Prokofiev and Glazunov Violin Concertos

Editorial Reviews
Amazon.com
This is the first recording of an extraordinarily talented young violinist. Born in Denmark to Polish-Israeli parents in 1975, Znaider won the Carl Nielsen International Violin Competition in 1992 and the Queen Elisabeth Competition in Brussels in 1997, and he's embarked on a flourishing career spanning several continents. From this recording, as from his concert appearances, it's clear that he is a virtuoso with a formidable, utterly secure, effortless but totally unobtrusive technique; a lovely tone of great warmth, purity, and flexibility; and a sensitive musical expressiveness so genuine that it needs no external effects, not even slides.

Of the two Prokofiev concertos, the second is the more ingratiating and lyrical one, and Znaider makes the soaring melodies sing rapturously. His tone in the high register, so beloved by the composer, shimmers radiantly. There are also plenty of fast bravura passages, which Znaider tosses off with ease, brilliance, and absolute clarity. Better yet, he gives them shape and makes them sound like music, even the famously--or infamously--difficult, long, and jagged sections in the Finale. The Glazunov has a warm, ardent glow as well as a subdued, inward delicacy. Its bleak mournfulness is always noble and deeply felt. The Cadenza is wistful and introspective, the Finale elegant and charming. The Tchaikovsky Meditation is melancholy, but never becomes sentimental; the excellent orchestral solos stand out, while the violinist discreetly weaves figurations around them. This is a most promising and impressive debut. --Edith Eisler

Customer Reviews:

The young Fischer has a definite "wow" factor.......2007-03-11

Even a jaded listener would blink twice at this recording, which showcases the German violin prodigy Julia Fischer. She's quite a dynamic player, and although lightning-fingered virtuosos aren't that rare nowadays, Fischer also possesses real charisma. She exudes confidence in every bar, and besides her gorgeous tone, she has an uncanny ability to phrase for someone so young. In all three works here she's able to shift effortlessly from Khachaturian's brash, semi-kitschy Soviet fireworks to Prokofiev's lyrico-ironic modernism and finally Glazunov's plush-velvet sentimentality. Only the Prokofiev concerto comes close to being a masterpiece, but you'd never know that from Fischer's complete dedication to each one.

PentaTone's remarkably vivid sonics make a big impression--this company has been in the forefront of SACD sound for a while--bringing Fischer's violin to life quite remarkably. Even better is Yakov Kreizberg's conducting of the exuberant Russian National Orch. His style is extroverted, like Gergiev's, with unihibited Russian vitality. I'm on the verge of gushing, but how can one help it when confronted by such a brilliant all-around production?

THE FUTURE IS IN GOOD HANDS.......2007-01-03

The very young Violinist Julia Fischer demonstrates in this recording that (to me) the future for the performance of masterpieces of so-called classical music is very bright indeed. Julia gives very sensitive, virtuosic, and beautiful in tone performances of these Russian concertos for the violin. She is rhythmically astute in the Khachaturian concerto and very gorgeous in tone in the overtly romantic Galazunov concerto. Likewise, the Prokofiev's First Violin Concerto is given a finally nuanced performance with Yukov Kreizberg leading the Russian National Orchestra splendidly.

I heard Ms. Fischer in Aspen, Colorado in the summer of 2006 and was very impressed with her; this recording certainly confirms that most favorable impression.

If you want to hear some great violin playing, buy this disc.

By the way, the recorded sound is great-- very full and rich!

An Impressive Début Disc.......2006-07-26

Although this is not the young Julia Fischer's first recording, it is the first she has done in SACD format on the PentaTone label with whom she has signed as an exclusive artist. The CD came out in late 2004, if I'm not mistaken, and she has since released the Bach Partitas and Sonatas, and most recently a disc of Mozart Violin Concerti. I gave a rave to the latter here at Amazon. I had not heard this début disc until recently and was, I will admit, a little concerned that she might be too 'classical' a violinist to make the most of these mostly extrovert Russian concerti. I was wrong to have any hesitation; she plays them with verve, wit, style and plenty of extroversion where needed. But she also brings to them an inwardness -- particularly in the Prokofiev First, which certainly has a veil of mystery about it -- that makes them seem fresh.

In recent times the Khachaturian Concerto has to some extent fallen from favor. When I was a youth it was one of the big modern Russian concerti along with Prokofiev 2 and, late in the 1950s, the Shostakovich 1, and one heard it in concert with some regularity. Happily there has been a bit of a revival lately, in spite of the tendency of some critics and programmers to think it is rather lightweight and too much of a populist work. Whatever the drawbacks it might have, it is an extremely effective piece with plenty of Khachaturian's Armenian flavorings, lots of rhythmic interest and virtuosity galore. Fischer brings to it a musicianly concern for dynamic subtlety and nuanced phrasing along with complete mastery of the concerto's technical difficulties. She eschews the Oistrakh edition of the concerto -- he extended the first movement cadenza and cut some measures in the finale -- and uses Khachaturian's original version. This is a first-class performance of a wonderful concerto which is worth one's attention.

One cannot but adore Prokofiev's First Violin Concerto. And one cannot say enough about the masterful orchestration Prokofiev provides, with harp intertwined with violin harmonics and extraordinarily plangent woodwind writing. The Russian National Orchestra, a group formed not long after the breakup of the Soviet Union and the stirrings of a new freedom in Russia, is a marvelous group. Their conductor here is Yakov Kreizberg, incidentally the brother of the probably better-known conductor Semyon Bychkov, who is making a very favorable impression these days. I've heard a number of his recent recordings and am mightily impressed with his formally clear approach that is, ironically, coupled with a really poetic sensibility. Clarity and poetry make wonderful partners in his recordings. Both Kreizberg and Fischer show us the darker side of the Prokofiev and in the process present it as the lyrical yet fierce work it is.

Glazunov's concerto is a late Romantic work in one movement. It is notable for its heartfelt lyricism, gorgeous tunes, and the equality of the orchestral principals with the violin soloists. It is really more like a symphony with violin obbligato, particularly in the long and lovely andante middle section. That aspect of the work is emphasized here and one must give credit to Fischer and the recording engineers for allowing that to shine through. Fischer is more generous, even self-effacing, in this than some soloists in other recordings the concerto has had (Perlman, Heifetz) and this is to the benefit of the work's effect. (A comparable concerto, to give you some idea of what I mean, is Brahms's Second Piano Concerto where the piano is not always the spotlighted star.) This is a genial reading with Fischer's burnished tone riding above and around the contributions by the orchestra. The folksong aspects of the finale are emphasized and one is left with a kind of uplift that makes one want to start the concerto all over again.

This is, make no mistake, a marvelous disc and I cannot recommend it highly enough. In addition, all three concerti are given strikingly lifelike sound.

Scott Morrison

Quality Classical Music Listening.......2006-04-08

I am not an expert in classical music but I do enjoy listening to good classical music. This recording of Russian Violin Concertos is one that I have enjoyed listening too many times. I would not hesitate recommending it to anyone who enjoys classical music that highlights the romantic violin.

3 Russian Violin Ctos - Verve, Lilt, Dash, & Elegance.......2005-07-15

Julia Fischer is a violinist whose name is news to me, but then, What good news she is. Like the young Anne Sophie Mutter, she appears to have sprung whole from the head of Jove. She plays with a simply huge command of her instrument, and she grasps the music in both local nuances and larger paragraphs. Her intonation and fingerwork and bowing are well nigh faultless, so far as I can hear. She has a sort of wicked ease that actually might remind an older listener of the late, great Heifitz. He used to tell his student violinists to warm up by playing fingered octaves, which is rather like telling people to start just where most others are leaving off in happy achievement.

Nowhere are these capabilities put to better use than in her resuscitation of the much hackeneyed Khachaturian concerto, which she has the gruff to play as her opening. She obviously loves playing it, and has such a good time that it is quite easy to forget all the kitsch renderings you may have heard over the years. The RNO under Yakov Kreizberg (who is also a rising star among conductors now active in Europe) keep up with Julia all the way. Somehow all the flash just sounds scintillating, and the orientalisms just sound atmospheric and colorful. You think in some beautiful spots that Khachaturian knew what he was doing, after all.

Then Julia and company move on to the Prokofiev first violin concerto, and make deft, stunning magic of it, too. Again she and the conductor and the orchestra demonstrate remarkable unanimity of musical purpose. And, they have a good time with the Prokofiev, shattering our stuffy stereotypes that genius in classical western music is always tendentious, fat, and dressed in over-starched shirts with very stiff collars.

Thirdly, we get the Glazunov concerto. This, too, benefits from a completely fresh and straightforward reading, rooted in the players love of the music. Julia realizes the more brilliant moments of the Glazunov without forgetting that its heartfelt pusle is mainly lyrical, and her lyrical is so lithe and athletic that you don't feel for once that Glazunov was tempted to outstay the melodic welcomes embodied in his main themes.

The SACD surround sound is equally wonderful. It completely serves the music and the musicians, without calling attention to itself. You simply get a good, multichannel sense of everybody, including Julia, the super RNO as a whole body and as an unnervingly talented nexus of virtuosos, and of course, of conductor Kreizberg. The hall acoustic adds air and resonance, which is quite an accomplishment considering that we are talking about a recording studio and not one of the historic Moscovite venues like Tchaikovsky Hall at the conservatory.

If you like superior violin playing that is above all musical, with an orchestra and conductor that can keep up with such a soloist; then this disc will do fine. Five stars, fading into sunrise pinks and whites and blues. Where did the slow night go? Oh, well, play that SACD again, will you?

PS. Keep your ears and eyes on the lookout. Julia Fischer is now an exclusive Pentatone artist, and Yakov Kreizberg, maybe, too.

Sibelius, Prokofiev, Glazunov: Violin Concertos [Hybrid SACD]

Average customer rating:

Perfect Sibelius
Nice package, exemplary sound and solid performances
Outstanding

Sibelius, Prokofiev, Glazunov: Violin Concertos [Hybrid SACD]

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Heifetz plays Bruch & Vieuxtemps [Hybrid SACD]

ASIN: B0006PV5U8
Release Date: 2005-01-25

Tracks:

Allegro Moderato
Adagio Di Molto
Allegro Ma Non Tanto
Allegro Moderato
Andante Assai
Allegro Ben Marcato
Moderato
Andante Sostenuto
Tempo I
Allegro

Customer Reviews:

Perfect Sibelius.......2005-12-29

The word I used to describe how I feel about Heifetz's Sibelius, although ostentatious in it's literal meaning, is somewhat frowned upon in it's artistic meaning. Most listeners want "explosive" or "deeply moving", but "perfect"? That is precisely the point of my review. First off, one must understand that most violinists, save a select few, can even play through the first movement of the Sibelius without major miscues; many few can accomplish the following and still hold true to it's interpretation. In the case of Heifetz, technicality was not a problem, which can be said for just about every single piece he's ever played.

I believe Heifetz was a man who above all respected the composers. He also understood the art of "withholding". What do I mean? Unlike the plebeian approaches of most modern violinists, Heifetz knew that contrast is attained not only through more, but also less. Here is a perfect example. In the first movement of the Mendelssohn, Heifetz has been infamously accused of playing the main theme using harmonics and flying through the movement with zero sentimentality. This demonstrates ignorance and a strong lack of respect on the modern generation. Concomitant with the rise of 20th Century music (most of which Heifetz detested), appreciation for professionalism declined and indulgence in emotionalism became commonplace. Heifetz understood that there is no payoff, no climax to any piece of music, unless there is patience and sensitivity. After a withheld first movement and a sweet second movement, Heifetz bursts open the doors in the third playing with unbelievable speed and liveliness. The concerto climaxes towards the end as Heifetz passionately pounds through the main theme one last time then finishes with a flourish. This epiphany would not have been possible had he sentimentalized the whole concerto; one would not have been able to tell the difference in significance between the minor skirmishes of the opening movement, and the heroic triumph of the closing measures.

In the case of the Sibelius, Heifetz knew that this was a different composer with different intentions than the formal Brahms and the powerful Beethoven. This was a piece in which emotionalism and improvisation were required; although both would need to come in the context of the piece. The well-known and well-accepted myth that Heifetz does not know how to play with feeling is one of absolute ignorance. Such unfounded criticism needs to be challenged and defeated. The first movement includes some of the highest peaks ever brought forth from the romantic movement. Many other violinists tend to slow down during the more challenging measures due to technical inadequacy, or in the words of musicians with no ear: "playing with feeling." Heifetz brings the romantic ideas of Sibelius to astronomical heights not by slowing down, but by utilizing different techniques to exploit the wide range of tones his Stradivarius offers. For example, during the second movement, the first explosion of deep emotion comes with the violin take a the theme higher and higher with the orchestra following. Heifetz plays the theme on the G-string with extremely rapid vibrato; most other violinists would play the theme on the D-string to attain the clear strong tone and try conjure some form of emotion by playing it at a slower tempo. Heifetz plays the measure in the higher position so it sounds almost as if the violin is weeping with passion, a tone one must hear to understand.

Then of course, there is the 3rd movement, often imitated, never duplicated. Most violinists will start out strong with the main theme and maintain the same speed and energy for a while. But this movement shows no mercy on technical mediocrity. Sooner or later, the violinist will bow to the towering requirments of the movement, and will slow the tempo. This is not true for Heifetz. Even in the most difficult measures, one will not be able to find one moment in which he loses control. And unlike others, Heifetz doesn't need to overextend any passages to cover-up for a lack of technical/musical confidence.

Before I end, a word about Walter Hendl who directed the Chicago Symphony in place of an ill Fritz Reiner. One of the more less-known characteristics of Heifetz playing, was he actually preferred lesser-known conductors to well-known ones such as Maestro Reiner. This was so he could impose his musical ideas on the orchestra with less tension. THe Sibelius is a good example of this. However, the technical differences between a Hendl led orchestra and a Reiner led one, is sadly obvious. The tempo is at times uneven and the orchestra unbalanced. This however should not be of any importance when considering whether to purchase this album. It is Heifetz's statement, not Hendl's, that should be considered.

Nice package, exemplary sound and solid performances.......2005-05-25

This is my first foray into the reissued RCA Living Stereo hybrid SACD disks that have gotten a lot of publicity in recent months. Others in the batch of releases include some Rubinstein piano concertos, French music by Charles Munch and some of Fritz Reiner's orchestral specialties in Chicago.

This CD features legendary fiddler Jascha Heifitz mated to three different conductors and orchestras doing the Sibelius, Prokofiev No. 2 and Glazunov concertos. Heifitz was closely linked with the first two, less so with the third one. He does them all quite well here in sound that is as good as advertised, at least based on what my equipment tells me.

I bought this both before and after I converted to 5.1 SACD. The recording is wonderful in SACD and almost as good in traditional stereo. In particular, the timpani underpinning of the Prokofiev accompaniment by Munch and the Boston Symphony is quite thrilling. So to is the backup by Hendl and the Chicago Orchestra in the Sibelius.

However, a better recording can also show flaws that perhaps weren't as obvious before. In the waning moments of the Sibelius opening movement, there is a time -- maybe 5-6 bars in duration -- where Heifitz, Hendl, the symphony and one of its principal woodwind players seem to be missing connections by a half-beat or so. This is a minor quibble and will do little to discourage enjoyment of this otherwise fine issue.

As to the performances, the Sibelius is an example of Heifitz's searing tone and remarkable bowing. The accompaniment by Hendl and the CSO is a bit more severe than some of the more romanticized accounts but fully in sync with Heifitz direction.

I've heard accounts of the Prokofiev that concentrated more fully on the music's dreamy legato. In this version Heifitz and Munch seem more attuned the the spiky nature of Prokofiev's creation while maintaining a marginal aloofness, as if they are old juveniles having fun with the 20th century creation. It works fine both ways and this is a good one.

Heifitz and Hendl, this time with the RCA Symphony Orchestra, seem more romantically engaged in the slight 18-minute concerto by Glazunov. This romantic trip through lightweight Russian music is a fitting end to a wonderful CD brought up to 21st century speed by the new technology of SACD.

This issue is handsomely packaged in a durable CD case and includes the original LP notes plus other notes by Joseph Wechsberg from 1959. There are also notes on the history of Living Stereo and some chatter on technical details, plus a separate set of notes on SACD and how it works.

Wechsberg's notes begin: "There can be no doubt today (1959) that Jascha Heifitz is the greatest violinist of our generation. When all is listened to and said and done, Heifitz' supremacy as fiddler and musician emerges as one of the few unchallenged facts of our clouded musical age."

There is still little debate today (2005) about the first half of Wechsberg's thesis -- that Heifitz is the greatest fiddler. His tone, technique, bowing and sound continue today to blow away most competitors and this splendid sounding CD reinforces his greatness as a player.

But as an artist? Well, there's the rub. The performances on this CD are very good but I have heard more artistic renderings of the Sibelius and can imagine more committed versions of the Prokofiev. The legend of Heifitz was, generally speaking, of his stature as a player, where he continues to be without parallel.

But his artistic approach to the music he played has been questioned for many years. Lots of listeners -- especially those that more fully appreciate the Oistrakh-Vengerov approach -- will prefer other fiddlers in these works.

I don't belong to either camp and appreciate players with all viewpoints. I found this CD to be well worth the $12 list price. The sound puts it into direct competition with today's best new DDD recordings, something you couldn't say about past issues. For collectors that have yet to sample the legend of Heifitz, this would be a good starting point.

Outstanding.......2005-04-02

These performances by Heifetz are amazing. Heifetz owned the Sibelius concerto all his life (and was the first to really standardize it as one of the great concertos beside Beethoven's Mendelssohn's Brahms's and Tchaikovsky's). The disc is worth the price simply for the Sibelius, yet you also get two outstanding performances of the Prokofiev and Glazunov as well. The sonics are spectacular; it sounds as if these masterpieces were recorded yesterday. Heifetz was the undisputed master of the bow, and this disc proves it; it is a must for all lovers of music.

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

General | Classical | Styles | Music

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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.

Sibelius, Prokofiev, Glazunov: Violin Concertos

Average customer rating:

The Best of the Best
The Best Available Recording of the Sibelius Concerto
Perfect Sibelius
None other
And I usually dislike Heifitz...

Sibelius, Prokofiev, Glazunov: Violin Concertos

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Heifetz: Beethoven & Brahms Concertos (Beethoven: Concerto for violin in D; Brahms: Violin Concerto in D Op77)
Bruch: Concerto for violin in Gm; Scottish Fantasy
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Heifetz Showpieces
Jascha Heifetz: The Supreme

ASIN: B000003FIQ
Release Date: 1995-08-15

Tracks:

Concerto, Op. 47, In D Minor: Allegro moderato
Concerto, Op. 47, In D Minor: Adagio di molto
Concerto, Op. 47, In D Minor: Allegro, ma non tanto
Concerto No. 2, Op. 63 In G Minor: Allegro moderato
Concerto No. 2, Op. 63 In G Minor: Andante assai
Concerto No. 2, Op. 63 In G Minor: Allegro ben marcato
Concerto, Op. 82, In A Minor: Moderato
Concerto, Op. 82, In A Minor: Andante sostenuto
Concerto, Op. 82, In A Minor: Tempo I
Concerto, Op. 82, In A Minor: Allegro

Amazon.com

Daniel Heifetz put the Sibelius Violin Concerto on the map, and though there have been many great recordings of the work since this one, this is the version to have if you must limit yourself to a single performance. The couplings are equally fine, and equally brilliantly played. Heifetz was one artist whose standing was confirmed every time he picked up his instrument. He was the finest violinist of his day, period. Though not always the greatest interpreter of every piece he played, when music and artist meshed, as they do here, the result was the stuff of legend. --David Hurwitz

Customer Reviews:

The Best of the Best.......2007-04-07

I have been studying the violin for over 45 years. Whenever someone asks me about Heifetz, I get them this CD. It is breath-taking in its artistry and depth. There's nothing more to say....

The Best Available Recording of the Sibelius Concerto.......2007-01-12

Jasha Heifitz (1900-1987) is often considered the greatest violinist of his time. He may be the greatest who ever lived. I submit this recording in evidence of the latter. The Sibelius concerto is one of the most difficult to play violin concertos ever written. Sibelius was a violinist himself and left this piece as a challenge to all concert violinists to come. Listen to any violinist's recording of this piece and then listen to Heifitz. There will always be some part that a performer will struggle over in this piece. Heifitz actually makes it sound easy to play and at a faster tempo! You also get Prokofiev's No. 2 and Glazunov's concerto here and Heifitz makes them sound easy too. He was a wizard with the bow.

Perfect Sibelius.......2005-12-29

The word I used to describe how I feel about Heifetz's Sibelius, although ostentatious in it's literal meaning, is somewhat frowned upon in it's artistic meaning. Most listeners want "explosive" or "deeply moving", but "perfect"? First off, one must understand that very few violinists have the God-given ability to play through the first movement of the Sibelius without major intonational miscues; fewer can accomplish that and still hold true to it's interpretation. In the case of Heifetz, technicality was not a problem.

I believe Heifetz was a man who above all respected the composers. He also understood the art of "withholding". What do I mean? Unlike the plebeian approaches of most modern violinists, Heifetz knew that contrast is attained not only through "more", but also "less". Here is a perfect example. In the first movement of the Mendelssohn, Heifetz has been infamously accused of playing the main theme using harmonics and flying through the movement with zero sentimentality. This demonstrates ignorance and a strong lack of respect on the modern generation. With the rise of 20th Century music (most of which Heifetz detested), appreciation for professionalism declined and indulgence in emotionalism became commonplace. Heifetz understood that there is no payoff, no climax to any piece of music, unless there is patience and sensitivity. After a slightly withheld first movement and a sweet second movement, Heifetz bursts open the doors in the third playing with more liveliness and accuracy than any other violinist can. The concerto climaxes towards the end when Heifetz passionately pounds through the main theme one last time then finishes with a flourish. This epiphany would not have been possible had he sentimentalized the whole concerto; one would not have been able to tell the difference in significance between the minor skirmishes of the opening movement, and the heroic triumph of the closing measures.

In the case of the Sibelius, Heifetz knew that this was a different composer with different intentions than the formal Brahms or the powerful Beethoven. This was a piece in which emotionalism and improvisation were required, although both would need to come in the context of the piece. The well-known and well-accepted myth that Heifetz does not know how to play with feeling is one of absolute ignorance. Such unfounded criticism needs to be challenged and defeated. The first movement includes some of the highest peaks ever brought forth from the Romantic Period. Many other violinists tend to slow down during the more challenging measures because of technical inadequacy, or in the words of the ignorant: "playing with feeling." Heifetz pours out waterfalls of sentimentality in the first and second movement, not by slowing down, but by utilizing different techniques to exploit the full range of tones available in a Stradivarius violin. For example, during the second movement, the first outpour of deep emotion comes with the violin taking the theme higher and higher with the orchestra following. Heifetz plays the theme on the G-string with a rapid vibrato. Most other violinists would play it on the D-string to attain the clear strong tone and try to make up the emotionalism with a slower tempo. Heifetz plays the measure in a high position so it sounds almost as if the violin is literally weeping, a tone one must hear with the heart, not understand with the mind.

Then of course, there is the 3rd movement, often imitated, never duplicated. Most violinists will start out strong with the main theme and maintain the same speed and energy for a while. But this movement shows no mercy on technical mediocrity. Sooner or later, the violinist will bow to the towering requirments of the movement, and will slow the tempo. This is not true for Heifetz. Even in the most difficult measures, one will not be able to find one moment in which he loses control. And unlike others, Heifetz doesn't need to overextend any passages to cover-up for a lack of technical/musical confidence.

Before I end, a word about Walter Hendl who directed the Chicago Symphony in place of an ill Fritz Reiner. One of the more less-known characteristics of Heifetz playing, was he actually preferred lesser-known conductors to well-known ones such as Maestro Reiner. This was so he could impose his musical ideas on the orchestra with less tension. THe Sibelius is a good example of this. However, the technical differences between a Hendl led orchestra and a Reiner led one, is sadly obvious. The tempo is at times uneven and the orchestra unbalanced. However, this should not be of any importance when considering whether to purchase this album. This is Heifetz's statement, not Hendl's.

None other .......2004-11-09

This was my first Sebelius experience and because of this album I haven't been satisfied with none other. The experience was overwhelming.

And I usually dislike Heifitz..........2002-09-08

Most of the time I have heard Heifitz recordings, I dislike him. He always seems to me as if his playing is the unwinding of a spring that's overtightened; one doesn't feel that he's living each note.

But this CD changed my mind.

I'm a violinist, and I played this CD to a violinist friend asking him to identify it. He identified the Sibelius from the very first 2 notes. (It is so, so beloved). Within 10 notes he knew the violinist was 'old school'. Within 20 he guessed Heifitz.

We both marvelled at the accuracy of his double stops and his spicatto is unmatched.

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 In A Minor, Op.82: Moderato
Violin Concerto In A Minor, Op.82: Andante Sostenuto; Tempo I
Violin Concerto In A Minor, Op.82: Allegro
Meditation, Op.42 No.1

Amazon.com

This is the first recording of an extraordinarily talented young violinist. Born in Denmark to Polish-Israeli parents in 1975, Znaider won the Carl Nielsen International Violin Competition in 1992 and the Queen Elisabeth Competition in Brussels in 1997, and he's embarked on a flourishing career spanning several continents. From this recording, as from his concert appearances, it's clear that he is a virtuoso with a formidable, utterly secure, effortless but totally unobtrusive technique; a lovely tone of great warmth, purity, and flexibility; and a sensitive musical expressiveness so genuine that it needs no external effects, not even slides.

Customer Reviews:

A great career is launched.......2005-10-17

Two nights ago while visiting Chicago I heard Nikolaj Znaider live, and it was a cpativating experience. I rushed home and bought this, his first CD, and it fulfills the promise of what I heard (he performed the Mendelssohn concerto with the CSO under Barenboim and has just recorded it). The Amazon reviewer has stated everything perfectly: Znaider is a virtuoso second and a musicain first, never intruding himself into the compoer's total conception. He plays a gorgeous Stradivarius, caught on this CD very well in quite closely miked sound.

To show you how unassuming this virtuoso is, the second half of the CSO program was devoted to the Mahelr Fifth. Without fanfare Znaider sneaked into the back row of the first violins and played along, and he even turned the pages for his desk mate!

There are fine versions of the Prokofiev Second around, but Znaider is competitive with all of them. HIs is better conducted (by Maris Jansons) than the vengerov or Shaham recordings I previously favored. If you want warm, lyrical violin playing to melt the heart a la Joshua Bell, rest asured that Znaider is off to a great career with exactly that style.

Antonin Dvorak, Dmitri Shostakovich, Edouard Lalo, Beethoven, Dmitri Kabalevsky, Sergey Prokofiev, Alexander Glazunov, Igor Stravinsky - Violin Concertos - David Oistrakh (10 Cd Set)

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Antonin Dvorak, Dmitri Shostakovich, Edouard Lalo, Beethoven, Dmitri Kabalevsky, Sergey Prokofiev, Alexander Glazunov, Igor Stravinsky - Violin Concertos - David Oistrakh (10 Cd Set)

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B000RBESVE

Product Description

CD1 FELIX MENDELSSOHN-BARTHOLDY: VIOLIN CONCERTO in E minor Op. 64 1. Allegro molto appassionato 2. Andante 3. Allegretto non troppo-allegro molto vivace ANTONIN DVORÁK: Violin Concerto in A minor Op. 53 4. Allegro con brio 5. Adagio ma non troppo 6. Allegro giocoso ma non troppo Total: 60:01 HISTORIC RUSSIAN ARCHIVES DAVID OISTRAKH MENDELSSOHN/DVORÁK David Oistrakh, violin State Symphony Orchestra of USSR, Kyrill Kondrashin Recording: 25-10-1949 (Mendelssohn), 7-9-1949 (Dvorak) Copyright Pipeline Music, Inc, under exclusive license from Gostelradiofund, Russian Federation. CD2 DMITRI SHOSTAKOVICH VIOLIN CONCERTO No. 1 in A minor Op. 99 1. Nocturne 2. Scherzo 3. Passacaglia-Burlesque VIOLIN CONCERTO No. 2 in C sharp minor Op. 129 4. Moderato 5. Adagio-adagio, allegro Total: 64:46 SHOSTAKOVICH Leningrad Philharmonic Orchestra, Yevgeny Mravinsky (Violin Concerto No. 1) Moscow Philharmonic Orchestra, Gennady Rozhdestvensky (Violin Concerto No. 2) Recording: 18-11-1956 (Concerto 1), 27-9-1968 (Concerto 2) CD3 EDOUARD LALO: Symphonie Espagnole 1. Allegro non troppo 2. Scherzo-allegro molto 3. Intermezzo-allegretto non troppo 4. Andante 5. Rondo, allegro MAX BRUCH: SCOTTISH FANTASY Op. 46 6. Allegro 7. Adagio 8. Finale, allegro guerriero Total: 63:24 HISTORIC RUSSIAN ARCHIVES LALO/BRUCH David Oistrakh, violin State Symphony Orchestra of USSR, Kyrill Kondrashin (Lalo) State Symphony Orchestra of USSR, Gennady Rozhdestvensky (Bruch) CD4 LUDWIG VAN BEETHOVEN VIOLIN CONCERTO in D major Op. 61 1. Allegro ma non troppo 2. Larghetto 3. Rondo 4. ROMANCE for violin and orchestra No. 1 in G major Op 5. ROMANCE for violin and orchestra No. 2 in F major Op. 50 etc...

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Rendezvous of Angels: Violin Concertos

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Tracks:

Concerto for Violin and Orchestra No. 1 in D Major Op.19
Concerto for Violin and Orchestra in a Minor Op.82
Concerto for Violin and Orchestra No. 1 in a Minor Op.77

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Violin Concertos [Box Set]

Manufacturer: Brilliant
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B0009OALK6

Prokofiev: Violin Concertos Nos. 1 & 2; Glazunov: Violin Concerto

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Prokofiev: Violin Concertos Nos. 1 & 2; Glazunov: Violin Concerto
Vangerov , Rostropovich , and London Symphony Orchestra
Manufacturer: Elatus
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B00007KI1V
Release Date: 2006-05-17

Tracks: