Vengerov/ Rostropovich

Editorial Reviews
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

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.

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 | Classical | Styles | Music

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:

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

General | Classical | Styles | Music
Similar Items:

Britten & Walton: Violin & Viola Concertos; Maxim Vengerov
Maxim Vengerov ~ Dvorák, Elgar
Prokofiev, Shostakovich: Violin Concertos no 1 / Rostropovich, Vengerov
Brahms: Violin Concerto; Sonata No. 3
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.

Tracks:

I Allegro Ma Non Troppo
II Largetto
III Rondo, Allegro
Romance No.1 In G Op.40
Romance No.2 In F Op.50

Amazon.com

To violinists, studying and performing the Beethoven Concerto is the ultimate challenge and achievement. Vengerov says that recording it, especially under Rostropovich, his friend, mentor and frequent collaborator, is the fulfillment of a lifelong dream. Among the Concerto's innumerable recordings, this must be one of the greatest. Vengerov and Rostropovich are considered specialists of the romantic literature, especially that of Russia, but their Beethoven is a paradigm of classical nobility: calm, simple, elegant, inwardly expressive. Vengerov's tone is ravishing, pristinely pure, with a silvery shimmer and a golden glow; his bowing is seamless, letting him spin long, finely shaped phrases, his vibrato is focussed and intense. Playing from deep inside the music, he needs no external effects, not even slides, and gives musical meaning to every note, even in the accompanying passages. He uses his own brilliant, stylistically apt cadenzas. The first movement is stately and quite slow, as if the patrician conductor were restraining his youthfully fiery soloist; the second is serenely celestial, the third sprightly and mercurial. The Romances have a natural, lyrical flow, the dramatic sections balancing the meditative ones perfectly; the treacherous double-stops are impeccable. The orchestra is excellent, but the dynamic contrasts are excessive: the tuttis explode, so keep your finger on the volume control. --Edith Eisler

Customer Reviews:

Listen if only for the Kreutzer Strativarius.......2006-11-18

I bought this CD after hearing Vengerov play it live with the Green Bay Symphony at the Weidner Center just a few weeks ago. Vengerov plays the 1727 "Kreutzer" Stradivarius violin, named after former owner Rudolphe Kreutzer (1766-1831). Vengerov came to be playing in Green Bay through the efforts and support of the family of the Kreutzer's former owner, a Green Bay resident -- a rare treat for such a small city.

My suggestion: forget the pacing and focus on the stunning beauty of the instrument and the music that is made by man who loves it.

Where is Beethoven?.......2006-10-16

If you like your Beethoven played like Mahler or Bruckner, go out and buy this CD. But if you want your Beethoven played like Beethoven, avoid this horrible performance. The tempos here are so slow, the album should be called "Beethoven on the Freeway at Rush Hour". And where are the accents? Were they left on the studio floor? Vengerov is a fabulous musician but this recording is a disgrace.

Excellent Sound, Fine Playing from Vengerov, Rostropovich and LSO, But............2006-10-10

Maxim Vengerov is the finest violinist of my generation, whose closest peer may be Joshua Bell for both the dramatic intensity of his playing and the warm, lyrical sounds produced from his violin. I have greatly treasured his recordings of the Prokofiev and Shostakovich violin concerti with Rostropovich and the London Symphony Orchestra, Dvorak violin concerto with Masur and the New York Philharmonic Orchestra, Tchaikovsky violin concerto with Abbado and the Berliner Philharmoniker, and last, but not least, Brahms violin concerto with Barenboim and the Chicago Symphony Orchestra; these are among the finest violin concerti recordings I have heard from any of today's prominent violinists. Sadly, I can't accord this relatively new record with Vengerov accompanied by Rostropovich conducting the London Symphony Orchestra, the same high praise I have given to Vengerov's earlier Teldec (now Warner Classics) recordings. It deserves high praise from me only because of the exceptionally well-balanced sound engineering done by EMI's recording team; however, this performance has a lot that isn't desirable.

It was undoubtedly the late Carlo Maria Giulini who began the tendency for having slower tempi for the Beethoven violin concerto, as evidenced by his celebrated EMI recording featuring a younger Itzhak Perlman (This still remains one of my favorite recordings of the Beethoven violin concerto.), but regrettably, whereas Giulini was able to carry it off, Rostropovich's account, especially of the first movement, is glacially slow, and does not emphasize the dramatic tensions and emotional richness of Beethoven's score; it is instead, a plodding, often dull, account that is rescued by Vengerov's technically brilliant, and still, quite passionate, performance. Only the third movement, the exhilirating Rondo, sounds fine, and in Rostropovich's hands, almost as fine a performance as I have heard from the likes of both Nikolaus Harnoncourt and David Zinman in relatively recent recordings of this concerto. My only favorite tracks on this recording are of the two Romances for Violin and Orchestra, which, oddly, sound more fresh and vivid, than the performance of the violin concerto. I am sure that diehard fans of Vengerov, Rostropovich and the London Symphony Orchestra will still want to acquire this recording, but for others, I have to recommend strongly as more suitable recent alternatives, Hilary Hahn's glistening account for Sony with David Zinman conducting the Baltimore Symphony Orchestra and - if it is still available - Gidon Kremer's vibrant performance for Teldec with Nikolaus Harnoncourt conducting the Chamber Orchestra Of Europe.

Almost, but Not Quite.......2006-06-11

No doubt this is a fine recording. For those who remember Vengerov and Rostropovich's breath-taking Prokofiev/Shostakovich, however, this is rather disappointing.

As other reviewers pointed out, the tempo in this Beethoven is unusually slow, reminding me of Anne-Sophie Mutter's far from successful recordings of the same concerto. Vengerov's performance is not weird, though; his violin sound is dulcet without exaggerated and excessive rubatos; plus, in spite of, or precisely because of his leisurely tempo, i could relish the gracefulness of this representative masterpiece in the violin repetoire. The two romances are fine too. But I wish the orchestral support was more dynamic and powerful.

If you want to turn to other recordings of this concerto, I would recommend David Oistrakh (EMI)or Kyung Wha Chung (EMI). The former is a lengendary recording and coupled with the Bruch Violin Concerto no. 1. The latter live recording, also coupled with the Bruch concerto, is unsurpassable. It's Chung's second Beethoven recording and leaves nothing whatsoever to be desired. All three movements are gorgeously performed, and yet the second movement in particular is, as one reviewer in the Penguin Classical CD Guide wrote, one of the most beautiful tracks ever recorded. Along with Chung's Tchaikovsky/Mendelssohn CD (Decca), this CD will remain one of the finest in decades to come.

Reverent? Yes. Exalting? Sadly, no........2006-02-12

I had high hopes for this one. Maxim Vengerov is perhaps the finest violinist of his generation; he is certainly among the finest of musicians. I watched his master class on Ovation, and his coaching of students through Mozart, Tchaikovsky, Ysaye made clear his depth of feeling for, and his understanding of, the music (also clear: his charm, his graciousness, his love of teaching). I respect and enjoy his recordings of the Brahms, the Tchaikovsky, the Bruch concertos, and others.

But this one's disappointing; it's a performance that I think Mr. Vengerov will come to regret. It's note-perfect; it's also dull. The world doesn't need another ponderous and reverent Beethoven Concerto. We want one that gives it life, that thrills us. Even the third movement - the rondo that should dance - is plodding. The largo, that should be exalting, is simply tiresome. The first movement, that should draw us into the music and hold us, exemplifies why so many dislike classical music; sitting through it feels like enduring a solemn duty.

The finest performance I know is this one (Doremi 7727):

http://www.amazon.com/gp/product/B00004X0NJ/qid=1139635782/sr=1-1/ref=sr_1_1/002-3273165-0151249?s=classical&v=glance&n=5174

It's a 1945 broadcast by Jascha Heifetz with Artur Rodzinski and the NYPhSO (New York Philharmonic Symphony Orchestra, the predecessor of today's NYSO).

In my opinion it is the definitive recorded performance. Swiftly paced but heartfelt, played with a passion, an intensity and a profound understanding of the musical line that isn't approached by today's stars of the fiddle (nor even by Heifetz himself with Reiner for RCA). I listen to it often, and when I do I'm convinced it's the performance Beethoven heard in his mind, in his heart.

My thanks to Jacob Harnoy for issuing this unsurpassed performance and for achieving audio quality that makes it not just a listenable historic recording but a highly enjoyable one. I think it's a must-hear performance for all who love this work. (Another transfer I own - by Music & Arts - is thin and scratchy; this transfer by Doremi is full and rich.)

For those who find Heifetz too fleet (and if you think so, I think you're wrong!), try performances by Adolf Busch/Fritz Busch, Ginette Niveau/Hans Rosbaud, Yehudi Menuhin/Wilhelm Furtwangler, David Oistrach/Sixten Ehrling, Ida Haendel/Rafael Kubelik - performances that today's prodigies can only hope to grow to understand and equal. Or even try Fritz Kreisler/Leo Blech; it was Kreisler who begat the now-accepted modern tradition of performing the Beethoven reverently (i.e. slowly). But he carried it off, and did so compellingly!

And I can't close without commending another broadcast performance: Bronislav Huberman/Leo Barzin - an extraordinary performance by an extraordinary man. (All of these are available from Amazon.)

Prokofiev & Shostakovich: Violin Concertos, No.2

Average customer rating:

Vengerov at the top of the tree
A lyrical, un-Russian approach
Two Wondrous Works of the Violin Concerto Repertoire
fabulous 20th century concertos
Another excellent interpretation by Vengerov

Prokofiev & Shostakovich: Violin Concertos, No.2

Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Prokofiev, Shostakovich: Violin Concertos no 1 / Rostropovich, Vengerov
Shostakovich: Cello Concerto No1, Op107; Violin Concerto No1 (revised), Op99
Brahms: Violin Concerto; Sonata No. 3
Peter Tchaikovsky/Alexander Glazunov: Violin Concertos
Maxim Vengerov ~ Dvorák, Elgar

ASIN: B000000S8Z
Release Date: 1997-10-14

Tracks:

Violin Concerto No. 2 In G Minor, Op. 63: Allegro moderato
Violin Concerto No. 2 In G Minor, Op. 63: Andante assai
Violin Concerto No. 2 In G Minor, Op. 63: Allegro ben marcato
Violin Concerto No. 2 In C Sharp Minor, Op. 129: Moderato
Violin Concerto No. 2 In C Sharp Minor, Op. 129: Adagio
Violin Concerto No. 2 In C Sharp Minor, Op. 129: Adagio - Allegro

Amazon.com

Maxim Vengerov's splendiferous Strad pours reedy-rich tones from its lower register and sings the sweetest high notes this side of Jascha Heifetz, without the least hint of an undesirable sound or mistuned note. Vengerov's impeccable technique and mature musicianship consistently place him at the top of today's young generation of violinists. Here he plumbs Prokofiev's emotionally charged concerto and finds its unadorned essence--especially memorable in the sensuous slow movement and the exuberant finale. The Shostakovich benefits from a confident, commanding style that leaves us utterly convinced that this lesser-known concerto is a work of far greater substance than we thought. As conductor, Mstislav Rostropovich's knowing hand is everywhere, helping to bring home the penetrating drama of these works by two of his former teachers. While the sound is not as vibrant and balanced as we would like, its center-stage placement of Vengerov and his violin is a feature we can't help but applaud. --David Vernier

Amazon.com

Hot on the heels of their coupling of Shostakovich's and Prokofiev's First Violin Concertos comes this welcome sequel. The header says it all. Prokofiev's Second Concerto is the more popular of his two, while the situation is reversed with Shostakovich. In fact, his Second Concerto is all but unknown, which is surprising because the First Concerto is a much larger, more difficult work than its witty, lyrical successor. This recording will, hopefully, give the piece a chance to make some new friends among music lovers, particularly as the performances are absolutely first class in every respect. --David Hurwitz

Customer Reviews:

Vengerov at the top of the tree.......2006-02-24

Those of us who have been around for over 70 years will have to admit that there has never been a violinist who more sensationally is able to make music at this level. He has the left hand of a Heifitz, the heart of a russian gypsy and the soul of a musician. It is truly remarkable to find in one player the best of all the things required to be great - technique, heart, soul, musicianship, understanding and an ability to create a large catalogue of sounds which seem inevitable. These preformances surely will never be bettered and rarely, if ever, equalled.

A lyrical, un-Russian approach.......2005-10-07

Anyone familiar with the playing styles of Oistrakh, Kogan, and more recent emigrees like Rapin, Spivakov, and Rachlin will instantly hear that Vengerov is not giving a typical Russian reading on this CD. His playing is not aggressive, he doesn't aim for a fat tone in every bar, and he exchanges virtuosic extroversion for inward, lyrical playing as often as not. The Shostakovich and Prokofiev concerti are usually turned into showpieces, whereas on this CD they become personal expressions.

That's really my only comment. The other reviewers have already praised Vengerov's playing. He is in a league ahead of Rostropovich, who is an effective but not inspired conductor. Together, they tame the biting contrasts often brought out in the first movement of the Prokofiev Second, and although Rostropovich can be a bit slack at times--no worse than Previn in the Prokofiev works, however--Vengerov triumphs in every respect. (If only the last movement of the Prokofiev wasn't such a slow poke.)

My remarks apply mostly to the popular Prokofiev Second; the Shostakovich Second has largely fallen out of the repertoire, being a bit too austere, aggressive, and melodically indifferent to capture audience approval, in the West, at least.

Two Wondrous Works of the Violin Concerto Repertoire.......2005-02-23

There is something very grand about the collaboration between Maxim Vengerov and Mstislav Rostropovich captured by Teldec on this CD, a fine and even more distinctive pairing of concerti than their previous disc (Violin Concerti Nos. 1 by Prokofiev and Shostakovich). Though Rostropovich began his performing life as a cellist, he now is much sought after as a conductor. But perhaps by his beginning his career as a soloist he has this special affinity in collaboration as an accompanist for other soloists!

It would be difficult to imagine more brilliant readings of these two concerti (each No. 2 in the respective composer's catalogues). Vengerov plays with sparkling precision on the fiery movements, but seems to blossom with the slow movements, music that conveys so much of the Russian soul that the beauty here is nearly unbearable. Rostropovich makes a sensitive collaborator, drawing empathetic phrasing from the London Symphony Orchestra.

Another factor that lends to the success of this CD is the quality of sound produced by the technical wizardry of Teldec engineers. The violin is never too far forward in the miking and especially in the Shostakovich the soloist deems to come form the middle of the orchestral sound.

In all this recording is the gold standard for these appropriately paired concerti.. Highly recommended. Grady Harp, February 2005

fabulous 20th century concertos.......2004-08-03

This is a great pairing of two Russian composers who have much in common, having come from the same turbulent era of history, but who are so unique in style and sound.
Prokofiev (1891-1953) wrote this concerto in the mid '30s, and it shares some melodic influences from another composition of the same period, his glorious ballet score for "Romeo and Juliet"; there are many slow passages full of yearning and pathos, intertwined with an up-tempo happier mood.
The Shostakovich (1906-1975) piece is more aggressive, vibrant and modern, written in 1967, and dedicated to the great David Oistrakh. It has a heavenly Adagio, and is my favorite of the two concertos.

Maxim Vengerov is the ideal violinist for these works, full of youthful energy (he was only 22 when this recording were made in 1996) and Russian soul. Mstislav Rostropovich comes from a similar time period as the composers, and knew them as a young musician, giving the first performances of some of their cello compositions.
This is a second team effort for Vengerov and Rostropovich, having recorded the Concerto # 1 of both Prokofiev and Shostakovich two years earlier, and garnering the coveted Gramaphone "Record of the Year" award. Both recordings are a wonderful addition to any 20th century classical violin collection.

The liner notes by Christian Kubnt point out a coincidence, of how Rostropovich was 20 years old when he met Prokofiev in 1947, the same age as Vengerov when he started recording with Rostropovich forty-seven years later, and how it seems to be a Russian tradition "for different generations to inspire one another in this way and for them to spur each other on to exceptional achievements", and exceptional achievements both this CD and its predecessor are. The sound is good, and total playing time 62'18.

Another excellent interpretation by Vengerov.......2003-07-10

Vengerov has a marvelous of way of interpreting pieces in such musical ways that I feel Heifetz lacked. However I give this particular CD only 4 stars because I found that the pieces he played were not very entertaining. Only hardcore Shostakovich or Prokofiev should buy this CD. I recommend buying one of Vengerov's Tchaikovsky Violin Concerto CD's.

Britten & Walton: Violin & Viola Concertos; Maxim Vengerov

Average customer rating:

Britten flawed?????
Vengerov is astonishing in two almost-great concertos
Mindblowing!
Mesmerized by Vengerov's Britten
Okay recording of Walton

Britten & Walton: Violin & Viola Concertos; Maxim Vengerov
Maxim Vengerov , Benjamin Britten , Sir William Walton , London Symphony Orchestra , and Mstislav Rostropovich
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

Maxim Vengerov ~ Dvorák, Elgar
Bruch: Double Concerto, Walton: Viola Concerto
Helen Callus performs Walton, Vaughan Williams, Howells & Bowen
Vengerov
Walton: Symphony No. 2; Viola Concerto; Johannesburg Festival Overture

ASIN: B00008XRSW
Release Date: 2003-04-08

Tracks:

I. Moderato Con Moto-
II. Vivace-Cadenza-
III. Passacaglia: Andante Lento (Un Poco Meno Mosso)
I. Andante Comodo
II. Vivo Con Moto Preciso
III. Allegro Moderato

Customer Reviews:

Britten flawed?????.......2006-10-04

Britten's Violin Voncerto is spellbinding. Hypnotic. For one of the reviewers to call it "flawed" means he must go to Suffolk, sit on the shingle beach, listen to the seagulls on a grey cold day. This is one of Britten's most awe-inspiring works. The last pages would bring tears to your eyes. Walton, a 2nd rate wife-beater doesn't even bear comparison. One of, if not the greatest violin concertos of the 20th Century. Vengerov is superb in his reading, and only challenged by Nadia Grumlikova, a recording to die for. Avoid Ida Haendel's ghastly scraping like the plague. But don't die without listening to this stupendous concerto.

Vengerov is astonishing in two almost-great concertos.......2006-06-21

It helps to own the company. If EMI weren't a British-owned label, I doubt that two dyed-in-the-wodka Russians would have taken up Britten and Walton. How tremendous for us that they did. The Britten Violin Concerto is not a totally secure work. The opening movement is mysterious and haunting, one of the greatest things from this period in Britten's career. But even though a prodigy, he was sitll searching for his unique voice, and the slow movement and finale fall back too often on the musuclar modernist idiom of the Thirites, a style more suited to the bluff macho Walton (who hated Britten) than his younger contemporary.

However flawed the work may be, Vengerov gives the Britten the performance of a lifetime, with sympathetic accompaniment from his musical godfther Rostropovich and wonderful sonics from EMI. You are reminded again and again (as every audience is when Vengerov appears in person) that an artist with his gifts comes along once in a generation. Britten's uncertainty is shown in the fact that the concerto has six major changes of mood, often disjointed, but when he arrives at the most inspired ones, Vengerov makes this sound like music of genius.

The Walton Viola Concerto is musically a safer, less original work. It' played and recorded much moe often, however, because of hte scarcity of viola concertos. Purists may dislike Vengerov's fairly slow, ruminative first movement, and compared to the breathtaking tone of his violin, this viola sounds less striking. Even so, he brings his talent to bear with real expression and commitment. I don't think one should listen to all 64 min. of this CD at one sitting--the idioms are too similar in their muscularity and free-form shape. Also, neither work is immediately easy to absorb.

In all, a triumph for Vengerov. I won't return often to the Walton, but his Britten is indispensable--it redeems a neglected, near-great work.

Mindblowing! .......2006-03-14

This CD has been hyped to the gills by the Classical Music press, and for a change the hype is absolutely merited. Vengerov's touch is absolutely perfect, bringing every subtlety of tone from his instruments. The Britten is ravishing, especially the finale, but the Walton is what really makes this recording stand out. It's difficult to believe Vengerov only learned to play the viola for this piece. His tone is by turns heart-meltingly warm and heart-breakingly mournful, and I can only hope it helps give this Viola Concerto more recognition for the masterpiece it is.

Rostropovich's conducting is also masterful.

Mesmerized by Vengerov's Britten.......2005-08-28

Britten's violin concerto is right up there with the two Shostakovich violin concerti, and perhaps even better than they. There are indeed traces of the early and more daring Shostakovich in this work, but it is Britten's original genius throughout. In fact the work's premiere in 1940 caught much of the music establishment by surprise, since it was not the kind of music one would expect to hear coming from a 25 year-old who had a reputation of composing relatively lightweight works.

Vengerov gives a riveting performance. The first movement is darkly haunting: harrowing might even be a better term. Vengerov sucks the marrow out of this work; he is relentless. At the same time, his compatriot Rostropovitch plays the paternal role and gives the orchestra gentle, masterful guidance. The work ends, and one wonders: was this Schnittke? No, for in fact the work was composed when Schnittke was still a young child. Yet even in 1939 Britten had tapped into that dark rhizome of raw nerves that was later to so marvelously spread itself throughout the chamber music of Schnittke.

Walton's concerto for viola, though of a distinctly different flavor, is nonetheless on a par with most or all of Walton's other orchestral works: sophisticated, highly polished, modern, offering both style and substance. The work is of course in a more serious vein than one might be accustomed to hearing in Walton. And although it does not approach the pinnacle of Britten's concerto, it stands on its own as a strong and evocative work.

Okay recording of Walton .......2004-08-15

Vengerov plays the viola concerto pretty well, although it is a little too slow for my taste. Of all recordings of the Walton Viola Concerto, Paul Neubauer's is by far the best. He has a superb sense of musicality and style for the piece. His bow control is something to strive for.

Music Review:

Music Review

music review

Music Review

As Certain As Sunrise [Import]

Telemann: Moralische Kantaten

Villa-Lobos: Views and Miniatures

San Antone

Unfold Presents: Vocalise [Import]

Visions Within

Suce Mon Index [Import]

We're Only in It for Money [Original recording remastered]

The Carnivorous Lunar Activities of Lupine Howl

The Sleeping Beauty

Trip

Tambien de los Ranchos Bajan

Sin Fortuna

Sibelius: Symphonies Nos. 6 & 7

Live at Carnegie Hall Dec. 11, 1943