Brahms, Tchaikovsky: Violin Concertos

Editorial Reviews
Amazon.com
Revisiting legendary, greatly admired artists we last heard long ago induces a kind of suspenseful anticipation: will they seem as wonderful now as they did then? Will our memories stand up to the test of time? In the case of violinist Erica Morini, the answer is a resounding "yes." Born in Vienna in 1904, she started her career as a sensational prodigy and went on to become the first woman violinist who attained world fame. In 1938, she emigrated from Vienna to New York. Though widely admired and beloved among cognoscenti, she hardly gained the recognition she deserved in the New World. Her recorded legacy is sparse, partly derived from tapes of live concerts; this reissue of a studio recording made in 1956 is a valuable addition. It fully captures the warm, silken tone; the brilliant but music-oriented technique; the charm, nobility, and delicacy for which she was famous. Her Brahms is austere, with rock-steady yet flexible rhythm and strongly delineated contrast and character, but it is also unusually lyrical, inward, singing, and warm. She brings out the wistful yearning of the slow movement, the gypsy flavor of the Finale. Her expressiveness is direct, dignified, and restrained; contrary to the custom of her time, she hardly slides. Her Tchaikovsky, too, is lyrical, leisurely, and natural, with spicy mischievous accents; emotionally free and romantic, it's never sentimental or exaggerated. Her playing is technically immaculate, crystal clear at any speed, without fuss or show. These are truly legendary performances. --Edith Eisler

Customer Reviews:

the definitive Tchaikovsky version.......2007-02-19

To me this simply is the Tchaikovsky version to have, particularly in the now improved sound quality. Probably the same could not be said about the Brahms, but the Tchaikovsky alone is well worth the cost of the SACD.

Legendary performances in sound that shows what's going on.......2006-05-01

While I believe the Brahms violin concerton is the "Emporer" of violin concertos -- principally for its well-developed architecture -- I never cared much for Heifitz's version of the concerto. Although his early stereo recording with the Chicago Symphony and Reiner was played up to his standard, I always thought their collaboration produced an impatient recording, as if they couldn't get it finished quickly enough.

What a difference SACD makes! Now, when I listen to this work, I have a much different reaction. Hearing Heifitz located on the stage just a few steps from where Reiner is leading his band, this now sounds to me more impassioned than ever before, as if the chemistry between the two highly driven performers and the virtuoso orchestra resulted in a fast reading that was driven by a burning passion and not impatience.

So what happened; does the SACD recording show a different reality or did I just get older and appreciate the greatness of these performers more in my maturity?

I think both things happened. I know I appreciate Heifitz a lot more in SACD than I ever did in stereo and the sound on this SACD -- especially when I listen with headphones -- brings dimension to the recording that never existed before. It also shows the level of detail Reiner required from his orchestra and its ability to meet his technical demands.

I enjoyed the Tchaikovksy concerto that is mated with the Brahms here but less so. The chemistry doesn't seem to be the same between the partners, who were both high profile literalits in mid 20th century. Their collective insistence on literalism probably took some of the Slavic character away from the Tchaikovsky concerto, making it another top European concerto from the late Romantic period instead of an individual opus.

I listened to Heifitz's SACD recording of the Sibelius concerto after hearing the Tchaikovksy. There, Heifitz delivered a more characterful and intense performance that projected the icy Scandanavian nature of the composer. This is the element I think the Tchaikovsky concerto lacks -- the overwhelming passion of the emotionally charged and conflicted Russian composer.

Still, this is a great CD replicated in up to the minute super audio sound that usesof all three forward speakers without surround sound. RCA tells us in its technical packaging that the third speaker is a come and go proposition in SACD reissues because that's the way they were recorded. I noticed the middle channel in use every time I got next to the speaker in this recording.

This should appeal to music historians, fans of the two concertos, musicologists and audiophiles that want to know what three-channel recordings sounded like in the early days of stereo. Even this slight misgiving I have about the Tchaikovsky, this CD powerfully appeals to me.

Heifetz deserves this new technology.......2006-01-30

The violini is the most difficult instrument to record, and when digital sound came in during the Eighties, music lovers were dismayed by the edgy, glassy harshness of violin recordings, both solo and orchestral. Compared to the warmer, more natural sound of the best LPs, the advent of CDs was a huge step backward. Upgrades into 20-bit and 24-bit technology improved matters somewhat, but only now, with SACD, are we back to violin recordings that don't make you wince.

This classic pairing of Brahms and Tchaikovsky concertos with Heifetz and Reiner was always in good sound, despite the early recording dates, 1955 and 1957 respectively (the Tchaikovsky being the far superior one sonically). I bought this hybrid SACD to play in normal two-channel CD format, and it is impeccable. There is still a hint of wiriness in Heifetz's tone in the Brahms, but the Tchaikovsky sounds completely natural. Heifetz is far from my favorite violinist, but he deserves the best sound possible, and for the time being at least, he has it.

Tchaikovsky, Wienawski, Brahms, Schumann: Violin Concertos

Average customer rating:

Observing Growth, Thanks to Re-Issued Recordings
Beautifully played concertos for a fantastic price
Cheap ploy by Decca

Tchaikovsky, Wienawski, Brahms, Schumann: Violin Concertos

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Romance of the Violin

ASIN: B0007WQHVM
Release Date: 2005-04-12

Tracks:

I. Allegro Moderato
II. Canzonetta: Andante
III. Finale: Allegro Vivacissimo
I. Allegro Moderato
II. Romance
III. Allegro Con Fuoco

Tracks:

I. Allegro Non Troppo
II. Adagio
III. Allegro Giocoso, Ma Non Troppo Vivace
I. In Kraftigem, Nicht Zu Schnellem Tempo
II. Langsam
III. Lebhaft, Doch Nicht Schnell

Customer Reviews:

Observing Growth, Thanks to Re-Issued Recordings.......2006-11-04

Joshua Bell is a very fine violinist and musician and continues to grow into his innate talent. Though this re-issue is of recordings of warhorses made in his early years, the individual works are quite strong and satisfying on many levels. But the true joy of owning this CD is using it as a reference point of Joshua Bell's growth as a performer and interpreter.

The CD includes the Tchaikovsky Violin Concerto in D major, Op. 35, the dazzling Wieniawski Violin Concerto No. 2 in D minor, Op. 22, Schumann's Violin Concerto in D minor, WoO 23 and the Brahms Violin Concerto in D major, Op. 77 - recorded with the Cleveland Orchestra conducted by Ashkenazy. It is this last concerto this listener wishes to address.

Joshua Bell is currently 'in residence' with the Los Angeles Philharmonic and his most recent spectacular performance was the Brahms' concerto with Jonathan Nott guest conducting. Bell is so much more in control of this fiendish work now than he was with the original recording. His tone is bigger, his phrasing is even more eloquent and he now is so familiar with this great work that he uses his own cadenza in the long first movement, a welcome break with current tradition. His playing is opulent, precise, and radiant and his involvement with the orchestra and conductor is at one with the moment. Now, returning to this CD, it is refreshingly apparent how artists grow and find maturity and depth in performing works that are standards of the repertoire. This recording is a fine one standing on its own merits, but it is an indispensable one for following the careers of the truly fine performers on the stages today. Highly recommended for those reasons. Grady Harp, November 06

Beautifully played concertos for a fantastic price.......2005-05-23

Decca has been re-releasing some of Joshua Bell's previously out-of-print recordings at a lower cost (allegedly to celebrate his 20-year recording anniversary). The works on this particular 2-disc set include the violin concertos of Tchaikovsky, Wieniawski, Schumann, and Brahms. Bell is accompanied by the Cleveland Orchestra, conducted by either Vladimir Ashkenazy (the Tchaikovsky and the Wieniawski) or Christoph von Dohnányi (the Brahms and the Schumann). The digital recordings boast the crystal clear sound that Decca's engineers are known for.

Though Bell was only 20 years old when some of these works were recorded, his playing is fresh and exciting, and his technique is nearly flawless. Bell plays these well-known Romantic melodies with a warm, beautiful sound and with natural (yet spontaneous) phrasing. Bell's intonation is quite good throughout (there are just a few sharp high notes), and the cadenzas and highly technical passages are pulled off with stunning virtuosity and grace. There is not a single moment where Bell sounds unsure of himself.

The Cleveland Orchestra (under both batons) is fantastic. The orchestra is perfectly balanced with the solo violin, as well as with itself. The accompanying woodwind passages are clear and beautiful, the strings are warm and unobtrusive, and the brass sound is powerful, yet well contained.

One could argue that some of these concertos (especially the Tchaikovsky) are better performed by the youth. You will have the opportunity to decide for yourself when Sony releases Bell's new live recording of the Tchaikovsky with the Berlin Philharmonic next month. If the Tchaikovsky is your main motivation, you might want to wait until the new recording is released before deciding which you prefer. On the flip side, since you get four concertos with this set, you might consider buying this as well as Bell's upcoming release. In any case, I do not hesitate strongly recommending this recording. I would feel comfortable if this was my only recording of these concertos, and the price for two discs secures my 5-star review.

EDIT (September 23, 2005): Joshua Bell's new account of the Tchaikovsky concerto was released this month. Since this is not a review for that album, I will not go into detail about it here. But I will say that it is absolutely fantastic. Because you get much more bang for your buck, I still highly recommend this 2-disc set. However, if you are only after the Tchaikovsky and don't care about the other concertos in this set (gasp!), I suggest getting the new recording. (An easy solution, though, is to get them both!)

Cheap ploy by Decca.......2005-04-24

It's pretty lame of Decca to re-release this old recording of Bell playing the Tchaikovsky just a few months before Sony releases a brand new one.

Save yourself a twenty and wait for the Sony version. Bell plays the Tchaikovsky *much* better at 36 than he did at 19.

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

Fantasies | Forms & Genres | Classical | Styles | Music

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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:

The best recordings of both of these concerti
Preferables Barbirolli and Koussevitzky's mono recordings
Reiner forgot his glasses
Tchaikowsky concert at it's best
Consummate Heifetz demands space on your shelf

Brahms, Tchikovsky: Violin Concertos

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B000003FEA
Release Date: 1993-03-09

Tracks:

Concerto in D, Op. 77: Allegro non troppo
Concerto in D, Op. 77: Adagio
Concerto in D, Op. 77: Allegro giocoso, ma non troppo vivace
Concerto In D, Op. 35: Allegro moderato
Concerto In D, Op. 35: Canzonetta: Andante
Concerto In D, Op. 35: Allegro vivacissimo

Amazon.com

This recording was one for the record books from the day it was made. There's an absolutely terrible 1940s movie called Carnegie Hall about a woman who works at the hall as an usher after the death of her drunken husband, supporting her young, musically talented son. She wants him to be a great classical artist, and he wants to play (gasp!) jazz. There are a million star turns by great musicians here, and two of them are Jascha Heifetz and Fritz Reiner, so you actually see them together. Reiner wears his habitual scowl, while Heifetz is coldly aristocratic; in fact, they look totally miserable. But what music they make! Thank God we can't see them on CD, and only have the incredible sound that they have left behind. --David Hurwitz

Customer Reviews:

The best recordings of both of these concerti.......2005-11-25

The Brahms is absolutely magnificent. It is lyrical, exciting, and utterly perfect. The Tchaikovsky is similar. Heifetz plays these two pieces at faster tempos than other violinists, but they never sound rushed. In fact, they sound more wonderful and beautiful than any other recording. After you buy this CD, you'll wonder how you were ever happy before. I know this sounds like a bit of an overstatement, but I mean it. A lot.

Preferables Barbirolli and Koussevitzky's mono recordings.......2005-06-19

There are two versions of Thaikovsky' violin concerto: the original composer's version with some hateful repetitions in third movt.(Grumiaux, Mullova, Vengerov' versions, etc.), and Heifetz teacher Leopold Auer's version, without that repetitions, which I prefer. In this recording Heifetz plays -fortunately- Leopold Auer's version, but the problem here is the performance's speed, because this is a virtuose but at the same time an acelerate version, and I think with J. Buxton that Heifetz-Barbirolli 1937' version, now edited in NAXOS label, is preferable, but in my opinion the definitive version of this work is Erica Morini-Arthur Rodzinski's with Royal Philharmonic Orch. in UNIVERSAL, yesterday Westminster, in a 20' bit resolution edition. At the same time, in Brahms' violin concerto, I also prefer mono Heifetz-Koussevitzky version, with Boston Orch., and the definitive version for me is Henryk Szeryng-Pierre Monteux's with London Symphony in RCA label, commented here, a 1958 recording that sounds better than more recent versions. Oscar Olavarría A.

Reiner forgot his glasses.......2005-02-08

How can people be called "melomans" when they give high points to these awfull recording?
Awfull, because there is a great pair of concertos. This is big music. Big and contrasting, for here you have one of the most virtuosic and at the same time beautiful of the entire repertoire (Tchaikovsky) and the best violin (and perhaps of any instrument) concerto (Brahms).
So I see Brahms as the best, because his is a unique blend of tragic pathos, autummnal lyricism and enchanting orchestral colours (with a no giant orchestration), combined with the greatest artistic wisdom. Tchaikovsky adds melodic beauty and is more virtuosic, I think. I would like having in one CD Sibelius (they say is the best 20 century) and Brahms. Beethoven - Brahms in one CD is useful to understand Brahms point of departure (overall plan is the same), but Brahms is better than Beethoven in every measure. Only a great composer can win over a great work of another great composer. Please dont vociferate: Brahms has greater emotional range and please, Beethoven never was a great concerto writer, in the sense that his orchestra never is used at his full potential to have a dialogue with the soloist. For that, please go to this brahms or the late Mozart piano concertos. Please see what limited is the wind writting in Bethoven and how Brahms orchestra gets more colours (in essence the instrumentation is not so different). Beethoven set the basis, brahms improved it.
I said in this review about a magical blending of pathos and lyricism. "pathos" and tragedy: some sections are really dramatic and should be played with the appropiate urgency, but there are moments where poetry is the centre of the passage. And that is where Reiner fails. For heifetz is one of the best violinists and is a great concerto artist, but fell in a wrong field. Reiner suffered from his eyes, did you know? And here he forgot his glasses. He couldnt read the score, namely the parts marked MA NON TROPPO!!!!!!! Where is the elegiac, autummnal quality that gives this concerto his fragance? please, Reiner spoils this best of the best concertos with that speed. If you want Heifetz' Brahms, go for Naxos with Koussevitzky (sound is not so worse). Another point is that brahms was a lover of ancient music. He was interested in polyphony and this point is present in all his works: the internal voices. here they are engulfed by a huge string, insensitive to the colour nuances that make this work so unforgetable. Please, for Brahms go to Harnoncourt.
And speaking about Tchaikovsky, frankly I did not listened too much. If Reiner fails so evidently in the best violin concerto, there is no reason to go forward listening. I have a special place in my heart to a live recording (with deserved final applause) given by Oistrakh and recorded by Melodya label. This concerto belongs to Oistrakh and to no other else.

Tchaikowsky concert at it's best.......2004-05-31

No one has ever performed this Tchaikowsky concerto better than Heifetz. The most romantic, lyrical playing ever. His intonation is second to non. It is known that his personality was difficult at times. ALL is forgiven to a man who plays like a superman! I could not recommend this recording more to anyone who loves Tchaikowsky. As for the Brahms, it is almost as strong, but I have a little bit of a problem with the tempos. Nevertheless, it is a great performance.

Consummate Heifetz demands space on your shelf.......2004-01-10

Although my favorite recording of Tchaikovsky's violin concerto is David Oistrakh with Ormandy, Heifetz's superhuman technique is something marvelous to behold. Besides that, Heifetz adds a few embellishments of his own to the first movement, so that for those who like to compare different performances, this one will be pleasantly surprising.

Heifetz's performance of Brahms concerto is, likewise, consummate. However, I have heard some violinists legitimately complain about the speed with which Mr. Heifetz plays; it doesn't feel entirely appropriate to the first movement of Brahms. On the other hand, one could find it refreshing and full of momentum. Heifetz isn't mechanical, certainly, and the Brahms second movement and third movements should amply prove that assertion.

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

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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:

A musical tsunami... (Praise from a [former] VIOLA player)
Get Your Warhorses Here
A must for any serious music fan, except for the Brahms
There is no one better!
Unbelievable

Great Romantic Concertos

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
Similar Items:

Mozart: 5 Violin Concertos
Itzhak Perlman's Greatest Hits, Vol. 2
Ithzak Perlman: Encores
Itzhak Perlman's Greatest Hits
Tchaikovsky & Mendelssohn Violin Concertos

ASIN: B000002S57
Release Date: 1993-12-07

Tracks:

Violin Concerto In D, Op. 77: Allegro non troppo
Violin Concerto In D, Op. 77: Adagio
Violin Concerto In D, Op. 77: Allegro giocoso, ma non troppo vivace
Violin Concerto In G, Op. 26: Vorspiel (allegro moderato)
Violin Concerto In G, Op. 26: Adagio
Violin Concerto In G, Op. 26: Finale (allegro energico)

Tracks:

Violin Concerto In D, Op. 61: Allegro ma non troppo
Violin Concerto In D, Op. 61: Larghetto
Violin Concerto In D, Op. 61: Rondo (allegro)
Violin Concerto #1 in D, Op. 6: Allegro maestoso
Violin Concerto #1 in D, Op. 6: Adagio espressivo
Violin Concerto #1 in D, Op. 6: Rondo (allegro spiritoso)

Tracks:

Violin Concerto In E, Op. 64: Allegro molto appassionato
Violin Concerto In E, Op. 64: Andante
Violin Concerto In E, Op. 64: Allegretto non troppo - Allegro molto vivace
Violin Concerto In D, Op. 35: Allegro moderato
Violin Concerto In D, Op. 35: Canzonetta (andante)
Violin Concerto In D, Op. 35: Allegro vivacissimo

Customer Reviews:

A musical tsunami... (Praise from a [former] VIOLA player).......2006-05-25

I have never been as big a fan of the violin as the viola (probably because I was one of the few violists who didn't start on the violin), but Perlman is quite simply the best violinist I have ever heard (and I've heard hundreds and hundreds). He is so supreme as a violinist that he could totally screw something up and it would still sound masterful.

Unlike one of the reviewers here, I LOVE the Brahms, and the relative slow tempo of the first movement makes the piece so poignant and beautiful that it gives me goosebumps and brings tears to my eyes. Perlman isn't playing it, he's making love to it, and he brings us all in on his passion for the instrument and the music, and we all get carried away with him as he creates a musical tsunami. The Brahms Violin Concerto, Mozart's Sinfonia Concertante for Viola and Violin, and John Lennon's "Imagine" are my favorite pieces of music bar none; all three pieces have significant meaning for me, and all three are masterpieces of their genres.

The Mendelssohn is light and capricious, while always maintaining Perlman's respect for what he probably feels were the composer's intentions.

The Paganini is my least favorite of the pieces, relatively, but this is probably more attributable to the fact that I don't generally have the patience to sit there and listen to an entire concerto of the flamboyant technical stuff Paganini wrote. That, and Paganini's orchestrations were poor at best. But it is a great example of what the violin can do - I've heard cellists try to play Paganini, and while I also LOVE the cello, Paganini's technical bravado doesn't translate well for larger instruments - not even the viola. Nonetheless, Perlman plays the piece cleanly and with an understanding that can only be had by someone with his level of technical ability. I can see Perlman and Paganini now, sitting in a playing parlor, drinking wine, laughing so hard they cry, and trying to out-duel each other in the violin version of "anything you can do I can do better". I'm not sure who would win...

The Tchaikovsky is a very difficult concerto to play, but when done correctly, as Perlman does, it sounds smooth as silk, and, of course, Perlman is up to the task.

The Beethoven is so overplayed by lower-echelon violinists that it can be a real bore. The "Concerto for Kettle Drums", as the violin concerto was jokingly called, requires a tenderness and delicacy that many violinists don't seem to be capable of. Instead, they saw away at their fiddle and leave the listener wondering if there were chores that needed doing right about then. Perlman doesn't let you leave the room; he keeps you hanging on until the very end.

The Bruch finally gets its due. It is a very beautiful piece of music that somehow seems to be given less due than it deserves. In Perlman's capable hands, the piece is a tender story told by grandpa to a youngster to help the youngster deal with life's difficulties. The Bruch has the wisdom of the ages in its notes, and "Grandpa Perlman" doesn't let anything go unsaid.

This is quite simply one of the most incredible CDs I have ever heard, and this "viola chauvinist" cannot recommend it highly enough. It is well worth the money.

Get Your Warhorses Here.......2003-05-05

Yep, they are all here, all the romantic violin concerti that you know and love. I suppose that is the strongest appeal of this collection: you have at your fingertips an excellent compendium of romantic violin music played by one of the better romantic violinists of his generation.

When one approaches the individual pieces, is one getting the best performances to be found? Probably not. I have always preferred Szeryng's performance of the Brahms, for example. Probably every reviewer could name an individual performance preferable to the performances in this collection. Still, the strong consistency of the performances makes this, as an overall collection, hard to beat.

My only quibbles: why include the Paganini #1 and not, for example, the Sibelius? Without taking anything away from Paganini for his contribution to violin technique, let's face it: compared to the other pieces in this collection, the Paganini #1 is just the musical equivalent of cotton candy. It does not stand up well in comparison.

My other complaint is the somewhat tinny sound quality on the Bruch #1. Perlman's tone sounds almost raspy at times, as does the sound of the orchestra. Was he stiking the mike to close to his violin like Heifetz always did? I didn't notice it on any of the other pieces. It is a little strange.

My quibbles are minor ones, though. Overall, I am quite happy with the quality of this collection.

A must for any serious music fan, except for the Brahms.......2001-10-29

This collection of concertos provides the perfect medium for Perlman to express his technical and musical virtuosity. The Beethoven, while conspicuously lacking the bravura element, is fiercely demanding of the soloist's tone and phrasing; Perlman rises up to the level flawlessly, but he does not stop there. The other concerti, while megalithic in their technical demands, are more forgiving musically; this is true especially with the Paganini concerto. Perlman, however, makes them as musically complex as the Beethoven; he develops the musical depth of these very technical concerti while meeting the technical demands. The ricochet bowing and double-stop harmonics in the Finale of the Paganini are executed without a hitch, and that would probably be enough to wow an audience, but Perlman still attends to the phrasing and sound, taking advantage of the technical facility with which he executes the concerto to develop the work beyond technicality. Without this musical aspect, the Paganini would be nothing more than an etude with orchestral accompaniment. Perlman has shown an affinity for Paginini in his recording of the 24 Caprices, where he takes 24 very difficult etudes and transforms them into mini-masterpieces.

My only complaint in this CD collection is with the Brahms. The first movement of the Brahms is very long, almost as long as that of the Beethoven, yet the orchestra and soloist keep the tempo excruciatingly slow, eliminating the forward momentum needed to drive such a piece. I would recommend getting a recording of Heifetz playing Brahms with the Chicago Symphony, Fritz Reiner conducting. This is the only recording where I have heard Brahms played the way it should be.

There is no one better!.......2001-09-08

I first heard Perlman play the Tchaikovsky live when I was nine years old in Heinz Hall with the Pittsburgh Symphony and Andre Previn. What an experience!! Ever since that performance, I have been looking for a recording to bring back that moment! I don't think that this will EVER happen, but this recording is about as close as I will ever get! This recording of compositions for the violin ranks up there with my favorites. Perlman is the quintessential violinist, if not musician of the 20th, and now, 21st centuries. If you are a fan of classical music, or just getting started into the realm of literature, this is a must have set for the foundation of any great CD library!
Five incredibly humbled stars!

Unbelievable.......2000-12-11

Itzhak Perlman's artistry is unmatched, which is clearly evident in this set. His tone soars and resonates in a way that no musician can attempt to compare himelf with. Itzhak Perlman is one of the greatest artists of all time and this set is a tribute not only to his glory but to the glory of some of the greatest violin concerti ever written. The clarity and pureness of his music makes these recordings some of the best ever. This set is wonderful. I could not recommend it more highly.

Average customer rating:

Great Violin Concertos

Manufacturer: Asv Living Era
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Tracks:

Vn Con in e, Op.64: I. Allegro Molto Appassionato
Vn Con in e, Op.64: II. Andante
Vn Con in e, Op.64: III. Allegretto Non Troppo - Allegro Molto Vivace
Vn Con No.1 in g, Op.26: I. Allegro Moderato
Vn Con No.1 in g, Op.26: II. Adagio
Vn Con No.1 in g, Op.26: III. Allegro Energico
Vn Con No.3 in b, Op.61: I. Allegro Non Troppo
Vn Con No.3 in b, Op.61: II. Andantino Quasi Allegretto
Vn Con No.3 in b, Op.61: III. Molto Moderato - Maestoso

Tracks:

Vn Con in D, Op.77: I. Allegro Non Troppo
Vn Con in D, Op.77: II. Adagio
Vn Con in D, Op.77: III. Allegro Giocoso, Ma Non Troppo Vivace
Vn Con in D, Op.35: I. Allegro Moderato
Vn Con in D, Op.35: II. Canzonetta (Andante)
Vn Con in D, Op.35: III. Allegro Vivacissimo

Average customer rating:

Romantic Violin Concertos

Manufacturer: Denon Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Tracks:

Con No.1 in g, Op.26: I. Vorspiel: Allegro Moderato - Boris Belkin
Con No.1 in g, Op.26: II. Adagio - Boris Belkin
Con No.1 in g, Op.26: III. Finale: Allegro Energico - Boris Belkin
Con in D, Op.77: I. Allegro Non Troppo - Raphael Oleg
Con in D, Op.77: II. Adagio - Raphael Oleg
Con in D, Op.77: III. Allegro Giocoso, Ma Non Troppo Vivace - Raphael Oleg

Tracks:

Con in e, Op.64: I. Allegro Molto Appassionato
Con in e, Op.64: II. Andante
Con in e, Op.64: III. Allegro Molto Vivace
Con in D, Op.35: I. Allegro Moderato
Con in D, Op.35: II. Canzonetta: Andante
Con in D, Op.35: III. Finale: Allegro Vivacissimo

Average customer rating:

Erica Morini: a legend in the art of violin playing!
A Great Artist In Every Sense
Stupendous
BUY THIS, even if you own another recording!
Poor sound and a fair performance

Brahms, Tchaikovsky: Violin Concertos

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
ASIN: B00005LMVW
Release Date: 2001-06-12

Tracks:

Con in D, Op.77: 1. Allegro Non Troppo
Con in D, Op.77: 2. Adagio
Con in D, Op.77: 3. Allegro Giocoso, Ma Non Troppo Vivace - Poco Piu Presto
Con in D, Op.35: 1. Allegro Moderato
Con in D, Op.35: 2. Canzonetta. Andante - Attacca:
Con in D, Op.35: 3. Finale. Allegro Vivacissimo

Amazon.com

Revisiting legendary, greatly admired artists we last heard long ago induces a kind of suspenseful anticipation: will they seem as wonderful now as they did then? Will our memories stand up to the test of time? In the case of violinist Erica Morini, the answer is a resounding "yes." Born in Vienna in 1904, she started her career as a sensational prodigy and went on to become the first woman violinist who attained world fame. In 1938, she emigrated from Vienna to New York. Though widely admired and beloved among cognoscenti, she hardly gained the recognition she deserved in the New World. Her recorded legacy is sparse, partly derived from tapes of live concerts; this reissue of a studio recording made in 1956 is a valuable addition. It fully captures the warm, silken tone; the brilliant but music-oriented technique; the charm, nobility, and delicacy for which she was famous. Her Brahms is austere, with rock-steady yet flexible rhythm and strongly delineated contrast and character, but it is also unusually lyrical, inward, singing, and warm. She brings out the wistful yearning of the slow movement, the gypsy flavor of the Finale. Her expressiveness is direct, dignified, and restrained; contrary to the custom of her time, she hardly slides. Her Tchaikovsky, too, is lyrical, leisurely, and natural, with spicy mischievous accents; emotionally free and romantic, it's never sentimental or exaggerated. Her playing is technically immaculate, crystal clear at any speed, without fuss or show. These are truly legendary performances. --Edith Eisler

Customer Reviews:

Erica Morini: a legend in the art of violin playing! .......2005-12-28

Two Goddesses in the violin playing along the XX century: Erica Morini and Ginette Neveu would enlighten and even astonish the whole world with her impeccable refinement.

Morini combined the balanced technique with expression; temperament with lyricism and tune with majesty; an authentic artist, by definition creates atmospheres; no matter what plays, is the absolute domain of the score conceived as mean and not a goal by itself. Her vibrant performances are the final result of the always desired link between soul, mind, heart and fingering.

From the first bars, you realize about her grandness; eloquent sound and perceptive handle of the thematic material. She confers Tchaikovsky of verbosity and universality, enriching in this sense the sense of the score. Her Brahms although does not reach the passionate incandescence of Neveu, is superbly articulated, warmth and fierce. To get such tonal balance is nothing easy because the temptation to play Brahms just only under a romantic approach is enormous by the most of soloists.

Artur Rodzinski is another important variable in this superb achievement. His gifts as conductor are extraordinary. He knows his role as accompanier, rather than soloist; a virtue by itself that many conductors tend to neglect or minimize.

A fundamental and quite relevant musical treasure.

A Great Artist In Every Sense.......2005-04-11

I can't agree more with what Music Fan wrote on 23.7.03. Morini has remained one of my top 3 violinists for years. Among the Viennese school, I definitely prefer Morini to Schneiderhan, the Concert Master of VPO. There are at least 2 DVDs available showing what great shape Morini was in even in her late age!

Suffice to say that even Heifetz-- after he had created the "Heifetz disease" which virtually floored every violinists of his time, including Elman and Kriesler, inducing the latter an urge to crush his own violin etc -- took his violin to Morini humbly asking for advice! It is a bit far-fetched for audience nowadays to appreciate what brought Furtwangler ( the predecessor of Karajan) to tears when he saw Morini again after WWII... Was the appeal purely personal? And with musicians, can music be severed from the musician?

If you are looking for things that would raise your hair, or if you expect to see something that woos, then Morini isn't for you. Her sense of drama, however romantic she was, is well within the bound gracefulness.

The recording of this record is indeed better than average. Here we have two of the most famous violin concerti by one of the greatest artist ever. If you have a change from the lushness of the Russian violinists, or indeed the French, and if you also want to have a taste of the style of the Viennese school, or if you like to see what appealed to Heifetz so much for yourself, you can't afford to miss this.

Stupendous.......2005-03-11

Maybe it's because I grew up listening to my sister's copy of Morini playing this Tchaikovsky Concerto for Violin and Orchestra, but the recording sounds as flawless to me as the violinist's performance.

Hearing this again is like swinging on a tree swing for the first time or eating roasted walnuts in December. Far from dry, this performance makes this sound like one of the best pieces of classical music ever written. Especially with Morini playing her Stradivarius, maybe it is.

Since her violin itself was stolen after her death, this recording is the best way to resurrect the golden sound.

--Alyssa A. Lappen

BUY THIS, even if you own another recording!.......2003-07-25

This recording will challenge any previous favorite recordings you may have of the same piece. It is amongst my top 20 of all times. Morini's performance of the Caikovskij Concerto (or as the west says "Tchaikovsky") is as definitive a recording as the Casals rendition of the Bach Violoncello Suites. Technically, only the Heifiz recording comes close, but Morini offers so much more in her graceful, exciting and truly "Romantic" handling. Artistic support from Rodzinski is first rate. The recording quality is superior to many recordings of its day. More importantly, recent recordings have taken on a shallow "purest" approach that technically places the home listener in a seat, far from the subtleties of the solo instrument.

Morini has been reborn in this release. Capture one for your collection.

Poor sound and a fair performance.......2002-01-16

The performances here are neither bad nor remarkable. The sound is something else, rather poor even for 1956. Or I should say "uneven." The Brahms in particular keeps lurching from stereo to a less-wide stereo, with frequent drop-outs and patches where the hiss is momentarily greater than the whole. The performances were obviously pieced together from many takes, and the cuts are easily audible with good equipment. The sound is dry and thin, with little bottom or top and lots of hiss.