before jumping into the higher octaves honestly made me cry. This is truley the best recording im my perspective. we will really miss this great musician rest in peace.

A cherished artist, though with declining technique, alas.......2005-12-13

These recordings, mostly dating from the late 50s, catch Menuhin at a low point in his technical decline. Reviewers here haven't touched on the oft-told story of how this famous child prodigy lost his technique almost entirely in early adulthood and had to struggle back painfully (through enormous discipline, spiritual practice, and relearning the instrument from scratch) until he was a semblance of his former self. Beneath the out-of-tune playing and awkwardly slow passage work remained a great musician. But of all instruments, the violin is almost impossible to listen to when intonation is sour.

It is frequently sour on these CDs. The Beethoven in particular sounds faulty. Yet the early stereo versions of the Bruch concerto with Walter Susskind and the Mendelssohn with Efram Krutz are great examples of Menuhin's undiminished artistry, which transcended technique. The 1957 Brahms concerto, accompanied by Rudolf Kempe and the Berlin Phil. in quiet, civilized fashion, allows Menuhin to expand musically, and he has moments of lyrical beauty that are deeply touching. But all the fast passages are marred by intonation problems and smudged fingering, and his technique isn't adequate to the first movement cadenza. Every performance is worth a listen, but I would be cautious about a colleciton of sometimes painful memories. Menuhin recovered enough to play well in the Beethoven concerto for Otto Klemperer later on, and of course there are a series of classic post-war recordings in good, clear mono with Furtwangler that spiritually soar while also holding their own technically.

Yeh, he's still got it.......2005-11-04

I have to admit that in this recording Yehudi is not as sharp as he is in earlier ones, but the fine-tuned expressiveness has not been lost. I would buy this cd simply for the Bruch Violin Concerto, if nothing else, which is a dangerous undertaking to listen to at all, as one is liable to forget to breathe. The Brahms is definitely worth finding a different recording of, however, the 1949 EMI classics is much better.
The most important thing to remember about this album, however, is that Menuhin has never been, and never claimed to be, the best technical player ever. It is his unique interpretation and earnestness that people really fall in love with, and that, he still has.

A comment about the Brahms.......2005-06-26

This recording of the Brahms concerto is one Menuhin made later in life. It is almost painful to listen to. Menuhin has technical problems and sound like he's working very hard in passages where the music should flow easily -- and does flow easily in his earlier recording with Furtwangler. Only occasionally does the passionate artist rise out of the challenged technician and take my breath away -- a passage here and there, but not enough to make it a worthwhile experience. For this particular work, as well as for the Beethoven, I strongly recommend getting EMI's release of the early 1950's Menuhin/Furtwangler performances -- soul-searching, fluid, inventive, and awe-inspiring.

Heifetz: Beethoven & Brahms Concertos (Beethoven: Concerto for violin in D; Brahms: Violin Concerto in D Op77)

Average customer rating:

The best ever
The probelm of Heifetz
At last...
Typical Heifetz
towering masterpieces

Heifetz: Beethoven & Brahms Concertos (Beethoven: Concerto for violin in D; Brahms: Violin Concerto in D Op77)
Ludwig van Beethoven , Johannes Brahms , Charles Munch , Jascha Heifetz , and Fritz Reiner
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
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Tchaikovsky & Mendelssohn: Violin Concertos
Sibelius, Prokofiev, Glazunov: Violin Concertos
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Jascha Heifetz: The Supreme

ASIN: B000003FIO
Release Date: 1995-05-09

Tracks:

Allegro, Ma Non Troppo - Charles Munch
Larghetto - Charles Munch
Rondo: Allegro - Charles Munch
Allegro Non Troppo - Fritz Reiner
Adagio - Fritz Reiner
Allegro Giocoso, Ma Non Troppo Vivace - Fritz Reiner

Customer Reviews:

The best ever.......2007-06-24

Heifetz was the greatest violinist -- ever. But there were times when he could drive you crazy by playing too fast or where the sound quality was not good. But for the masterworks, like the Brahams violin concerto, no one has ever played them better. Specifically, playing "Big Daddy Brahms" is hard because it is very rich and there is a tendency to slow down at every little musical moment. The result is that in poor performances it can sound thick and make you slightly sea sick. Heifetz does not fall for these traps. He has the unique strength, both technical and musical, to play pure Brahms. This recording is a wonder. The slow movement is one of the most wonderful moments in all of recorded music. Buy this recording and you will listen to it over and over. The Beethoven is just as good.

The probelm of Heifetz.......2005-12-24

Heifetz seems to be one of those figures that divides the musical community into two opposing camps. Those that support him point out his absolute technical perfection and poise, and those that oppose him often resort to saying that he was "cold", or played too fast. The pro-Heifetz camp certainly have valid points, and if technique and poise are your main criteria, he really was the violinist of the century. However, those issues are secondary to me; what is of primary importance is a sense of improvisation, where every moment is full of love and the joy of living, and that I think is what the critics of Heifetz are reaching for when finding characterstics of his playing objectionable. If so, I feel their criticisms are justified, because I have only rarely heard performers more unspontaneous than Heifetz. Every note, even every sonic curve of every note is determined to the nth degree, so that although you are guaranteed a performance free of mistakes, you are also guaranteed not to hear any inspiration of the moment. To sum up, I feel that Heifetz the performer really was a machine that turned out a reliable, high quality product; if that's what you're looking for, he'll certainly satisfy you.
I have never been a fan of Reiner, now less so than ever. His conducting of the Brahms is as steely cold and impersonal as anything else he does, in fact by listening to the samples here you can hear how he rushes the oboe solo in the second movement so that it becomes totally lifeless. By all means do yourself a favor and listen to the Furtwangler/Menuhin recording instead of this if you want a genuinely human experience.
Munch does a vastly better job with the Beethoven, and although he adopts Heifetz's somewhat over-quick tempi, he still manages to breath some life into the music. Heifetz ruins the experience for me though, so I would recommend you look elsewhere. Of course there are many excellent recordings of this music, but again I personally feel most deeply for Furtwangler's vision of this work. The '53 recording with Menuhin is fine, despite Menuhin being much too closely miked and the performance being a bit stiff. Their Lucerne recording found on Testament is probably best.

At last..........2005-07-13

...an interpretation of the great Beethoven concerto that is actually as ambitious as Beethoven was himself. I've only listened to the concerto once before I bought this album, it was played by Menuhin. Quite frankly, I gave up after the first movement because the man bored me to tears with his extreme sentimentalism. He succeeded in mixing acceptable intonation with awkward vibrato. Worse than that, the concerto was so slow that it seemed to drag on endlessly as if it had a piano chained to it's foot. Perhaps I'm being a bit harsh on Menuhin, but having heard a great amount of Heifetz, Menuhin's subpar intonation really sticks out. And this was surprising for me because I loved just about EVERYTHING that came out of Beethoven's mind before this. For a couple of years, I had very low opinions on this concerto until I heard Heifetz play it. I had only bought the album for the Brahms (which is great as well), but encountered for the first time, the true power and beauty of the Beethoven violin concerto. As already mentioned by other writers, Heifetz doesn't spend too much time trying to suck out ever drop of sentimentality. There are many composers for which that would enhance the music, but some for which it would not; Beethoven being one of them. By playing the passages with a brisk tempo, we can hear what Beethoven had in mind, not what Menuhin or even Heifetz himself had in mine. The result is a masterpiece that successfully balances delicate intimacy with epic power, not to mention a cadenza that sounds so much like multiple violins that Paganini himself will turn in his grave.

Listening to the first movement of the Beethoven revolutionized my view not only on Heifetz, but on the essential nature of classical music itself. Before listening, I had always thought of Heifetz as nothing more than a technical machine. I saw nothing that was great about his playing because speed in concertos can be duplicated. In fact, I believe Milstein clocks faster than Heifetz in many great concertos, notably the Tchaikovsky's 3rd movement and Brahm's 3rd movement. As I listened to the 1st movement of the Beethoven, I began to realize the full depth and detail of Heifetz's playing. The 1st movement is nowhere near as difficult technically as say the Tchaikovsky or the Sibelius. But I realized that it wasn't speed that distinguished his playing, it was the fact that this man REALLY never missed 1 note. Every is not only perfectly intonated, it is carefully considered and skillfully interpreted. I truly believe that anyone who listens to Heifetz with a sensitive ear will also experience the epiphany of perfection. I'd HIGHLY reccomend this album.

Typical Heifetz.......2002-07-15

This is Heifetz - brisk tempi, perfect technique, intense virbrato, and searing beauty. The purist may complain that the Beethoven is taken too quickly, which is true. Perhaps some shade of contemplative reflection is lost in the innate forward push of the tempo, but there is nothing cold about this performance. The Brahms, a perfect vehicle for Jascha, is astounding. There is no saccharine hesitation, no excess dawdling. This is the Brahms at its best, with the contribution of Heifetz's own jaw-dropping cadenza. In sheer perfection and lyrical beauty, this recording has few peers. For those who prefer a "fatter Brahms" with broader tempi, find any of Oistrakh's wonderful recordings.

towering masterpieces.......2001-06-21

I have a deep regard and utmost esteem for the performance of Maestro Jascha Heifetz (1900-87) on this CD. These are recordings of the "towering masterpieces of the genre" according to Mr Mortimer H Frank, Contributing Editor, Fanfare, Stereophile, who also writes the notes. The violin concertos of Beethoven and Brahms presented here were both recorded in 1955. The former in November and the latter in February, conducted by Mr Charles Munch and Mr Fritz Reiner, respectively. I appreciate the reserved style for which Maestro Heifetz was famous. The solos for the first movements of each of the concertos are taut and still, exciting. The second movements (Larghetto & Adagio) are played with maturity and grace in my opinion. Mr Frank compares a previous recording and writes of the Maestro "with his technique remaining secure over the 15 or so years that separate the two versions, such challenges as the exposed octaves with which the violin enters in the Beethoven and the demanding multiple stops in the Brahms are handled with seeming ease." Another aspect I like about this CD is that it presents both concertos back-to-back. The points in common as well as the differences which Beethoven and Brahms bring become much more prominent in this format. The most obvious is that both end with a dance motif (Beethoven : Rondo; Brahms : Hungarian character). I found this to be an educational way of listening to these great pieces. Now, there are those to whom this may not be a consideration. Rather, some have taken to a cost/benefit analysis regarding the price per performance between one format and another. Please keep all costs in mind when doing this comparison and do not neglect the additional shipping cost. ;D Economics is seldom the best approach for artistic decisions. This is all to say that this collection stands on its own with the advantage of have two "towering masterpieces" on one CD. If you are interested in one of the most highly regarded violinists of the twentieth century, or in the violin concertos of the most influential composers of the 19th century, this CD will interest you.

Average customer rating:

Disappointing
Passionate and singing, outstanding violin playing
Excellent Set of Mutter, Karajan and Berlin Philharmonic
A wonderful 4 disc set
Great collection of great concertos

Great Violin Concertos

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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Beethoven: The Violin Sonatas

ASIN: B000001G6P
Release Date: 1990-10-25

Tracks:

Concerto For Violin And Orchestra No.3 In G Major, K.216: Allegro
Concerto For Violin And Orchestra No.3 In G Major, K.216: Adagio
Concerto For Violin And Orchestra No.3 In G Major, K.216: Rondeau. Allegro
Concerto For Violin And Orchestra No.5 In A Major, K.219: Allegro aperto
Concerto For Violin And Orchestra No.5 In A Major, K.219: Adagio
Concerto For Violin And Orchestra No.5 In A Major, K.219: Rondeau. Tempo di Menuetto

Tracks:

Concerto For VIolin And Orchestra In D Major, Op.61: Allegro ma non troppo
Concerto For VIolin And Orchestra In D Major, Op.61: Larghetto
Concerto For VIolin And Orchestra In D Major, Op.61: Rondo. Allegro

Tracks:

Concerto For Violin And Orchestra In E Minor, Op.64: Allegro molto appassionato
Concerto For Violin And Orchestra In E Minor, Op.64: Andante
Concerto For Violin And Orchestra In E Minor, Op.64: Allegro non troppo - Allegro molto vivace
Concerto For Violin And Orchestra No.1 In G Minor, Op.26: Vorspiel. Allegro moderato - attacca:
Concerto For Violin And Orchestra No.1 In G Minor, Op.26: Adagio
Concerto For Violin And Orchestra No.1 In G Minor, Op.26: Finale. Allegro energico - Presto

Tracks:

Concerto For Violin And Orchestra In D Major, Op.77: Allegro non troppo - Brahms
Concerto For Violin And Orchestra In D Major, Op.77: Adagio - Brahms
Concerto For Violin And Orchestra In D Major, Op.77: Allegro giocoso, ma non troppo vivace - Poco piu presto - Brahms

Customer Reviews:

Disappointing.......2007-03-09

Very sluggish! Very disappointing! How can one turn passionate music into boring? Well, IMHO, Mutter did just that.

Passionate and singing, outstanding violin playing.......2003-11-15

Ms. Mutter makes the violin sing in this fine collection of violin concertos recorded with the Berlin Philharmonic. Ms. Mutter was discovered by Herbert von Karajan at age 13, declared by him as "the greatest musical prodigy since the young Menuhin" and played with the Berlin Philharmonic as a teenager. The two Mozart concertos were recorded when she was only 15. The other concertos were recorded before she was twenty years old. My favorite is the Mendelssohn concerto. Ms. Mutter plays its haunting theme with elegance,flair and fire. Her passion and precision are evident through the difficult passages. Married to conductor Andre Previn, who wrote a violin concerto for her, Ms. Mutter never fails to intrigue her audience, making her vioin sing with colorful, soulful voices.

Excellent Set of Mutter, Karajan and Berlin Philharmonic.......2001-12-24

Deutsche Grammophon has assembled the recordings made by violinist Mutter, conductor Karajan and the Berlin Philharmonic back in the 1970's and early 1980's when Mutter was a teenage prodigy on the violin. The finest performances are those of the Beethoven and Brahms concertos, but the others are fine too, especially the Mozart concertos. Sound quality purists may prefer remastered versions of the Beethoven violin concerto - available as part of Deutsche Grammophon's complete Beethoven commemorative edition and the others which are available separately on Deutsche Grammophon's legendary recordings series. Yet those who prefer having all these performances in one box set won't be disappointed with the sound quality.

A wonderful 4 disc set.......2000-12-13

To know that Anne-Sophie was just a teen when these recordings were made...15 to 19 years of age...is truly astonishing. She plays with a virtuosity well beyong her years. As the booklet states, Karajan has referred to her as "the most outstanding musical prodigy since the young Menuhin"; as anyone can tell by listening to this set, this is an apt title for her. I am no expert when it comes to Classical music, so I won't attempt to compare or analyze or go into the set deeply; but I certainly know something beautiful when I hear it, and this set of 4 cds is certainly that. Recommended!

Great collection of great concertos.......2000-01-16

Anne-Sophie Mutter is one of the finest violinists of our time. Her tone is powerful and sensitive, and her technique is superb. Like the title suggests, these are some of the greatest concertos written for violin; Mutter plays these masterpieces with her own distinct style and musicality.

Average customer rating:

Classic performances from the greatest
Heifetz, Toscanini, and Koussevitzky

Beethoven, Brahms: Violin Concertos

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Tchaikovsky, Wieniawski, Sibelius: Violin Concertos
Heifetz: Brahms, Bruch, Glazunov
Great Violinists - Heifetz: Vieuxtemps, Saint-Saens, Sarasate, Waxman
Prokofiev / Gruenberg: Violin Concertos
Violin Concertos: Mozart Nos 4 & 5, Mendelssohn in E min.

ASIN: B00004TQOZ
Release Date: 2000-07-18

Tracks:

Violin Concerto In D Major, Op. 61: Allegro non troppo
Violin Concerto In D Major, Op. 61: Larghetto
Violin Concerto In D Major, Op. 61: Rondo: Allegretto
Violin Concerto In D Major, Op. 77: Allegro ma non troppo
Violin Concerto In D Major, Op. 77: Adagio
Violin Concerto In D Major, Op. 77: Allegro giocoso, ma non troppo vivace

Amazon.com

During a career spanning six decades, Jascha Heifetz, surely one of the greatest violinists of all time, left a recorded legacy of an enormous repertoire, including solo pieces, sonatas, a lot of chamber music, and, of course, all the famous violin concertos--from Baroque to the 20th century--some in several versions made many years apart with different orchestras and conductors. In addition to RCA's complete, 65-CD collection, there are many reissues of parts of his discography; this is a singularly felicitous coupling. Of two versions of each concerto, these are the earlier ones. Both performances are breathtaking in their effortless virtuosity, pristine perfection, aristocratic nobility, and elegance. And, of course, there is Heifetz's incomparable tone. Pure, never sweet or lush, with a focused, intense vibrato and infinite variety of nuance and inflection, it has a warm glow on the lower strings and a glorious radiance in the upper register that truly resembles the voices of angels in its soaring ecstasy.

Customer Reviews:

Classic performances from the greatest.......2004-12-08

Heifetz was known as "the King of violinists" and called "God" by Perlman. On these recordings, it is easy to see why.

These are historical recordings, made in 1939 and 1940, but have been restored brilliantly and Heifetz's playing is indescribable; at least by me, check out the review on the Gramophone site.

The sound on the solos is excellent; of course there is some background hiss and popping, but it is minimal and should definitely not deter anyone from this masterpiece.

Heifetz, Toscanini, and Koussevitzky.......2002-01-25

Heifetz's virtuosity shines in these early recordings of the Beethoven and Brahms violin concerto.

The Beethoven was recorded with Arturo Toscanini and the NBC Symphony. Though I would generally agree that Toscanini favored the "correct tempi" over brisk tempi, that does not apply here. Heifetz's expressive capacity is limited by Toscanini's strict tempo. Though he favored this, Toscanini was first and foremost an opera conductor and had one of the most wonderful ears for rubato in accompanying a singer. So his inflexibility is quite surprising.

By contrast, Koussevitzky's Brahms is much more expansive and expressive, which allows Heifetz to explore an enormous range of expression.

Tracks:

Violin Concerto In D, Op. 61: Allegro ma non troppo
Violin Concerto In D, Op. 61: Larghetto - Beethoven
Violin Concerto In D, Op. 61: Rondo. Allegro - Beethoven
Violin concerto In D, Op. 35: Allegro moderato
Violin concerto In D, Op. 35: Canzonetta. Andante - Tchaikovsky
Violin concerto In D, Op. 35: Finale. Allegro vivacissimo - Tchaikovsky

Tracks:

Violin Concerto In E Minor, Op. 64: 1. Allegro molto appassionato
Violin Concerto In E Minor, Op. 64: 2. Andante
Violin Concerto In E Minor, Op. 64: 3. Allegretto non troppo. Allegro molto vivace
Violin Concerto In D, Op. 77: 1. Allegro non troppo
Violin Concerto In D, Op. 77: 2. Adagio
Violin Concerto In D, Op. 77: 3. Allegro giocoso, ma non troppo vivace - Poco piu presto - Brahms
Romance No. 2 In F, Op. 50 For Violin And Orchestra: Romance No. 2 In F, Op. 50 - Beethoven

Customer Reviews:

Favourite Violin Concertos..........2005-10-28

This is truly a worthy collection of timeless music. I myself, can only wonder what Beethoven, Brahms, Mendelssohn and Tchaikovsky were "on" when they put out these violin concertos. Their command of solo (violin) and orchestral music is just amazing. The quality of the recordings vary as the music is from 1960, 1972, 1974 and 1976. Overall, very good - but it is the reason why I only gave the collection 4 stars. Still, if you can get a copy at a good price, buy it! You won't be sorry!

Buy It for the Beethoven.......2001-07-01

The Beethoven and Brahms concerti and worth twice the price, the P.T. concerto is expendable, being a childish toy (nonetheless good in its own way) in comparison. I have enjoyed this recording of Beethoven (and Brahms) for about 20 years now, since the neanderthalish days of vinyl inscribing, and yet I still find beautiful little phrases in the Beethoven that pop out as never having been noticed before. Grumiaux was in a poetic mode when he recorded this with Colin Davis and the best word for his delivery is lyrical. Davis brings out a powerful force from the orchestra and every single note is perfectly on key (a rarity). This is music for people who really listen to every note, every feeling. The orchestra all by itself is truly stunning; the violin playing of Aurthur G. is charming and enticing and depending on your mood, way beyond sublime. And way beyond many other words too !

A good friend of mine used to say how he was absolutely convinced that Beethoven intentionally put little surprises in his music, and he said Ludwig could never stay too serious for too long. He suggested that Beethoven contrived quick mood changes and sudden outbursts of energy to keep those upscale audiences of the 1800s in Vienna, who tended to be smug, self-satisfied, and sometimes drowsy, on the edge, that is, attentive. I find many such surprises in the Beethoven work, and Davis and Grumiaux have played with every nuance and brief excursion into and out of melodrama and they also brought out many other miniscule timing changes that many recordings have apparently missed. Arthur Grumiaux was an artist like few others in the 20th century, and many of his recordings are full of beauty and strengths, but this delivery of the Beethoven Concerto is a lyrical masterpiece. I am still spellbound going into my third decade of hearing this recording. And the Brahms, ah the Brahms, well, thats a different story. It is just as good. And there's a bonus ! See if you can hear the truck driving by (no doubt just outside the recording hall) during the first movement, its a momentary giggle and does not detract from the whole. Otherwise, another pure-gold Grumiaux delivery. Oh, if only I had seen Mr. G. play a live performance before he departed this earth ! Alas, my friends, alas !

Buy It for the Beethoven.......2001-07-01

A good friend of mine used to say how he was absolutely convinced that Beethoven intentionally put little surprises in his music, and how he could never stay too serious for too long. He said Beethoven implanted quick mood changes and then sudden outbursts of energy to keep those upscale audiences of the 1800s in Vienna, who tended to be smug, self-satisfied, and sometimes drowsy, on the edge, that is, attentive. I find many such surprises in the Beethoven work, and Davis and Grumiaux have played with every nuance and brief excursion into and out of melodrama and they brought out many other miniscule timing changes that many recordings have apparently missed. Arthur Grumiaux was an artist like few others in the 20th century, and many of his recordings are full of beauty and strengths, but this delivery of the Beethoven Concerto is a lyrical masterpiece. I am simply spellbound going into my third deceade of hearing this recording. And the Brahms, ah the Brahms, well, thats a different story. It is just as good. And there's a bonus ! See if you can hear the truck driving by (no doubt just outside the recording hall) during the first movement, its a momentary giggle and does not detract from the whole.

Not as impressive as his Mozart..........2001-01-19

Though I am sort of a fan of Grumiaux, loving his Bach's sonatas & partitas and Mozart's concertos, this disc didn't impress me. Grumiaux's sheer virtuosity is not there or sometimes working against the music. I simply think he is not a good match for Brahms and Tchaikovsky. Those works needs stability, balance, and relatively sticky lyricism. Comparing to Oistrakh's Brahms and Tchaikovsky, Grumiaux sounds weak. Heifetz is different even though he also lacks in lyricism, because his Brahms and Tchaikovsky have an amazing force and stability. If you are loooking for concerto done by Grumiaux, try his Mozart, Vieuxtemps and Sant-Saens. Or if you are looking for those major concertos, try Oistrakh, Heifetz, Kyung-Wha Chung, or sometimes Perlman.

Brilliant Tchaikovsky Concerto.......2000-11-20

I am reviewing this two-disc set only for the Tchaikovsky concerto. I had heard Grumiaux's solo Bach, but never any recordings of him playing major concerti. A friend of mine had this disc and just for interest I flipped over to the 3rd movement of the Tchaikovsky. I sat there stunned. Grumiaux's virtuosity and tone were magnificent, and he tossed of this very, very difficult movement with seeming ease. This set will soon be in my collection, and you should buy it too, because you can't beat playing this great on two cds for 16 dollars with a stick.

Average customer rating:

Itzhak Perlman Collection

Manufacturer: EMI
ProductGroup: Music
Binding: Audio CD

Duets | Chamber Music | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music
ASIN: B00000DOKC
Release Date: 1995-01-01

Average customer rating:

The Great Violin Concertos-Ferras/Berlin Phil-Von Karajan
This Sibelius is the best
A Different but Pleasing Approach to Beethoven op. 61
Wonderful Schumann and Sibelius

The Great Violin Concertos

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B000001GJJ
Release Date: 1995-09-19

Tracks:

Concerto pour violon et orchestre, Op.77: 1. Allegro non troppo
Concerto pour violon et orchestre, Op. 77: 2. Adagio
Concerto pour violon et orchestre, Op. 77: 3. Allegro giocoso, ma non troppo vivace Poco piu presto
Concerto pour violon et orchestre, Op. 47: 1. Allegro moderato
Concerto pour violon et orchestre, Op. 47: 2. Adagio di molto
Concerto pour violon et orchestre, Op. 47: 3. Allegro ma non tanto

Tracks:

Concerto pour violon et orchestre, Op. 61: 1. Allegro ma non troppo
Concerto pour violon et orchestre, Op. 61: 2. Larghetto - attacca
Concerto pour violon et orchestre, Op. 61: 3. Rondo. Allegro
Sonate pour violon et piano, Op. 121: 1. Ziemlich Langsam - Lebhaft
Sonate pour violon et piano, Op. 121: 2. Sehr lebhaft
Sonate pour violon et piano, Op. 121: 3. Leise, einfach
Sonate pour violon et piano, Op. 121: 4. Bewegt

Customer Reviews:

The Great Violin Concertos-Ferras/Berlin Phil-Von Karajan.......2004-11-25

Simply superb. THe Brahms is heartfelt and the Sibelius is haunting. The Beethoven ans Schumann holds second to none.

This Sibelius is the best.......2004-05-19

Just on the Sibelius Violin Concerto with Christian Ferras. Astonishingly underrated. I was quite overwhelmed by it. (Only David Oistrakh is any thing like as good.) None of the showy scraping `gypsy' violin style, just nobility, power, strength and seriousness, which is just what Sibelius is said to have wanted. Apparently, Sibelius marked a slower tempo in the first movement than he might have done just to deter violinists from using it for virtuoso display. Ferras plays this piece as if it were a symphony: passionate with a superb full tone and magnificent intonation. Very good recording quality too. Karajan gives him just the right support: dark, powerful, purposive. Ferras isn't quite as well known these days as some other violinists - this may be partly owning to the fact that he died comparatively young, aged only 49 in 1982. I can't recommend it too highly.

A Different but Pleasing Approach to Beethoven op. 61.......2000-05-06

I finally found it on CD!

The Ferras/Karajan recording of the Beethoven Violin Concerto (on LP) was the first recording of this work I ever heard. I got it as a bonus with an introductory set of the Symphonies when I joined a record club in the early eighties. I had been only a casual listener of classical music at that time and the absolute beauty of this particular recording was one of the major factors in my learning more about this genre.

The previous reviewer felt that this version lacked the "crisp, biting" quality of his favorite recordings of the work. This finally helps me understand why when CD's first replaced LP's, and this version was unavailable on CD, I could never find a CD version of this piece that satisfied me. I had become "imprinted" on this particular version, which inspired my love of classical music. I was especially moved by Ferras's solo passages in the slow movement.

An extra bonus, which should be especially appealing to someone starting a classical library, is the inclusion of the wonderful Brahms and Sibelius concerti, plus the Schumann sonata. What a package!

Wonderful Schumann and Sibelius.......1998-11-15

This album offers close to the best versions of Schumann's second violin sonata and Sibelius's concerto. Ferras and Barbizet's fierce violence in the opening, coupled with the beauty of the middle sections in the sonata, outpaces even Kremer/Argerich (DG) and Kaler/Slutsky (Naxos). Ferras and Barbizet's approach is exactly what you would expect from their Beethoven sonatas (EMI). The Sibelius concerto is just about the most gorgeous available in terms of sheer sound, and Ferras's playing is masterful and passionate. I like it as well as Oistrakh's versions, but there are those who prefer the latter. At the two-for-one price, these two pieces are worth the price of admission.

The Brahms concerto is a very good reading of the score, and certainly among the best six or eight recordings of that piece. It is in the Beethoven that I part company with Karajan's approach. I believe the approach is his doing, though Ferras falls in with the plan. This is undoubtedly the most sumptuous and laid-back Beethoven concerto in the catalog. The sound of the orchestra and the violin are beautiful, everything is legato, and all the rough edges are rounded. Ferras even shapes his cadenza (the familiar one by Fritz Kreisler) to match the smooth and syrupy delivery of the whole. However, this amounts to a small complaint in an otherwise marvellous and economy-priced album. For those who want a crisp, biting, and vibrant Beethoven concerto, I recommend Stern and Bernstein (Sony). Some prefer Oistrakh/Cluytens (EMI) or Heifetz/Munch (RCA).

Tracks:

I: Allegro-Piu Allegro
II: largo
III: Rondo Alla Polacca-Allegro
I: Allegro
II: Adagio
III: Rondo (Allegro)

Tracks:

I: Allegro
II: Andante
III: Vivace Non Troppo-Poco Meno Alelgro
I: Allegro Moderato
II: Andante Assai
III: Allegro, Ben Moderato

Album Description

Specially priced 2-CD set in space-saving brilliant box with accompanying three-language booklet. Digitally remastered to the highest standards at the world-famous Abbey Road Studios.

Music Review:

Music Review

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Reflections of the Marmalade: The Anthology [Import]

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Turn It On Again: The Hits

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Very Best of Kinks

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Traditional Music of Persia: 2cd Gold Collection from Iran [Import]

Unreleased [Explicit Lyrics]

Karaoke Contemporary Christian Women

The Chillout Sessions, Vol. 3