Vengerov

Editorial Reviews
Amazon.com
Envy the lucky pianists! Their literature includes a virtually unlimited supply of wonderful small pieces by the greatest composers, enough to fill an entire program with interesting, varied, high-quality music. By comparison, most of the short works in the violin repertoire are pure bravura pieces, written by other violinists to show off their own virtuosity. No serious performer would devote a whole recital to that sort of insubstantial fluff. On disc, however, and in the right hands, such a program can work well, and Maxim Vengerov is just the man to bring it off. For this record, he has chosen 12 popular favorites "dear to his heart" (and no doubt his fingers). Alternating slow, sweetly singing melodies with brilliant technical fireworks, they serve to display his incredible instrumental mastery and incomparably beautiful tone to splendid effect. However, his natural charm and ability to change mood and character in a micro-second are what really distinguishes these performances. He makes even warhorses like Kreisler's "Liebesleid" and "Liebesfreud" sound fresh and spontaneous and plays with so much genuine inner expressiveness that there is never a hint of cheap sentimentality. Vengerov's enjoyment is palpable and infectious, as is that of pianist Ian Brown, who supports him with total empathy and produces a lovely, subtly nuanced sound. The program is supposed to feature works by violinist-composers, but includes John Williams' all-too ubiquitous theme from "Schindler's List" and the D-flat variation from Rachmaninov's "Paganini Rhapsody" in a Kreisler transcription that preserves nothing but the key. No matter: as long as this infinitely endearing violinist continues to play the great masterpieces of the literature, no one would begrudge him an occasional virtuoso fling. --Edith Eisler

Tracks:

Souvenir d'un lieu cher, Op. 42: Melodie No. 3
Carmen Fantasie
Violin Sonata No.2 In A Major, Op. 100: Andante tranquillo - Vivace
Violin Concerto In D Major, Op. 35: Canzonetta: Andante
Violin Sonata In B Flat Major: Allegro moderato
Violin Concerto In E Minor, Op. 64: Allegro molto appassionato
Violin Sonata No. 5 In F Major 'Spring' Op. 24: Rondo. Allegro ma non troppa
Meditation from Thais
Violin Concerto No.1 In A Minor, Op. 77: Burlesque -Allegro con brio

Customer Reviews:

A Vengerov Sampler: Life is just a box of chocolates...........2005-08-16

For some reason I have always been averse to recordings of single movements from other disparate recordings which usually makes the spotlighted artist seem a bit crass and commercial. But amazingly enough this THE ROAD I TRAVEL featuring Maxim Vengerov is anything but that! Perhaps it is just that this young violinist weaves such a spell that little tidbits from here and there seem justifiable: then perhaps it is just a forgiving ear that can jump around his 'Road' and share the good memories.

The selections vary from concerto movements from Shostakovich, Mendelssohn, and Tchaikovsky to movements from sonatas by Beethoven and Brahms to oddities like the Franz Waxman 'Carmen Fantasia'. Different conductors and orchestras and pianists partner each excerpt. But it just comes together. This is a fine recording for friends who don't understand the fanaticism of Vengerov's following. It makes a fine calling card for the virtuoso! Grady Harp, August 05

Over hyped former prodigy.......2005-02-10

Maxim is a over hyped former child prodigy. Among his generation, Gil Shaham, Joshua Bell, Kyoko Takezawa, Chee Yun, Christian Tetzlaff's intonation and music are more pleasing to my ears. Why I cannot find Kyoko and Chee Yun's records.

vengerov is the best.......2004-09-02

Wow... I've been a huge fan of Vengerov's for about 6 years now, but he continues to surprise me. When I first heard him play, I thought he was the best romanticist I had ever heard, but he probably wouldn't be good at much else. Then I heard him play unaccompanied Bach on a period instrument, and it was pristine. I had never heard him play any classical music, but thought that there was NO WAY someone could be a master of all three broad musical styles, but once again Vengerov surpasses my EXTREMELY lofty expectations and proves that he is a master of the classical style as well. These recordings of Mozart's sonatas are among the best i've ever heard, in every way. His technical proficiency is beyond reproach, and his style is flawless from beginning to end. This CD makes me want to dust off all of my Mozart sonatas and start playing them again!! I purchased this disc for the sole purpose of hearing Vengerov play Mozart, and I'm thrilled that I did so. This is another new Vengerov purchase that is easily one of my favorite CDs in my collection. I'm beginning to think that he can do no wrong!

virtuoso vs. choice of music ?.......2004-02-12

While the violinist was excellent I thought his choice of music was not. I only recognized two or three of the selections that were offered on this CD. Needless to say I was a bit disappointed that he had not chosen more recognizable selections. Since I purchased this CD because of the "Meditation"piece from "Thais" I suppose I got what I wanted but, nevertheless I am still disappointed in the CD as a whole. I suppose it is alright for someone with more esthetic tastes than mine. As for Vengerov "B R A V O"!!!

Definitely a Five-Star Violinist.......2003-05-30

And this CD is one of his best. Be sure the bass on your system is turned up and get ready to spend one of the most enjoyable hours of your life.

Average customer rating:

Ear- and Nerve-Grating
transcends the years
Vengerov's butching of ysaye
a happy medium..
A triumphant release in every way

Vengerov Plays Bach, Shchedrin, Ysaye
Eugene Ysaye , and Maxim Vengerov
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
Similar Items:

Lalo: Symphonie Espagnole; Saint-Saens: Violin Concerto; Ravel: Tzigane; Maxim Vengerov
Vengerov and Virtuosi
Vengerov
Maxim Vengerov - The Road I Travel
Brahms: Violin Concerto; Sonata No. 3

ASIN: B00006H1EI
Release Date: 2002-11-05

Tracks:

I. Obsession: Prelude (Poco Vivace - Meno Mosso - Tempo Vivo)
II. Mainconia: Poco Lento
III. Danse Des Ombres: Sarabande (Lento, Pizzicato) - Var.1 (Dolce E Semplice) - Var.2 Musette - Var.3 Minore - Var.4 (Tranquillo) - Var.5 (Semplice Non Piu Vivo) - Var.6 (Forte) - Sarabande (Lento, Arco)
IV. Les Furies: Allegro Furioso
Ballade: Lento Molto Sostenuto (In Modo Di Recitativo) - Molto Moderato Quasi Lento - Allegro In Tempo Giusto E Con Bravura - Tempo Piu Vivo E Ben Marcato
I. Allemanda: Lento Maestoso
II. Sarabande: Quasi Lento
III. Finale: Presto Ma Non Troppo
Allegro Giusto Non Troppo Vivo - Allegretto Poco Scherzando (Habanera) - Tempo I
Echo Sonata, Op.69
Preludio - Fuga - Recitativo
Balalaika, Op.100 (To Maxim Vengerov)

Amazon.com

Eugene Ysae's six unaccompanied violin sonatas, composed when his own playing days were over and dedicated to colleagues he admired, occupy a special niche in the repertoire. Though inspired by Bach's sonatas and partitas and peppered with quotes from them, they are unequalled for sheer virtuosity and romantic sensuousness; only a great violinist intimately familiar with the resources of his instrument could have written them. On this disc, Maxim Vengerov plays Nos. 2, 3, 4, and 6, along with a transcription by Bruce Fox-Lefriche of Bach's famous Toccata and Fugue in D minor for organ, which he claims was originally conceived for violin. He also performs Shchedrin's "Echo" Sonata, op. 69. Written in 1984 in a mixture of styles from conventional to abrasively dissonant, it outdoes Ysae's in hair-raising pyrotechnics and also honors Bach by quoting from his works. Vengerov's playing is spectacular and makes this disc a must for violin aficionados.

One of the sensational prodigies who emerged from Siberia, Vengerov is young enough to revel in his own virtuosity with relish and abandon. His technical command is unlimited, and he seems incapable of producing a bad sound, except for a strange habit of tearing off last notes with a crescendo and accent like a bad tenor. Tossing off the acrobatics--scales and runs in thirds, fingered octaves and tenths at top speed, leaps and jumps, bravura bowings, chords, pizzicato, ponticello--with effortless ease and infectious enjoyment, he captures the styles of Ysae's dedicatees and gives the pieces shape, character, and expression. For the Bach, he uses a baroque bow and a violin tuned a half-tone down, playing with little or no vibrato but in basically the same intense style. His encore, a pizzicato piece called "Balalaika," written for him by Shchedrin, was recorded live complete with applause and laughter. --Edith Eisler

Customer Reviews:

Ear- and Nerve-Grating.......2007-05-29

Vengerov's technical proficiency in these extremely challenging pieces is beyond question. What are lacking in his performances are beauty of tone, euphony, and logical flow. In fast passages such as the last movement of Sonata no. 3, Vengerov's approach seems to be flashiness and velocity above substance. At times, as at the beginning of Sonata 6, he produces a tone that is downright ugly and harsh. The tendency, mentioned in the critical review above, to crescendo steeply to a sforzando on long notes is pervasive and irritating. Another serious downside of this recording is that it is not a complete set of the Ysaye sonatas - it is missing the first and fifth.

The performance of the Bach Toccata and Fugue transcription is an interesting case in itself. Vengerov here uses a baroque bow - in itself a commendable action, one that few "mainstream" violinists would do. The problem is that no one appears to have taught Vengerov how to use it; his bowstrokes are little different from the heavy manner of a modern bow. Although he uses a lower pitch, he makes no attempt at meantone intonation. And other aspects of the performance - such as his manner of spreading chords - show no knowledge of baroque style. What was the point of this semi-authentic experiment?

This is the only recording I have heard thus far of Ysaye's sonatas. It left me very unsatisfied, to the degree that I do not feel that I really know the works. Although the Ysaye sonatas are virtuoso pieces, they are also serious compositions informed by Bach, which puts them on a higher level than whiz-bang encore pieces by Paganini or Sarasate. As far as I can see, all Vengerov's version has going for it is technical wizardry - and that can be got with a number of other violinists with the added ingredient of musicality.

transcends the years.......2004-07-18

Vengerov knocks it out of the park. The Ysaye is stunning, especially 2 and 3. The most interesting feature is the tonality and feelings of the pieces, which are markedly similar, across composers. The Ysaye, Shchedrin, and Bach all capture a more ancient and common tonality and feel, and have an almost primitive and rustic feel. A must.

Vengerov's butching of ysaye.......2004-05-26

Vengerov has some interesting thoughts on music, i must say, but when he picks up the violin, he goes overboard. Just listen to the intro of Obsession. its sloppy, uneven, and just horendous...the rest of the pieces aren't much different. PLEASE do yourself a favor and save 7 dollars and gain infinite musical joy by getting Ilya Kaler's Ysaye sonatas...

a happy medium.........2002-11-29

You get the feeling Vengerov doesn't play the Ysaye, he channels it! This is stupefying music making, and the Ysaye Sonatas especially, hardly known, are musically brilliant pieces. Even apart from the Fox-Lefriche transcription, Bach is all over this disc. The secret metaphysic of Bach appears like a fragrance in whatever Vengerov plays; a violinist's musical construct must be endowed with Bach's rhythmic consciousness or it won't endure, and Vengerov loves the Master almost more in Ysaye than in Bach! A rich Bachian rhythmic core in this Russian master's violin playing is the beauty of this recording. It's curiously an effect even more accessible in his live performances, the physical dimensions of his playing are perfectly aligned, &all you get is freedom and joy in the music he makes. Reminiscent of Oistrakh in that way. This is one of Vengerov's best recordings musically, and the sonics are play-it-AGAIN captivating. Get it to hear the Ysaye sonatas, but the rest of the program also rewards. The Shchedrin sonata is shocking and pure, and Vengerov extracts all the juice, delivering a major performance of it. I agree it's interesting how much the live encore doesnt jar or intrude, it's a heady reminder of the art of the stage, and leaves a musical imprint too. While he's got a strapping pop star kind of personal charm, Vengerov is a musician of tremendous intellect and heart, distilling sheer music and refining an extraordinary art, qualities rampant hereabout.. check it for yourself.

A triumphant release in every way.......2002-11-06

Inspired by Bach's sonatas and partitas for solo violin, Eugene Ysaye wrote his six sonatas for solo violin in 1924. Not only are these pieces brilliantly constructed and hugely effective for the instrument (Ysaye was, after all, one of the great violinists of his age), they do indeed develop out of Bach's magnum opus, only that in writing his own set Ysaye has pushed the technical limits of the instrument to previously undreamt-of heights. Besides, they are also obviously products of a more romantic age, as there is often an air of improvisation and romantic passion in the writing.

Four of these sonatas, Nos. 2, 3, 4 and 6, are included in this new EMI recording. They are originally dedicated by the composer to such eminent violinists as Jacques Thibaud, Georges Enesco, Fritz Kreisler and Manuel Quiroga respectively. Here these technically spectacular and spiritually imposing masterpieces have found a magnificent modern advocate in Maxim Vengerov, whose playing, though perhaps different in style to those luminous dedicatees of these works, is technically immaculate and shiningly stylish. The ranges of dynamics and tone colour that the young Russian violinist commands are nothing short of staggering, and when these are put to the service of an intellectually probing, individualistic and yet spontaneous mind, we are hearing something that is really quite exceptional. There is also a sort of intensity and ardour in the performances that is literally breath-taking. More or less the same can be said for the performance of the Sonata in A minor, which actually is a transcription (by Bruce Fox-Lefriche) of the famous D minor Toccata and Fugue for organ, on which some scholars have expressed doubted as to whether the piece indeed came from the hands of JS Bach. Some are of the view that the piece actually began its life as a sonata in A minor for solo violin and Vengerov here plays this re-construction with panache, expression as well as a keen sense of proportion, even though I personally prefer him doing the piece on a modern violin rather than the (stylistically more accurate) baroque instrument that he employs specifically for this track.

Two works by the contemporary Russian composer Rodion Shchedrin are included here. The more substantial one is the Echo Sonata, which Shchedrin wrote in 1985 as a commemorative showpiece for Bach's tercentenary. It is a fiendishly difficult but mostly reflective modern piece with some eerie-sounding soft passages and quotes from Bach's solo pieces. The 15 minute work is not easy to bring off at all, but it is here effortlessly conquered through Vengerov's sovereign bowing and awesome musicianship. The violinist not only negotiates each and every technical hurdle with consummate ease, he also tosses off the notes with great elan and conviction and invests the contrasting sections with much light and shade, which renders the piece even more interesting than it may seem on paper. The recording ends (very appropriately) with the only "live" recording included in this release, a performance of Shchedrin's Balalaika taped from a recital at London's Barbican Hall in 2000. Vengerov delivers this pizzicato piece, dedicated to him by the composer, with aplomb and a disarming sense of humour, which draws much laughter from the audience as well as thunderous applause at the end. In fact, such applause is not out of place at all even in the context of the entire album, for it is difficult to resist from voicing one's strong approval after hearing 66 minutes of such scintillating and supremely musical performances on the solo violin.

These treasurable performances are further enhanced by a good recording quality ¡V Vengerov's violin tone sounds fuller and more beautiful than ever. A triumphant release in every way.

Prokofiev, Shostakovich: Violin Concertos no 1 / Rostropovich, Vengerov
Average customer rating:

New favorite recording of Shostakovich

Excellent playing, stunning engineering

Just...beautiful

old cowgirl

The Perfect Marriage of Composers, Soloist, and Conductor

Prokofiev, Shostakovich: Violin Concertos no 1 / Rostropovich, Vengerov

Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

General | Concertos | Forms & Genres | Classical | Styles | Music
Violin | Strings | Instruments | Classical | Styles | Music
Vengerov, Maxim | ( V ) | Featured Performers, A-Z | Classical | Styles | Music
General | Classical | Styles | Music
All Works by Shostakovich | Shostakovich, Dmitri | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
All Works by Prokofiev | Prokofiev, Sergei | ( P ) | Featured Composers, A-Z | Classical | Styles | Music
Similar Items:

Prokofiev & Shostakovich: Violin Concertos, No.2

Shostakovich: Cello Concerto No1, Op107; Violin Concerto No1 (revised), Op99

Brahms: Violin Concerto; Sonata No. 3

Dvorák: Cello Concerto; Tchaikovsky / Karajan, Rostropovich,

Shostakovich: The String Quartets

ASIN: B000000SLM
Release Date: 1994-11-08

Tracks:

Violin Concerto No. 1 In D Major, Op. 19: Andantino
Violin Concerto No. 1 In D Major, Op. 19: Scherzo: Vivacissimo
Violin Concerto No. 1 In D Major, Op. 19: Moderato
Violin Concerto No.1 In A Minor: Nocturne: Moderato
Violin Concerto in A minor: Scherzo: Allegro
Violin Concerto in A minor: Passacaglia: Andante
Violin Concerto: Burlesque: Allegro con brio

Amazon.com essential recording

With his brilliant tone, flawlessly centered intonation, jaw-dropping technique, and exquisitely beautiful phrasing, Maxim Vengerov is ideal in this repertory. His sparkling account of the Prokofiev conveys the music's mercurial shifts of color and mood with great élan, and turns wonderfully evocative in the ethereal pages. The interpretation of the Shostakovich is equally fine--strongly characterized and imaginative, haunting in its beauty. The young soloist is ably partnered by Mstislav Rostropovich, who draws some remarkably fine and suggestive playing out of an alert London Symphony Orchestra, and makes a convincing whole out of each score. Teldec's engineers take advantage of the Abbey Road venue to deliver a recording that, while predictably balanced in favor of the soloist, is detailed and nicely atmospheric. This disc won Gramophone magazine's Record of the Year award in 1995, and it comes impressively close to capturing the kind of electricity Vengerov generates onstage. --Ted Libbey

Customer Reviews:

New favorite recording of Shostakovich.......2007-06-22

I had not heard more than a few of Vengerov's performances and master classes (on YouTube) prior to hearing this disc - he is a remarkable individual and a thinking musician, and this recording of the Prokofiev 1 and Shostakovich 1 really proves that. Although I've heard plenty of good performances of both, these stand out. The review below is 100% correct - Vengerov "really gets it" - and he was a mere 19 or 20 years old when this disc was first released in 1994. He understands these pieces and his readings of them are very welcome. The second part of the first movement of the Prokofiev is often played 'Allegro Moderato' or 'Allegro non Troppo'. Vengerov plays it at the indicated tempo, 'Moderato', and not rushed. The accents and tenutos are perfectly done. He does some great things in the 'Scherzo', especially the slides on the G string! Although I like Lydia Mordkovitch's recording of the Shostakovich with Jarvi equally well (and that disc is also superbly engineered), Vengerov's is filled with great things. And how lucky he was to record it with the composer's close friend and musical collaborator, Rostropovich. If you've become partial to other recordings of these two concertos, listen to this disc and you may very well change your mind.

Excellent playing, stunning engineering.......2006-09-27

This recording pairs a fairly unfamiliar but highly acessible concerto from Prokofiev's younger days with a dark, biting, yet heartbreaking concerto from a difficult time in the difficult life of Shostakovich.

The Prokofiev is highly sensitive and lyrical and technically solid. The London Symphony is at its best here, under the baton of Rostropovich who personally associated with both Prokofeiv and Shostakovich.

I must admit to owning about 10 recordings of the first Shostakovich concerto. This collection includes performances by Perlman, Oistrakh (twice), Hahn, Sarah Chang, and Mullova. I have heard live performances by Caitlin Tully and Vadim Repin.

Out of all of these soloists, three or four stand out as really "getting it." Oistrakh's recordings are essentially definitive, but the orchestra's sound is less-than-ideal in these aging recordings. Among the newer recordings and performances, Repin and Vengerov strike me as more emotionally attached, while Mullova smooths out some of the rough edges the men have in their sound, but unfortunately her slow movements are not slow or emotional enough for me.

The orcehstra is once again ideal. Details are very finely crafted unlike in other lesser recordings. Vengerov's playing is spectacular and takes after Oistrakhs in character and sound.

Just...beautiful.......2006-09-01

Let me start off by saying...I'm no classical expert - I don't spend my days listening to different versions of the same piece played by different composers, solists, etc...

What I have seen in this is utter virtuosity from Vengerov... he can simply evoke any tone that he likes out of his violin. There's never a passage of doubt; vengerov makes his violin sing the melodies and plays with so much expression!

I prefer the Prokofiev piece, mainly because it seems to be more "concentrated" and less drawn out. It's always moving, rushing, flowing in a "contemporary" classical manner. I can agree with other reviewers stating this piece may just be the most beautiful piece of violin literature ever written.

The Shostakovich is more introverted and reflective; sometimes it is slow at places. Reading the liner notes (something all should do, IMHO) revealed the purposed for this - a tribute to the victims of the harrowing purges under Stalin. I also read that this piece was prohibited by Stalin for release - it was not until the death of Stalin that the piece was performed. Such adds to the harrowing, haunting melodies of the piece.

Like I said, I'm no classical expert, so I couldn't tell you how Rostropovich does as a conductor. As an "average Joe," this CD sounds marvelous to me!

old cowgirl.......2006-08-15

For the connoisseur of Prokofiev this is beautifully interpreted. Vengerov obviously loves what he does.

The Perfect Marriage of Composers, Soloist, and Conductor.......2005-08-16

It would be difficult to imagine a more perfect match for these two concerti than Maxim Vengerov and Mstislav Rostropovich. Not only do the two innately understand the shared Russian spirit inherent in Prokofiev's and Shostakovich's music, they also happen to be superb musicians who can make these two concerti appear simple to the ear when they require such an enormous degree of dexterity.

The phrasing and thematic exploration by Vengerov is astonishingly right and in every way and every moment his interpretation is mirrored by Rostropovich and the responsive London Symphony Orchestra. While music lovers will probably be more thrilled with the eloquent beauty of the Prokofiev (and this is certainly the finest recording I have heard of this concerto), Vengerov's virtuosity and clarity of technique should now bring others into the fold of devotees of the Shostakovich.

Recorded in 1994 this CD is remains the Gold Standard for these two spectacular concerti. The recording ambience is rich and full and almost as exciting as being in the concert hall. Highly recommended. Grady Harp, August 05

Average customer rating:

Another superb recording, but no surprise

Vengerov
Maxim Vengerov
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music
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Maxim Vengerov - The Road I Travel
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Vengerov Plays Bach, Shchedrin, Ysaye
Virtuoso Vengerov
Brahms: Violin Concerto; Sonata No. 3

ASIN: B000654UJQ
Release Date: 2005-01-11

Tracks:

Variations on an Original Theme
Cantabile
Liebesleid
Liebesfreud
Polonaise Brillante in D Major, Op.4
Vocalise Op. 34 No. 14 (arranged for violin & piano by Michel Press)
Eighteenth Variation from Rapsodie on a Theme of Paganini
Introduction and Tarantella Op. 43
Polonaise Brillante in A Major, Op.21
Scherzo-Tarentelle Op. 16
Theme from Schindler's List
Caprice d'apl'Etude en forme de Valse de C. Saint-Ss, Op.52

Amazon.com

Envy the lucky pianists! Their literature includes a virtually unlimited supply of wonderful small pieces by the greatest composers, enough to fill an entire program with interesting, varied, high-quality music. By comparison, most of the short works in the violin repertoire are pure bravura pieces, written by other violinists to show off their own virtuosity. No serious performer would devote a whole recital to that sort of insubstantial fluff. On disc, however, and in the right hands, such a program can work well, and Maxim Vengerov is just the man to bring it off. For this record, he has chosen 12 popular favorites "dear to his heart" (and no doubt his fingers). Alternating slow, sweetly singing melodies with brilliant technical fireworks, they serve to display his incredible instrumental mastery and incomparably beautiful tone to splendid effect. However, his natural charm and ability to change mood and character in a micro-second are what really distinguishes these performances. He makes even warhorses like Kreisler's "Liebesleid" and "Liebesfreud" sound fresh and spontaneous and plays with so much genuine inner expressiveness that there is never a hint of cheap sentimentality. Vengerov's enjoyment is palpable and infectious, as is that of pianist Ian Brown, who supports him with total empathy and produces a lovely, subtly nuanced sound. The program is supposed to feature works by violinist-composers, but includes John Williams' all-too ubiquitous theme from "Schindler's List" and the D-flat variation from Rachmaninov's "Paganini Rhapsody" in a Kreisler transcription that preserves nothing but the key. No matter: as long as this infinitely endearing violinist continues to play the great masterpieces of the literature, no one would begrudge him an occasional virtuoso fling. --Edith Eisler

Customer Reviews:

Another superb recording, but no surprise.......2005-01-12

Vengerov has become more mature in his technique and interpretation. He is giving less concerts - only 30 concerts in 2005, as compared with 110 in 2004 - he is determined to be disciplined. He is also learning a lot of other things to broaden his horizon, which would help enrich his music.

In this newly released album, he continues to demonstrate his virtuosity, adding new flavours to these favourite pieces. He continues to master those technically demanding pieces with relative ease, but he is capable of making them sound more difficult.

He is one of those violinists that could produce the sweetest sound on earth (the change of violin does not seem to have any effect on his playing). Kreisler's Liebesleid and Liebesfreud sounded afresh, although Vengerov has made them just a tiny bit too heavy. I would rather have them played in an easier and more relaxed fashion. Perhaps a little more rubato would have helped.

Vocalise was included again in this album. Compared with the previous recording, the self-indulgence has subsided, leaving it truly sorrowful. I like his interpretation this time round. The Theme From Schindler's List was played with much thoughts. The emotion was there. But it seems that Perlman's version remains the best in terms of the deepness and melancholy displayed.

I have deducted one star from my rating as I have been expecting something new from him. There is not much surprise in this album.

That said, Vengerov is surely one of the best performers now and I can see him becoming more mature in the next few years. Vengerov's fans would be satisfied. Not a bad start if you have never heard him.

Lalo: Symphonie Espagnole; Saint-Saens: Violin Concerto; Ravel: Tzigane; Maxim Vengerov

Average customer rating:

promising but soloist doesn't stand up to his own hype
Beautiful Music
Good readings lacking fire and imagination
Splendid Lalo et al. from Vengerov and Pappano
Drama, virtuosity and sweetness from Vengerov and Pappano

Lalo: Symphonie Espagnole; Saint-Saens: Violin Concerto; Ravel: Tzigane; Maxim Vengerov
Edouard Lalo , Camille Saint-Saens , Maurice Ravel , Antonio Pappano , Maxim Vengerov , and Philharmonia Orchestra
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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Vengerov Plays Bach, Shchedrin, Ysaye
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Vengerov
Brahms: Violin Concerto; Sonata No. 3
Beethoven: Violin Concerto; Romances 1 & 2

ASIN: B0000AKQIW
Release Date: 2003-10-07

Tracks:

I. Allegro Non Troppo
II. Scherzando: Allegro Molto
III. Intermezzo: Allegretto Non Troppo
IV. Andante
V. Rondo: Allegro - Poco Piu Lento - Tempo I
I. Allegro Non Troppo
II. Andantino, Quasi Allegretto
III. Molto Moderato - Allegro Non Troppo
Tzigane, Rapsodie De Concert

Amazon.com

Maxim Vengerov's virtuosity is so spectacular, his tonal palette so varied, that even those who normally don't go for the colorful showpieces recorded here might be won over. His technique is secure enough for us not to notice it--we're never distracted from the music--and while the razzle-dazzle inherent in each of these pieces continue to amaze, it's the effect of the work itself we're left with. Even with Ravel's Tzigane, here certainly receiving one of the most forceful performances ever, it's the evocation of Gypsy abandon that remains in the forefront. The Lalo is pure electricity, with the glowing malaguena and seguidilla and vigorous Habanera almost inviting us to dance, and Pappano and the Philharmonia have just the right surge to keep the entire performance solid. The Saint-Saëns Third Violin Concerto is a wonderful work (the most substantial on the disc), with its combination of two zippy, showy movements sandwiching an andantino of sheer loveliness, and Vengerov's playing is stunning. The outer movements are so full of energy that the oasis in the center is positively heavenly. These may not be the best readings of these works available, but there's not a misplaced note, a moment to take issue with, or a dull spot. If this was Vengerov's only recording, he would forever be known as a great violinist. --Robert Levine

Customer Reviews:

promising but soloist doesn't stand up to his own hype.......2007-01-10

I ordered this CD for my dad at his request, solely for the Saint-Saens Violin Concerto, which turned ut to be in three parts. The middle section of 1-2 minutes was indeed interesting, but the other two showed a lack of virtuosity and a lackluster interpretation that was underlined even more in the Lalo and Ravel solo standards. Vengarov MIGHT show promise, but I think the particular section that caught my dad's ear was him at his best, and it just isn't enough to hold together even that particular piece. And the other two major pieces were, frankly, disappointing in quality of the musicianship. Vengarov's looks may bring him fandom among the young and European, but my dad was disappointed and I was underwhelmed. I wanted to return the CD, but it would have made dad feel more badly, since it was "his" first Amazon purchase and his choice. Give him another 20 years. We'll give it away. Also, there are many other stellar violinists out there who are going to stand the test of time much better; they're his age, more or elss, and have undeniably possess and use the full range of gifts and training.Chun Hee, and even Joshua Bell (of whom I've never been a fan) for example. But to me, no one compares to Perlman and others who have created universal, eternal history. They set an unimaginable standard that leaves Vengarov firmly on the pavement--and in this CD, flat on his feet. I should have known by the "stardard" list of contents.

Beautiful Music.......2006-11-06

The CD came quickly and was in perfect shape. It was a gift for my daughter who has enjoyed it over and over again, as have the rest of us. I am very well pleased with the product and service! Thank you!

Good readings lacking fire and imagination.......2005-12-22

Like a lot of recordings by Vengerov, this one mates a couple of well known concertos from the Romantic era to a high profile orchestra and conductor, in this case Anthony Pappano and the Philharmonia Orchestra. And, like a lot of Vengerov recordings, these are good readings that lack the kind of fire and imagination that make them stand out from the crowd.

This isn't to say it's bad work; far from it. Indeed, Pappano begins the Lalo "Symphonie espanole" all fire and brimstone, as if it is his initiation rite for entry to the League of Fiery Italians. His hard charge soon cools, however, and he continues throughout the CD as a thoughtful mercenary supporter of the soloist.

Vengerov plays this music with a thinner tone than I've heard from his before, one that seems to demarcate him from the school of Oistrakh and other humanists. His tone in the big minor key items in so lean he can't pass for Perlman, whose recording of the same pieces led by Barenboim has set critics atwitter for some years. Vengerov displays little virtuosity, as well, seeming content to follow the score markings.

The bottom heavy, bass thumping recording probably does something to magnify the thinness of Vengerov's tone, but so does the companionship or lack of same between the partners.

Where Pappano wants to plow ahead with fire and brimstone, Vengerov's entries are almost always antithetical, as if the partners never discussed how they were going to begin the concertos. Once Vengerov makes his entry, Pappano is always the appropriate supporter, gently leading the Philharmonia along so as not to show up or cover up the big time soloist. His work in this regard is exemplary throughout as is the Philharmonia playing.

The tubby recording -- which is also exceptionally wide ranging -- does not always let you hear everything the way it probably sounds in a concert hall. I can't tell if engineering, the recording venue (Lyndhurst Hall, Air Studios, London), or the partners are responsible for this but the recording cannot be considered top flight for its era.

This CD is not likely to topple your old or new favorites in this repertoire. I continue to enjoy Alfredo Campoli's version of the Saint Saens 3rd Concerto more than others even though it has never shown up on CD. I don't have a favorite version of the Lalo and not much going on here converted me to this recording.

Splendid Lalo et al. from Vengerov and Pappano.......2004-12-01

I have hesitated acquiring this CD since I own already a spellbinding account of Lalo's "Symphonie Espagnole" performed by Vadim Repin with Kent Nagano conducting the London Symphony Orchestra. But frankly, once again, Vengerov's performance of this piece and of the others, is the one to acquire. All three have very demanding solo passages, which Vengerov handles adroitly, with ample warmth and polish. I was stunned with how well he plays all three works, which are among the most difficult I have heard for a solo violin accompanied by an orchestra. Somehow this young Siberian manages to play all with more than a hint of Gypsy soul, as though he was familiar with the traditional Gypsy melodies which inspired undoubtedly Lalo, Saint-Saens, and especially, Ravel, in composing these works. Vengerov's riveting performances of all three works is accompanied by superb playing from the Philharmonia Orchestra under the baton of Italian-American conductor Antonio Pappano. Without question, this is yet another exceptional CD from Vengerov which should please his fans and other admirers.

Drama, virtuosity and sweetness from Vengerov and Pappano.......2004-02-09

Edouard Lalo's 'Symphonie Espagnole' and Camille Saint-Saens' Violin Concerto #3 were comissioned by violin virtuoso and composer Pablo Sarasate, known for the beauty and sweetness of his tone, the ease with which he played even the highest notes on his instrument, and his stunning technique. Since the great young Russian violinist Maxim Vengerov not only shares these qualities, but adds to them both heart and superb imagination, he is an obvious choice to record these French masterpieces. However, largely because I am well aware of just how much competition Vengerov has from just about every other great violinist who ever lived and recorded, I have balked at buying many of his CDs, especially of very standard works, because I wanted to 'shop around' to find my favorite renditions and not have the many duplicates I do of operas and operatic recitals. I'm sure many classical music lovers have the same problem. Vengerov's jaw-dropping Britten/Walton album earlier this year, however, made me decide to at least listen to, if not actually buy, every CD he records in the future, and if necessary replace them if I like another violinist's rendition better. The other major factor in my decision to buy this CD was my eagerness to hear the great Antonio Pappano conduct purely orchestral as opposed to the operatic and vocal repertory he is more famous for. The partnership of these two brilliant, passionate and charismatic artists was just too good an opportunity to pass up.

And it truly is a partnership. In this expressive, dramatic, perhaps truly `operatic' music, Pappano proves to be just as supportive to instrumental soloists as he is to singers; he and the Philharmonia hang on Vengerov's every note. Considering just how many liberties a violinist can take in these works, that can't have been easy! As usual, Pappano is superb in building tension to dramatic climaxes and giving the music real punch and elan. Even more importantly, one of Pappano's specialties is coaxing gorgeous, radiant sound from orchestral strings sections (most noticeable here in the Saint-Saens) - all the more extraordinary considering he is a pianist and not a violinist! Vengerov indicated in recent interviews that he and the conductor have formed a very ardent mutual admiration society, and this is obvious listening to this album.

Throughout the program, Vengerov plays a 1727 Stradivarius that belonged to the legendary violinist Rodolphe Kreutzer (of Beethoven's `Kreutzer Sonata' fame), and he is more than worthy of this magical instrument. Best of all, it is clear that he is having a very good time! Vengerov has played these pieces from his early childhood and as he says in his booklet essay, they evoke strong feelings of nostalgia in him. They also clearly inspire his imagination, his expressivity, and his strong sense of drama.

In the 'Symphonie Espagnole', the violinist becomes a swaggering toreador in the first movement, a sprightly and good-humored seducer in the second, a strong, passionate dancer in the third and a serious, sad man (perhaps in mourning?) in the fourth. The famous final Rondo movement is a triumph of joy and energy, and note also the way Pappano handles the crescendo and decrescendo at its start.

The highlight of the disc, however, is the second movement of the Saint-Saens. This is Vengerov's favorite part of the concerto and he is absolutely sublime, making his violin sing with such purity and sweetness that one may cry. I am reminded of the Largo from the Bach Double Violin Concerto; as Vengerov gets higher and higher and softer and softer, it is as if one is ascending to some higher, ecstatic dimension (as he puts it, 'the music melts little by little, taking us to other planets, stars, spheres'). The contrastingly zingy outer movements of the concerto are played with equal aplomb.

Maurice Ravel wrote 'Tzigane' for the Hungarian violinist Jelly D'Aranyi, who inspired him by her spectacular playing of Gypsy melodies at a party. It is intended as a showpiece and Vengerov more than delivers. From the long, spare, and incredibly difficult solo cadenza (the orchestra doesn't come in for almost four minutes) to the bewildering pyrotechnics that conclude the piece, this Russian violinist obviously feels a strong kinship with the Gypsies this piece evokes, and so does his Italian-British-American conductor.

EMI's sound engineering is at its usual high standard, although some may complain that the violinist is placed too far forward. In addition to Vengerov's comments, the documentation also consists of a fine essay on the three works by Robert Orledge (both in English, French, and German), and portraits of all the composers. It is a pity that EMI provides no biographies of either Vengerov or Pappano.

Tracks:

I. Allegro
II. Larghetto
III. Gavotte: Non Troppo Allegro
IV. Finale: Molto Vivace
I. Ouverture Miniature
II. Danses Caracteristiques:A. Marche: Tempo Di Marcia Viva
II. Danses Caracteristiques:B. Danse De La Fee Dragee: Andante Non Troppo
II. Danses Caracteristiques:C. Danse Russe - Trepak: Tempo Di Trepak, Molto Vivace
II. Danses Caracteristiques:D. Danse Arabe: Allegretto
II. Danses Caracteristiques:E. Danse Chinoise: Allegro Moderato
II. Danses Caracteristiques:F. Danse Des Mirlitons: Moderato Assai
III. Valse Des Fleurs
I. Andante - Moderato
II. Allegro Non Troppo
III. Largo
IV. Allegretto

Tracks:

I. Allegro - Lilya Zilberstein
II. Adagio - Lilya Zilberstein
III. Un Poco Presto E Con Sentimento - Lilya Zilberstein
IV. Presto Agitato - Lilya Zilberstein
I. Allegro Moderato - Renaud Capucon
II. Andante Un Poco Mosso - Renaud Capucon
III. Scherzo: Allegro - Renaud Capucon
IV. Rondo: Allegro Vivace - Renaud Capucon

Tracks:

I. Allegro Brillante
II. In Modo D'una Marcia - Un Poco Largamente
III. Scherzo: Molto Vivace
IV. Allegro Ma Non Troppo
I. Mit Leidenschaftlichem Ausdruck
II. Allegretto
III. Lebhaft
I. Allegro Con Fuoco - Renaud Capucon
II. Lento - Renaud Capucon
III. Allegro Moderato. Grazioso - Pochettino Piu Mosso - Grazioso - Renaud Capucon
IV. Allegro Ma Non Troppo - Renaud Capucon

Customer Reviews:

Highly engaging summer music--the real spark is Argerich.......2006-01-06

This bargain 3-CD set is called "Martha Argerich and Friends," but is that enough to warn buyers that she apears only half the time? That half is the best part of this colleciton, taped live across three summers, 2002-04 in LUgano, Italy. the half without Ms. Argerich features stellar musicians, particularly Maxim Vengerov and Yefim Bronfman, but theyir participation is surprisingly low-key.

Argerich loves to play two-piano music, a genre I find too bangy to be interesting much of the time. She zips through a piano transcription of Prokofive's Sym. 1 with Yefim Brongman, and sparkles in a similar arrangement of the Nutcracker Suite with a parnter unknown to me, Mirabela Dina. I'm sure a lot of listeners will have as much fun with fluff as she does.

Her two major contributions come in a riveting Shostakovich Pianto Trio #2, one of his undoubted masterpieces, with Vengerov almost dominatig the ensemble in his mesmerizing account of the violin part. This reading isn't as fiery as Argerich is wont to be, but it has passion enough ot stand beside the best performances (the composer's own and the one with Richter and the Borodin Trio). The second-best thing here is the Schumann Piano Quintet, again finding Argerich in vigorous but not slashing mode (Gott sei dank), easily taking charge and making this a quintet for piano solo with string obligatto. A fine account despite the imbalance.

The half without Argerich is pleasantly done. I had hoped for much more form Vengerov and Bronfman in the Brahms Violin Sonata #3--maybe the warm July breeze off the lake made them a bit drowsy. A Schubert Piano Trio #1 again finds Bronfman in too relaxed mode; the piece lacks spine and attack. The rest of these three CDs is filled out with Argerich accompanying Geza Hosszu-Lagocky (a fine violinist unknown to me) in Schumann's late, rather debilitated Violin Sonata #1, a lovely account without quirks, and a pleasant but hardly memorable Dvorak Piano Quartet #2 led by Walter Delaunt.

All in all, a bargains et of very good performanes that sometimes rises higher than that.

Beethoven: Violin Sonatas "Spring" & "Kreutzer"

Average customer rating:

Delightful

Beethoven: Violin Sonatas "Spring" & "Kreutzer"

Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

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Prokofiev & Shostakovich: Violin Concertos, No.2
Aaron Rosand Plays Sarasate
Great Recordings Of The Century - Brahms: Violin Sonatas nos 1 - 3 / Perlman, Ashkenazy

ASIN: B00005MO9L
Release Date: 2002-05-14

Tracks:

Allegro
Adagio Molto Espressivo
Scherzo. Allegro Molto
Rondo. Allegro Ma Non Troppo
Adagio Sostenuto. Presto
Andante Con Variazioni
Finale: Presto

Customer Reviews:

Delightful.......2005-03-05

First off, bravo to Apex. It's the Teldec/Warner's bargain label, and these are real bargains. These performances date from the early 90s, are in pristine sound, and offer two of Beethoven's best-loved violin sonatas in vibrant, lively performances. You can't miss.

Average customer rating:

Old-fashioned sentiment
A Violinist of Infinite virtuosity
Too Much Vibrato Makes It Cheap Melo-drama Interludes
A CD you'll play many times
he revised something totally new

Vengerov and Virtuosi

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Maxim Vengerov - The Road I Travel
Vengerov
Vengerov Plays Bach, Shchedrin, Ysaye
Brahms: Violin Concerto; Sonata No. 3
Maxim Vengerov ~ Dvorák, Elgar

ASIN: B00005K3Q0
Release Date: 2001-08-14

Tracks:

Rachmaninov: Vocalise
Ponce: Estrellita
Brahms: Hungarian Dance no. 7 in A major
Brahms: Hungarian Dance no. 1 in G minor
Brahms: Hungarian Dance no. 5 in G minor
Novacek: Perpetuum Mobile
Dvorak: Humoreske no. 7
Tchaikovsky: Souvenir d'un lieu cher: Meditation
Tchaikovsky: Souvenir d'un lieu cher: Melodie
Tchaikovsky: Souvenir d'un lieu cher: Scherzo
Schubert: Ave Maria
Bazzini: La Ronde des Lutins
Khachaturian: Sabre Dance
Massenet: Meditation
Monti: Csardas

Amazon.com

Fiddle fanciers will have a field day with this disc, whose 15 selections veer wildly between treacle and flash, sauce and sentiment. Everything's done with virtuosity. How could it be otherwise with Maxim Vengerov front and center, his instrument either throbbing with emotion or getting giggles from the audience with its imitation of high-pitched bird squawks? He's supported by a pianist and the 11 violins of Virtuosi, who back him in this selection of encore pieces whose arrangements are sometimes clever, sometimes corny. At times, it all gets a bit much (innocent bystanders can be smothered in vibrato); at other times listeners who suspend their critical faculties can just enjoy it. Vengerov certainly seems to and so does the Viennese audience. --Dan Davis

Customer Reviews:

Old-fashioned sentiment.......2006-06-03

This is a wonderful performance of great sentiment and nuance. Yeah, it's schmalzy...but that's intrinsic to the choice of pieces.
As soon as I saw it, I knew this one would be a great gift for my 90-year-old mother, whose father was a violinist and dance orchestra leader. Too bad he's not around to enjoy this CD.

A Violinist of Infinite virtuosity.......2004-08-18

This CD is the best encore yet another best CD by Maxim Vengerov.I listened to this at my local shop & I nearly kicked myself for being guided by one review saying that this CD is bad.I have never heard music sounding so sweet & yet so familiar with a new twist.Once Vengerov put his hands on the violin sparks really fly.He has the ability to make the violin sing on its own, extremely lyrical,expressive & very much technical in handling it. Some reviewers raised concerns of breathing which i think is not a mistake but an added humour to the songs. One must be reminded that some of these songs are based on stories of the past & if the performer incoporates that sense of humour in the performance to tell a story I think its good.Beside that its a minor thing that is not visible.With regard to the premature clapping on the long pause in the last song, well the audience obviuosly thought the song is finished like i did & Im sure most listeners thought the same in this regard & any way the clapping was due to the most beautiful picazato & bowing resulting inexpressible finish.I think the audience could not wait to say encore!encore!U listen to Motto,Bazzini, Tchaicosky which I think is the only slow but most trilling melodie, Bramhs dances are out of this world."Ave Maria by Schurbert is one of the painful beautiful songs ever written for violin.ALL tracks are the best there is. I must say though that i was not totally pleased with the choice of songs.i think the familiar songs are forever played may be the producer could have stuck with the unfamiliar works like Bazzini,Vittorio Motto, Khachaturian, Novasek,Ponce etc I like those unfamiliar composers.We have alwaysed listened to Jules massenet, Schurbert,Dvorack etc for a long time but overall this is an excellent CD with great performance by Vengerov & his crew(Virtuoso) ya! a very appropriate name. From now on I wont only depend on reviews but i think its important to listen to these beautiful works as other reviewers express it too personal in a negative way or misinterpret these encores by the most talented violinist alive today. Go on purchase it as a gift for the one you love the most.

Too Much Vibrato Makes It Cheap Melo-drama Interludes.......2004-05-25

I wish I could give it 5 stars. I cannot,though. And no sorry here. I usually likes his performance. He deserves one this time. There is hefty strain on the melody line. Nothing falls near spontaneous or natural. He plays as if he is obliged to deliberately show off. Ave Maria is too bad in particular. I have never heard it played with so much vibrato as it is here. Ave Maria here is not the Ave Maria from Schubert. It sounds like from third-grade soap opera that you happen to encounter when turning the channels on TV. If that is the way you love it played on Ave Maria, then this disk is for you. Because music appreciation is very subjective. I am now hesitant between discarding it,keeping it, and giving it away.

A CD you'll play many times.......2003-07-10

This is such a thoroughly entertaining CD. Virtuosi has the most uniquely beautiful sound and Vengerov is always so expressive and dynamic. His Ave Maria is a spiritual experience, and compells you to listen over and over again. Track 6, Novacek's Perpetuum Mobile, is one of the coolest things I've ever heard violins do! Why don't more composers write things like this?? The Bezzini Les Ronde des Lutins is so good it'll probably make you laugh out loud. Anyway, one of the other reviewers mentioned breathing...especially on track 12. I believe he was sighing there and it was meant to be humorous, to go with a humorous piece. Anyway, I like to occasionally hear the violinist's breathing. Signs of life only add to the excitment for me!

he revised something totally new.......2002-11-17

I play violin, that Humoresque (track 7) was in Suzuki book 3, and was one easy piece which I usually use to show off at private party. I will never do that again, listen to vengerov' performance, unbeliverble!!!. I even think Dvorak is even greater than ever because of vengerov.

Israel Philharmonic Orchestra - 60th Anniversary Gala Concert

Average customer rating:

Sublime!
love the four violin piece!
A must-have item !
Overall Great Recording
Amazing!

Israel Philharmonic Orchestra - 60th Anniversary Gala Concert

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Isaac Stern 60th Anniversary Celebration
Classic Perlman: Rhapsody
Maxim Vengerov - The Road I Travel
Vivaldi: The Four Seasons
Mendelssohn, Bruch: Violin Concertos

ASIN: B000003G8V
Release Date: 1997-03-25

Tracks:

Overture to 'Oberon'
Concerto In D Minor For Two Violins And Orchestra BWV 1043: Vivace
Concerto In D Minor For Two Violins And Orchestra BWV 1043: Largo, ma non tanto
Concerto In D Minor For Two Violins And Orchestra BWV 1043: Allegro
Concerto In B Minor For Four Violins And Orchestra, RV 580 (Op. 3, No. 10): Allegro
Concerto In B Minor For Four Violins And Orchestra, RV 580 (Op. 3, No. 10): Largo
Concerto In B Minor For Four Violins And Orchestra, RV 580 (Op. 3, No. 10): Allegro
Serenade No. 6 In D, K. 239 ('Serenata notturna'): March: Maestoso
Serenade No. 6 In D, K. 239 ('Serenata notturna'): Menuetto
Serenade No. 6 In D, K. 239 ('Serenata notturna'): Rondo: Allegretto
Passacaglia and Sarabande

Tracks:

Symphony No. 2 In D, Op. 73: Allegro non troppo
Symphony No. 2 In D, Op. 73: Adagio non troppo
Symphony No. 2 In D, Op. 73: Allegretto grazioso
Symphony No. 2 In D, Op. 73: Allegro con spirito

Customer Reviews:

Sublime!.......2004-03-08

This is one of my top 5 Cd's in a vast collection. I bought an extra 10 for presents. The Israel Philharmonic Orchestra (IPO)was aptly described by Toscanini as an orchestra of virtuoso soloists. Its strings are together with the Chicago Symphony the absolute top. Every piece is spectacular, warm and insightful. It is evident that the musicians understand the importance of the event. The Halverson Handel variation alone is worth the purchase. It has to be one the most amazing pieces ever recorded.

love the four violin piece!.......2004-02-21

I bought this CD, then I bought one for my grandparents. Now I lost it. My absolutely favorite piece was the concerto for four violins. Unfortunately, I've now discovered i-tunes and just bought those tracks. Maybe that's not the best idea, but at least I can't lose it again.

A must-have item !.......2002-11-10

A live concert with the best violinist of our time! Superbly recorded. Those who are going to buy this should buy the video too! The video not only includes the interview with the violinist, but also a marvellous off-the-show performance by Gil Shaham. Shaham may not be that outstanding in this concert but you'll see this is not true if you have watched the video, too.

Itzhak Perlman and Pinchas Zukerman's duet on "Passacaglia and Sarabande with variations on a theme by Handel for violin and viola" is excellent !! It exhibits almost all skillsets that could be do with a string instrument and how good they have been handled!! This recording is indescribably good !

Overall Great Recording.......2000-12-06

I wasn't sure whether to give this recording four or five stars. The music is wonderful; there is nothing to complain about in that area. The Halvorsen variations on Handel are quite simply divine and without comparison. The piece showcases two of the best violinists of our day (Perlman and Zukerman) and in this recording they prove that they deserve their title. The Vivaldi for Four Violins is incredibly expressive. The musicians cannot be faulted for anything, however the recording engineers can. This is a live concert and thus there is clapping at the end of each piece. The clapping is irritating in that it takes away the feeling left after the music. In the case of the Vivaldi, someone actually starts to clap before the last note is over! However, if you can survive the clapping, you will be buying a remarkable recording by some of the greatest musicians of our day. I strongly recommend it.

Amazing!.......2000-03-28

This is one of the best live classical recordings I have ever heard. It features an incredible collection of talented musicians, then proceeds to showcase them all with dazzling pieces that demonstrate their talents. Especially notable is the duet between Zukerman and Perlman when they play Halvorsen's "Passacaglia" - it truly sends chills up my spine. Other fine pieces on the discs include the overture to "Oberon" by Weber, as well as the unique "Concerto for 4 Violins" by Vivaldi. Overall, this set of 2 CD's is wonderful, and definitely warrants a purchase.

Average customer rating:

Great CD! Don't hesitate!
Idling in the Shchedrin, taking off in the Stravinsky
EXCITING

Vengerov/ Rostropovich

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

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Prokofiev & Shostakovich: Violin Concertos, No.2

ASIN: B00004RITO
Release Date: 2000-06-06

Tracks:

Con Cantabile: I. Moderato Cantabile
Con Cantabile: II. Allegro -
Con Cantabile: III. Sostenuto Assai
Vln Con in D: I. Toccata
Vln Con in D: II. Aria I
Vln Con in D: III. Aria II
Vln Con in D: IV. Capriccio
Ser Melancolique in b, Op.26

Amazon.com

Back in 1994, Teldec struck gold when it teamed the very young Russian violinist Maxim Vengerov with conductor Mstislav Rostropovich and the London Symphony in a recording of Prokofiev's and Shostakovich's first violin concertos. The label followed that a couple of years later with the same performers doing the same composers' second violin concertos. Then, for some reason, Teldec seems to have walked away from its claim on their remarkable collaboration. With this release, EMI has come up with--what else?--more gold.

It's particularly exciting because the Shchedrin is a new and very good work, composed expressly for Vengerov and premiered by him in 1998. Written for solo violin and a full, symphony orchestra-sized string section, and called Concerto Cantabile, it is a work of haunting beauty that sustains a listener's interest over its 28 minutes with a combination of fascinating melodic and textural development, atmospheric effect, engaging emotion, and bold virtuosity--all the things a good concerto should have, made all the more compelling by the austerity the composer has forced on himself. Yet, as we should expect from Shchedrin, this is a colorful and highly expressive austerity, and its achievement is a compositional tour de force. Rostropovich conducts with keen insight into the composer's expressive aims, into the light and the dark of this work's Russian soul, and, not least, into what strings can do. The result is compelling. Stravinsky's acerbically jaunty concerto is an interesting coupling: Vengerov and Rostropovich convey its circus atmosphere, biting sense of fun, and the faux emotion of its two middle movements with evident delight. In the Tchaikovsky, they shift gears once again, making this gentle lament into a truly big piece. Throughout, Vengerov's heroically large, burnished tone is a thing of beauty, just as the exuberant virtuosity he brings to the Stravinsky and Shchedrin works still (though we've come to expect it) leaves us with our mouths hanging open. --Ted Libbey

Customer Reviews:

Great CD! Don't hesitate!.......2006-06-07

The 'Schedrin'piece is haunting; the "Stravinsky" infectious, and the 'Tchaikovsky' simply beautiful.

Idling in the Shchedrin, taking off in the Stravinsky.......2006-01-02

The Amazon reviewer has given us the background of Vengerov's very productive relationship with Rostropovich, and this CD reveals how the two spark each other off musically. The Stravinsky is a riot of slashes and swoops one never hears in this neoclassical work, alternating with sudden slides that I'm sure Stravinsky hardly imagined. It makes for a romantic encounter with the century's most anti-romantic composer. Come swoon over Maxim, and why not?

But first you have to troll thorugh the still waters of the Shchderin, whose "modernism" is fifteen minutes ahead of Fritz Kreisler and fifteeen years behind WW II. The operative question with this composer is just how junky his music will be this time around. In the Concreto Cantabile composed for Vengerov we get the Russian version of Corigliano's Red Violin movie socre--long legato lines interspersed with showy fiddling--but much less melodically inspired. If you're going to be this retrograde, it helps to carry a tune.

As filler we get the Tchaikovsky Serenade Melacholique, which is essentially a wordless aria in the melodic style of Eugene Onegin. Vengerov plays it to the manner born, and although the most minor thing on this CD, the Tchaikovsky makes you feel that Oistrakh has found his spiritual godson.

EMI's sonics are close and larger-than-life, which makes for great impact but also turns Vengerov's tone somewhat coarse and metallic at times. In any event, for anyone who comes for the Stravinsky, this could be the performance of a lifetime.

EXCITING.......2001-07-28

I have several different recordings of Stravinsky's remarkable VIOLIN CONCERTO IN D, including Anne-Sophie Mutter's top drawer performance. It is, undoubtedly, one of the finest concertos of the 20th century and if you are lucky enough to live in New York, you can see George Balanchine's brilliant ballet set to this music at The New York City Ballet. In this ballet, as the master choreographer said, one can "see the music."

Beautiful and simple, severe and yet highly emotional in Stravinsky's "neo-classic" style, this is a piece of music that the listener can return to over and over again and be fulfilled. It is nothing to be "feared" by people who think the 20th century only brought abstraction to the arts.

The combination of Maxim Vengerov, not yet 30 years old, and Mstislav Rostropovich, almost 70 years old, is absolutely unbeatable. I thought, at first, I was listening to a live concert recording, it was that exciting. This is a recording to treasure

The companion piece, Shchedrin's CONCERTO CANTABILE is new to me and positively beautiful. Rounding out this all Russian program is Tchaikovsky's lovely, more traditionally lyrical SERENADE MELANCOLIQUE.

HIGHLY RECOMMENDED.

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