Beethoven, Mendelssohn: Violin Concertos

Editorial Reviews
Amazon.com essential recording
RCA has coupled, recoupled, and re-recoupled their Heifetz recordings in just about every conceivable incarnation, making it very difficult and confusing for the collector to purchase the best of them in a simple and straightforward way. This "Living Stereo" reissue, however, really does offer the best sound so far, and the performances are second to none. Heifetz's Mendelssohn has always led the field: for lightness, athleticism, grace, and virtuosity, it's unsurpassed. In a work that many violinists take for granted, Heifetz's high-powered approach really does remind us what great music this really is and how it responds to a violinist with a real sense of bravura. The coupling--a superb Beethoven concerto--provides a real antidote to so many modern performances that mistake slowness for depth. If any disc deserves to be called "essential," this one does. --David Hurwitz

Beethoven, Mendelssohn: Violin Concertos, Music, Ludwig van Beethoven, Felix Mendelssohn, Charles Münch, Jascha Heifetz, Classical, Classical Composers, Classical Music, Concerto, Orchestral & Symphonic, Violin Concerto

Mendelssohn & Beethoven: Violin Concertos
Average customer rating:

Extraordinary violinist

Joshua Bell does it once again

Overrated Violinist

Magical!

Lovely tone but recessive performances

Mendelssohn & Beethoven: Violin Concertos
Joshua Bell , Roger Norrington , Camerata Salzburg , Mendelssohn , and Beethoven
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
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Tchaikovsky, Wienawski, Brahms, Schumann: Violin Concertos

Joshua Bell ~ Sibelius · Goldmark - Violin Concertos / Los Angeles Philharmonic · Salonen

ASIN: B00006876P
Release Date: 2002-06-11

Tracks:

Mendelssohn: Concerto for Violin and Orchestra in E Minor, Op. 64: Allegro molto appassionato
Mendelssohn: Concerto for Violin and Orchestra in E Minor, Op. 64: Andante
Mendelssohn: Concerto for Violin and Orchestra in E Minor, Op. 64: Allegretto non troppo-Allegro molto vivace
Beethoven: Concerto for Violin and Orchestra in D Major, Op. 61: Allegro ma non troppo
Beethoven: Concerto for Violin and Orchestra in D Major, Op. 61: Larghetto
Beethoven: Concerto for Violin and Orchestra in D Major, Op. 61:

Amazon.com

Joshua Bell's first recordings of these warhorses stand apart from the hundreds of versions crowding the catalogs in at least one respect, namely his own cadenzas. Beethoven didn't supply his own for the long first movement of his Violin Concerto, and Bell's thoughtful, stylish emendation easily stands with the frequently played Kreisler and Joachim cadenzas as a viable option. His extroverted yet well-proportioned cadenza in the Mendelssohn may not match the original's instant melodic appeal, but it certainly works. Elsewhere, Bell's direct, clean-cut, utterly dependable virtuosity will not surprise his legions of fans, who won't mind that the violin tends to dominate in the mix. Is that due to the engineering, or to Roger Norrington's somewhat reticent accompaniments? You'd think a chamber orchestra would help the Mendelssohn's bubbling woodwind licks emerge with greater clarity. Likewise, small forces are capable of richer, more tonally varied, and sustained string tone in the Beethoven's slow movement, as one hears in the more confrontational and interesting Richard Kapp-Mela Tenenbaum collaboration. --Jed Distler

Customer Reviews:

Extraordinary violinist.......2007-05-21

I have seen and heard Joshua Bell playing in a beethoven concert with the Orchestra of St Martins in the field. In spite of his bravura on the violin, I am looking forward for a cd of his recording with the above orchestra: superb!

Joshua Bell does it once again.......2006-02-24

If you haven't heard of Joshua Bell, take a tour on Amazon of his recordings. He is a young man with a beautiful hand on the violin. His interpretations are as wonderful as YoYo Ma on cello or Ruth Larado on piano. I sneek a CD of his in every few orders from Amazon. He makes the violin speak and becomes one with it as he plays.

Overrated Violinist.......2006-02-15

I don't know why people are attracted to Bell's playing. I think part of it is due to his public image as the young sexy violinist that all the girls like....

Stay away from this recording! Honestly, the Mendelssohn is overly sentimental, and the Beethoven was not serious as all! I preferred the way Menuhin played it, with grace and style and elegance. Sorry, I hate it when people like Bell butcher up two most famous violin pieces. Get the Menuhin/Furtwangler recording. Even the audio is bad, Menuhin's interpretations are SUPREME!

I'm done now.

Magical!.......2006-02-01

This is the most amazing recording I've ever heard of Mendelssohn, and Beethoven's violin concertos. Joshua Bell plays with such incredible passion that it's almost magical. I love the cadenzas that he wrote for both of them even better than the original ones that went with the concertos.

Lovely tone but recessive performances.......2005-09-24

In performance I've found Bell to be the opposite of his glossy public image--a committed, sensitive, poetic violinist who happens to perform on an exceptionally beautiful Strad. On his records these qualities sometimes come across as preciousness or lack of guts. This is one of his more uninvolving outtings. Bell is recessive and sensitive to a fault, rarely bringing forward any temperament. This is especially true in the Mendelssohn, where he takes great pains to spin out gorgeous tone without really digging into the music.

Given the presence of Roger Norrington, a noted (and not very inspired) period performance expert, I guess Bell's aim is to retreat from the romantic approach to Beethoven and Mendelssohn. But the temperature of his Beethoven is too low--where is the revolutionary? Tempos are traditional, however, and only the small-scale orchestra evokes a period flavor. I guess some listeners don't mind it when bell skims over the surface of a masterpiece as long as he does it prettily. (A fiveaway might be the album cover photo, which makes him look like the dewy adolescent who burst on the scene nearly twenty years ago.)

Beethoven, Mendelssohn: Violin Concertos

Average customer rating:

the sound quality is really bad
Decent recordings, but not the best
Great but not greatest
Definitely not the Best
A classic, but not in the same league with the best

Beethoven, Mendelssohn: Violin Concertos

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Ascenseur Pour L'Echafaud (Lift To The Scaffold): Original Soundtrack

ASIN: B000006OPI
Release Date: 1998-05-19

Tracks:

Concerto In D, Op. 61: Allegro, ma non troppo
Concerto In D, Op. 61: Larghetto
Concerto In D, Op. 61: Rondo: Allegro
Concerto In E Minor, Op. 64: Allegro molto appassionato
Concerto In E Minor, Op. 64: Andante
Concerto In E Minor, Op. 64: Allegretto non troppo; Allegro molto vivace

Amazon.com essential recording

RCA has coupled, recoupled, and re-recoupled their Heifetz recordings in just about every conceivable incarnation, making it very difficult and confusing for the collector to purchase the best of them in a simple and straightforward way. This "Living Stereo" reissue, however, really does offer the best sound so far, and the performances are second to none. Heifetz's Mendelssohn has always led the field: for lightness, athleticism, grace, and virtuosity, it's unsurpassed. In a work that many violinists take for granted, Heifetz's high-powered approach really does remind us what great music this really is and how it responds to a violinist with a real sense of bravura. The coupling--a superb Beethoven concerto--provides a real antidote to so many modern performances that mistake slowness for depth. If any disc deserves to be called "essential," this one does. --David Hurwitz

Customer Reviews:

the sound quality is really bad.......2007-05-26

the hiss and pop is too much. I guess this is inevitable for such an old record. But you just can't put it in a high-end audio system which will brutally reveal all these flaws.

otherwise the perform is great, hence the 3-star.

Decent recordings, but not the best.......2005-09-23

Although well played, people who are considering buying this thinking it's the best rendition of both these concertos should pass.

In the Mendelssohn, Heifetz seems to lack a certain emotional element that should be present in the piece. As others have mentioned, there are other recordings out there that should be listened to first before hailing this as the best thing since sliced bread. The Kyung Wha Chung rendition is still slightly faster than most people decide to take this peice, however, the lyrical melodies are still present (I would also reccoment the Chung recording to anyone who hasn't had a chance to listen to it). If you're looking for a very passonaite recording of this concerto, try the Vengerov. Although it's not for everyone, you can hear the heart and soul he's pouring into the piece as he plays it.

The Beethoven lacks in similar ways that the Mendelssohn did. Although it is not nearly as passionate as the previous concerto, there is still an element of movement that needs to be felt. Heifetz fails at this partially because of how fast he plays this, and how everything just seems to "zing" by. Although the highly technical passages are played nicely, much of the rest is just too disappointing. For people looking for a better recroding, I reccomend the Francescatti or the Schneiderhan recordings of this piece, which caputre the mood and phrasings much better than Heifetz has done here.

Overall, if you're looking for another decent rendition of the Mendelssohn and Beethoven out of the oodles of recordings out there, then this CD is for you. If you are looking to purchase the best possible recoding in one go, you should probably pass on this CD and try some of the other ones I've outlined above.

Great but not greatest.......2005-06-28

I do agree that Heifetz performed these concertos greatly, with an unbelievable technique. But the problem here is Heifetz played so fast (maybe due to his technique) and it causes the sound too short, and more serious is become lacking of sharpness. You can find the same thing at other CDs, for example, Heifetz played the first movement of Tchaikovsky's concerto in 15'50" while Kogan in 18'07" and Oistrakh in 18'56". Another example is in Sibelius' concerto, Heifetz played the Allegro movement just 13'30'' (compare to Oistrakh around more than 16' and Marcovici 17'30'').

For these concertos, I strongly recommend to Kogan and Oistrakh. But I recommend Heifetz with Glazunov's concerto, it's great.

Definitely not the Best.......2005-02-07

I agree with Mr. Melson, who is below me.A fine performance of these works but there's better ones out there. Read Mr. Melson review---my thoughts are the same.

A classic, but not in the same league with the best.......2005-02-01

Unquestionably, this is a classic performance of the Beethoven concerto, but it is by no means its "greatest recording," as some continue to suggest. As usual, Heifetz brings his awesome virtuosity, his incredible technique and precision, to the table, but he is just too emotionally detached overall. Of course, these criticisms of Heifetz's playing are pracitically cliches at this point; they've been made a thousand times before and are even acknowledged to some extent by many of his fans (though these people are likely to spin it as, not "coldness" but "classical poise and restraint"). Even so, I suggest that you listen to a few other versions of the Beethoven concerto (Menuhin/Furtwangler, Perlman/Giulini, Schneiderhan/Jochum, Walter/Francescatti, the various recordings by Oistrakh, Stern/Bernstein -- just to name a few) and then return to this one and see if you remain satisfied. If you are a big Heifetz fan, then I suggest getting his earlier recording with Toscanini and the NBC Symphony Orchestra (available on Naxos). As was often the case when Toscanini was at the helm, the tempo is too driven. But Heifetz's playing, if still somewhat cool, has an ineffable quality to it (a Gramophone reviewer called it a "looking at the stars" quality) that is less present here.

The Mendelssohn here is, I'm afraid, even less successful. The finale is certainly exciting, taken about as fast you'll ever hear it, but basically this is a performance on autopilot, a comparatively tepid run-through. I'd direct you to Menuhin/Furtwangler, Milstein/Abbado, Perlman/Previn, Stern/Ormandy, Grumiaux/Haitink, Chung/Dutoit, Zimmermann/Albrecht, among others, for readings that really capture the concerto's great sparkle and warmth.

Bottom Line: Certainly worth hearing and maybe even worth owning for comparative purposes, but there are many better versions of these concertos. Off the top of my head, I can think of at least three Heifetz recordings that no fan of his should be without: his collection of encores ("Jeanie with the Light Brown Hair," etc.); his Korngold concerto with Wallenstein; his Sibelius Concerto with Beecham. Those are CDs that I have nothing but reverance for. I'd skip this and go for those recordings or one of the listed Beethoven/Mendelssohn alternatives.

Average customer rating:

Underpriced
Superb survey of one of the all-time greatest violinists

Violin Concertos [Box Set]

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B0009VI51G
Release Date: 2005-06-28

Customer Reviews:

Underpriced.......2006-12-19

It is incredible to me that I was able to purchase ten discs of probably the single greatest violinist of the century tackling immortal masterpieces for less than the cost of a utility bill.

You are thinking, "where's the catch?" Well, there is none. The transfers are excellent, the performances, of course, are superb. The only corner-cutting to be found was in the packaging, but even that was more than sufficient.

All these riches made me greedy, though. I wish there was Bartok 2 as well as 1, same with Szymanowski. I wish there was Khatchaturian. But how spoiled I am to be complaining! There is so much here to be enjoyed, from the crags of Szymanowski and the peaks of Beethoven to the cool, dark valleys of Chausson. If you only ever buy one violin box set, buy this one.

Superb survey of one of the all-time greatest violinists.......2005-08-28

We haven't been exactly short on releases by the great David Oistrakh, whether in the LP days or on CD. The trouble was that his recorded legacy - one of the most extensive in history by any violinist - has been made accessible through a multitude of labels, often in a haphazard fashion, and even more often for a very short time. The arrival of this new 10 CD-box has to be saluted for its effort to group a splendid selection of live recordings by Oistrakh made in the USSR between 1939 and 1968 with the Moscow Philharmonic, the Leningrad Philharmonic and the USSR Radio Symphony Orchestra, with some of the foremost conductors of the day (Alexander Gauk, Kirill Kondrashin, Gennady Rozhdestvensky, Kurt Sanderling).

Undoubtedly, collectors will already have the majority of the recordings presented here (although a lot is no longer available), but this box covers all the great concertos and as a survey of the art of "King David" it is presently unbeatable.

The sound quality is variable, of course, but totally acceptable regarding the age of some of the documents.

Average customer rating:

Mostly Magnificent Menuhin, with a Few Reservations

The Violinist
Yehudi Menuhin , Johann Sebastian Bach , Bela Bartok , Ludwig van Beethoven , Alban Berg , Johannes Brahms , Max Bruch , Arcangelo Corelli , Edward Elgar , Franz Joseph Haydn , Edouard Lalo , Felix Mendelssohn , Wolfgang Amadeus Mozart , Carl Nielsen , Niccolo Paganini , Camille Saint-Saens , Jean Sibelius , Pyotr Il'yich Tchaikovsky , Michael Tippett , Henri Vieuxtemps , Antonio Vivaldi , William Walton , Alberto Lysy , Anatole Fistoulari , Antal Dorati , Anthony Bernard , Gaston Poulet , John Pitchard , Mogens Woldike , Pierre Boulez , and Rafael Frühbeck de Burgos
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000BWTKJ
Release Date: 2003-11-04

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.

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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Anne-Sophie Mutter: The Berlin Recital
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Carmen-Fantasie
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.

Beethoven; Mendelssohn: Violin Concertos /Mullova * ORR * Gardiner

Average customer rating:

Mullova's Unique Approach to Romantic Concerti
Beethoven & Mendelssohn violin Conc/Gardiner < Mullova
among the best sacd's around

Beethoven; Mendelssohn: Violin Concertos /Mullova * ORR * Gardiner

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Brahms, Stravinsky: Violin Concertos [SACD]
Russian Violin Concertos [Hybrid SACD]
Vivaldi: Violin Concertos
Violin Ctos 1 3 4
Mozart: Piano & Violin Sonatas [Hybrid SACD]

ASIN: B000093OS6
Release Date: 2003-09-09

Customer Reviews:

Mullova's Unique Approach to Romantic Concerti.......2007-04-21

Russian violinist Viktoria Mullova has technique to burn. There are few violinists who match her intuitive sense of the middle of the pitch or the delicacy of her phrasing. She is well regarded for her impeccable performances and passion for Baroque music: she is also sought after for premieres of new music. It is this combination of talents that make her approach to the two concerti on this CD most memorable.

Elegant in stage deportment with never a moment of extraneous 'showmanship', Mullova is immediately at one with the music and never leaves that presence - as observed in her recent performance of the Beethoven concerto with Esa-Pekka Salonen and the Los Angeles Philharmonic: the two artists see this concerto eye to eye and the result is a fresh interpretation that is all quintessential elegance. On this recording she collaborates well with John Eliot Gardiner and the Orchestre Revolutionnaire et Romantique - the same sense of the delicate and precise, immaculate reading is intact. Mullova uses the cadenzas written by Ottavio Dantone and she is able to find every moment of the variations of the themes without submerging them in the tricky 'accompaniments' for which Dantone is famous. The result is a light, precise, airy Beethoven that has its own quality of drama in Mullova's consistent understatement.

The Mendelssohn Violin Concerto in E minor paired with the Beethoven is one of the finest performances recorded. Mullova's approach (very much influenced by her passion for Baroque) serves this work well and the support from Gardiner is completely in agreement. An excellent recording. Grady Harp, April 07

Beethoven & Mendelssohn violin Conc/Gardiner < Mullova.......2005-12-26

So far, I have not received this CD. This CD is not yet delivered to me.
David Chung

among the best sacd's around.......2005-08-04

I truly have to admit that this particular record blew me away. I wasn't a true fan of Beethoven violin concerto, but this sort of performance,sound and ambience makes it truly amazing. The Mendelssohn one is one to hear, and to recognize as one of the best, if not THE best.

Great Recordings Of The Century - Beethoven; Mendelssohn: Violin Concertos / Furtwangler, Menuhin

Average customer rating:

Choosing between two versions from Menuhin and Furtwangler
Menuhin and Furtwangler Play Beethoven and Mendelssohn
The best of the romantic view
Huh?
Good, but Menuhin was sublime in Lucerne

Great Recordings Of The Century - Beethoven; Mendelssohn: Violin Concertos / Furtwangler, Menuhin
Wilhelm Furtwangler , Yehudi Menuhin , Philharmonia Orchestra , and Berlin Philharmonic
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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Recordings 1942-1944, Vol. 1
Furtwangler Conducts Brahms - Complete Symphonies, etc / North German RSO, Berlin PO

ASIN: B00000IOBJ
Release Date: 1999-05-04

Tracks:

Violin Concerto In D, Op. 61: 1. Allegro Ma non Troppo (Cadence: F. Kreisler)
Violin Concerto In D, Op. 61: 2. Larghetto
Violin Concerto In D, Op. 61: 3. Rondo (Allegro) (Cadence: F. Kreisler)
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

Amazon.com essential recording

Yehudi Menuhin and Wilhelm Furtwängler, born a generation apart and separated by a world at war, were nonetheless musical and philosophical soulmates. Their recording of the Beethoven Violin Concerto, made seven years after they first met, is one of the treasures of the EMI archive, a testament to a bygone era of spontaneous and deeply subjective music-making. There is a nobility to the reading that has never been equaled, an unforced passion that would be difficult for any of today's musicians to duplicate. The monaural recording is remarkably fine, with satisfying depth and abundant detail. --Ted Libbey

Customer Reviews:

Choosing between two versions from Menuhin and Furtwangler.......2006-01-01

In the Beethoven, reviewers here consistently prefer the live 1947 radio broadcast from the Lucerne Festival over this 1953 studio recording from London. I'm not sure the choice is that clear, however, until one knows the salient details.

Lucerne 1947: Historically, this is a touching momento of Menuhin's decision to appear with Furtwangler soon after the war, at a time when the conductor's de-Nazification was slow and painful. Menuhin's gesture helped to rehabilitate Furtwangler in circles that had condemned him, and this Beethoven concerto performance shows how musically sympathetic the two artists were. Menuhin is placed far forward in Lucerne, his tone bright and at times shrill but nonetheless warm enough to listen to without wincing. His technique is adequate to the piece but no more.

Furtwangler gives almost an identical accompaniment in both recordings, although the Lucerne Festival Orchestra is notably less polished than the Philharmonia in the studio. Sonics are good radio mono. Tempos are the same in both recordings except for the slow movement, which is 2 min. slower in Lucerne. Menuhin opens the finale firmly and in tune.

1953 London: This studio recording is in quite good mono for its day, and the Philharmonia sounds especially warm and inviting. One notes a metallic edge in both orchestra and soloist at loud volumes (I haven't heard the latest remastering, which might have solved this problem). Menuhin's technique is no longer adequate to the part, though his interpretation hasn't changed in six years. He is quite out of tune beginning the finale, with gravelly tone on the G string. In both performances his approach is cautious rather than free and rhapsodic.

Furtwangler's accompaniment has great depth and lyric flow, without the drama he is capable of in Beethoven, however. It's often said that he felt constrained in the studio and freer in concert, but in this case both accounts are quite similar.
After all is said and done, the difference isn't so much interpretive but technical--Menuhin had slipped too far by 1953, at least to this listener.

The final and most important question is whether these are deeply felt and noble performances. Surprisingly, I didn't find them so this time around, but I did ten years ago. Subjectivity plays a crucial part in the role of the listener. I can sympathize with people who feel ennobled by these readings even though they have dimmed for me.

The Mendelssohn concerto from 1953 isn't an afterthought. This was always one of Menuhin's best pieces, and here he preforms it with moderate tempos and the kind of personal expression perfectly matched to Furtwangler's own. There are more mercurial readings but few as emotionally sympathetic.

Menuhin and Furtwangler Play Beethoven and Mendelssohn.......2005-10-11

The thirteenth-century poet Rumi wrote that "the voice of the violin is the sound of the opening gate of paradise." I was swept away by this classic recording of the Beethoven and Mendelssohn violin concertos by Yehudi Menuhin and Wilhelm Furtwangler conducting the Philharmonia Orchestra in the Beethoven and the Berlin Philharmonic in the Mendelsshon. This disk is a reissue on the "Great Recordings of the Century" series. The recordings date from 1953.

Wilhelm Furtwangler was one of the last of the romantic conductors. His tempos in these concertos are deliberate and fluid and the orchestral sound is lush. He recorded the Beethoven concerto with Menuhin in 1947 and again, on the version given here, in 1953. The first version emphasizes the lyrical, gracious character of the work. The version here is more reserved, emphasizing the spiritual, lofty character that many listeners find in the Beethoven violin concerto.

The Beethoven concerto is remarkable for its breadth and spaciousness and for the opportunity it accords for interplay between orchestra and soloist. The orchestral part is unusually detailed and elaborate and much of the violin part, especially in the opening movement, is filigree and embroidery in the highest register of the instrument around the orchestral themes. There are beautiful melodies in this work together with dramatic passages. In the first movement, the new listener should focus on how the opening five-beats of the tympani come to pervade the entire movement. The second movement is a theme and variations with two deeply-moving and reflective interludes for the violin. For many listeners, this movement is the climax of the entire work. The third movement is a lively rondo, more unbuttoned than the first two movements, with a great deal of variety and a lively coda.

Joseph Joachim, the 19th century violinist who championed both the Beethoven and the Mendelssohn concertos, among many others, said in 1906 (celebrating his 75th birthday) that "the greatest, the most uncompromising" of the violin concerto's was Beethoven's but that "the most inward, the heart's jewel" is Mendelssohn's". Furtwangler and Menuin's rendition of this most-frequently played of the violin concertos brought Joachim's words home for me.

Unlike the Beethoven concerto, the soloist is almost always at the center of attention in the Mendelssohn. Menuhin plays with lyricism and passion -- this work is much more than a series of pretty tunes. The orchestral part is detailed and developed, if subordinate to the soloist, and Furtwangler and the Berlin Philharmonic are equal partners to Menuhin's playing. This work is in three connected movements. In the opening, the new listener should focus on the long cadenza for the violin which Mendelssohn places following the development rather than in its usual place before the coda. The transition passages between the first and the second movement and the second and the third also are of great importance in this work. The second movement consists of a long songlike theme and the third movement is a light Mendelssohn scherzo. The performance here brings out the depths of this concerto.

This modestly-priced CD is an ideal way for the new listener to get to know two masterpieces for the violin concerto -- and two of the great works of music. The quotations I used earlier in the review are taken from the discussion of the Beethoven and Mendelssohn concertos in Michal Steinberg's book, "The Concerto: A Listener's Guide." Listeners interested in exploring the concerto literature will enjoy reading Steinberg's book.

Robin Friedman

The best of the romantic view.......2005-05-28

I first encountered this recording in a blue box of LPs imported from Germany by Odeon; simply entitled "Furtwangler", the box contains Beethoven's 3rd and 5th symphonies in the Vienna Philharmonic studio version; the Bayreuth version of the 9th; and the Emperor Concerto with Edwin Fischer and the Violin Concerto with Menuhin, both with the Philharmonia. The set was reprocessed by German Electrola in "Breitklang", which was a "space-opening" technology just this side of fake stereo. For at least a year I listened to the Menuhin record without much feeling one way or the other. Then one day I flipped the "mono" switch on my amplifier. All of a sudden, the fake "noise" that infected Menuhin's tone was gone, and there was his remarkable, sweet, luminous tone, a rare sound that shines from the inside. I was enthralled. I listened spellbound to one of the most personal, communicative renditions of this great piece I'd ever heard.

This is a lovely rendition, a bit more detached than the earlier Luzerne collaboration of these two great artists, perhaps less passionate but with a compensating spiritual depth. Menuhin may not have been the virtuoso he was 7 years earlier, but he still had most of his technique and sound intact. Yes, there are intonation problems, especially in the opening of the first movement. But we are a far distance from the Menuhin who sounded like he was struggling, with persistent intonation, bowing and phrasing problems and a tone which sounded increasing frayed. He might not be here the incandescent light he had been; but he was still a major artist with a deep spiritual insight into this piece and enough technique to bring it off.

Furtwanger, of course, is marvellous. Each phrase is lovingly and plastically molded, the overall structure and balance of the piece is always evident, each part fits inexorably into the whole, and all is at the service of his unique, spiritual (there's that word again) insight. The Philharmonia sounds like his own.

Rating this performance against the Luzerne version is like rating Furtwangler's late-life VPO/BPO studio recordings of Beethoven symphonies against his war-years radio broadcasts. The latter versions of both are more passionate, white-hot, intense; the former are a bit more removed, not without passion or feeling but with a more balanced perspective. Each version has its place, each offers its own unique insight. Each is worth listening to. Each is, in its own way, an essential recording.

You may hear this piece performed differently; you will never hear it performed better.

Huh?.......2004-12-31

I have more records of Menuhin than you could dream of a music fan! I have every single recording he did from 1928 Ries La Capricciosa to the latest recordings of concerti in the box set Menuhin concerto collection EMI. So I think my judgement is valid, the Lucerne recording on testament I have and I agree it's far better! Go Testament!

Good, but Menuhin was sublime in Lucerne.......2004-08-04

This is certainly a good recording of the Beethoven, and Furt's accompaniment is at times nothing short of stunning. But whereas Menuhin is merely good here, he is absolutely sublime in his earlier recording in Lucerne (also with Furt), which is now available on Testament. The EMI recording is cheapter, obviously, but don't let that mislead you: the Testament would be a bargain at any price.

Average customer rating:

Favourite Violin Concertos...
Buy It for the Beethoven
Buy It for the Beethoven
Not as impressive as his Mozart...
Brilliant Tchaikovsky Concerto

Favourite Violin Concertos

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
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Legend: David Oistrakh [CD & DVD]

ASIN: B00000419A
Release Date: 1994-04-12

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:

Different Beethoven and Mendelssohn Violin Concertos
Period Performance with Feminine Touch

Beethoven, Mendelssohn: Violin Concertos

Manufacturer: Class. for Pleas. Us
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

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Lamento

ASIN: B00005O3XY
Release Date: 2002-05-07

Tracks:

I. Allegro Ma Non Troppo (Cadenza By Monica Huggett)
II. Larghetto
III. Rondo (Allegro) (Cadenza By Monica Huggett)
I. Allegro Molto Appassionato -
II. Andante
III. Allegretto Non Troppo - Allegro Molto Vivace

Customer Reviews:

Different Beethoven and Mendelssohn Violin Concertos.......2007-06-20

Being in general agreement with Leslie Richford's review I can be brief.
There are 165 versions of the Beethoven, and 149 of the Mendelssohn in the catalogue, so one could ask why bother with these particular ones ? Easy answer, because they are both very good, among the few played on period instruments, and different. Also Monica Huggett writes her own cadenzas, something that was once expected of the soloist,if they had not been provided by the composer, but now the general custom is to use someone elses.
Ms Huggett does not follow the interpretation of the great violinists of the 1960s, which seemed to me to be about demonstrating mastery over the music, but is light and intimate,lyrical and affectionate, and the orchestra under Mackerras provide perfect accompaniment, open and crystal clear. I commend them to you, at least try to listen to them as well as the Grumiaux, I'm sure you will enjoy the difference. And if you are looking for a recording of the Mozart violin concertos try to hear Huggett's.

PS I have just purchased a new re-release, on Eloquence, of Grumiaux with the New Philamonia, his performance is excellent, and the sound is quite acceptable. It is coupled with a Viotti concerto, which is not in the same league.

Period Performance with Feminine Touch.......2004-10-04

If you are looking for a conventional recording of the Beethoven Violin Concerto, then you probably couldn't do better than turn to Arthur Grumiaux's interpretation from 1974, re-issued on Philips together with the two Violin Romances. If, however, you have an ear for historical performance practice and the corresponding instruments, you will possibly enjoy Monica Huggett's and Sir Charles Mackerras' 1992 interpretation as much as I have done. The Orchestra of the Age of Enlightenment uses mainly 18th century instruments (or modern reproductions), while Monica Huggett, one of the world's leading and most famous Baroque specialists, plays a 1618 Amati with gut strings but a wire-wound G string. Vibrato is used very sparingly, and the sound is softer, more delicate - one could perhaps even say 'feminine' - and less intense than with modern instrumentation. As has become the norm with historical performance, the tempi are somewhat faster than one is used to (Grumiaux needs about three minutes more for the first two movements). Monica Huggett has developed her own stylistically appropriate cadenzas to replace those by Joachim and Kreisler normally heard.

I have been quite enraptured listening to these recordings. The Beethoven is a mine of sheer delights, and although the quieter, more refined sound takes a little getting used to, I found in the end that this CD was 'getting to me' even more than the pretty authoritative Grumiaux version. Monica Huggett's playing is always a delight, and I felt she was able to give both the Beethoven and the Mendelssohn that little something extra that makes a special listening experience. The recorded sound is good, although I felt that the orchestra was sometimes a little distant.

As this CD is now available at budget price, I suggest purchasing both it and a more conventional version and granting yourself a delicious listening session to compare the two.

Note made in June 2007: Since writing this review I have heard two further period-instrument recordings of Beethoven's Violin Concerto, and they are both so excellent that I want to name them here as alternatives to the Huggett/Mackerras. The one is by Stephanie Chase with the Hanover Band led by Roy Goodman on the tiny Cala label, the other is by Thomas Zehetmair and the Orchestra of the 18th Century led by Frans Brüggen on Philips Ludwig van Beethoven: Violin Concerto in D major, Op. 61 / Romance No. 1 in G major, Op. 40 / Romance No. 2 in F major, Op. 50 - Stephanie Chase / The Hanover Band / Roy Goodmanand Beethoven: Violin Concerto in D Major, 2 Romances.

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