Beethoven: Violin Concerto in D Major, 2 Romances [Import]

Track Listings

1. Violin Romance No. 2 In F Op. 50

2. Violin Romance No. 1 In G Op. 40

3. Violin Concerto In D Op. 61

4. Larghetto

5. Rondo Allegro

Tracks:

Bach: Jesu, Joy Of Man's Desiring
Vivaldi: Largo Winter
Bach: Air On A G String
Torelli: Trumpet Concerto
Bach: Sheep May Safely Graze
Handel: Let The Bright Seraphim
Handel: Pastoral Symphony
Boccherini: String Quintet, Minuet
Mendelssohn: On Wings Of Song
Liszt: Dream Of Love
Rachmaninov: Vocalise
Debussy: Claire De Lune
Satie: Gymnopedie No.1
Gluck: Dance Of The Blessed Spirits
Debussy: Arabesque
Bizet: Intermezzo
Elgar: Salut D'amour
Debussy: Prelude A L'apres - Midi D'un Faun

Tracks:

Wagner: Bridal Chorus
Clarke: Trumpet Voluntary
Handel: Royal Fireworks Music, Overture
Gabrieli: Canzon V
Charpentier: Te Deum
Purcell: Trumpet Tune
Mussorgsky: Promenade
Pachebel: Canon In D
Handel: Larghetto
Vivaldi: Guitar Concerto In D Major, Largo
Handel: Water Music, Air
Macdowell: To A Wild Rose
Beethoven: Pathetique Sonata, Adagio
Melchior: Adagio
Gounod: Ave Maria
Schubert: Ave Maria
Franck: Panis Angelicus
Faure: Pie Jesu
Rachmaninov: Rhapsody On A Theme Of Paganini
Schumann: Romance For Violin And Piano
Massenet: Meditation

Tracks:

Mendelssohn: Wedding March
Vivaldi: Concerto For Two Trumpets In B, Allegro
Telemann: Trumpet Concerto In D, Allegro
Vivaldi: Spring, Allegro
Telemann: Trumpet Concerto In B, Allegro
Handel: Concerto Grosso, Hornpipe
Bach: Brandenburg Concerto No.4, Allegro
Handel: Arrival Of The Queen Of Sheba
Schumann: Piano Quintet In E Flat Major
Widor: Toccata
Dubois: Toccata
Walton: Crown Imperial
Bach: Cantata No.51. 'Jauchzet Gott In Allen Landen.' Alleluia
Mozart: Exsultate Jubilate, Alleluia
Handel: Water Music, Hornpipe
Chopin; Variations On A Theme From 'La Cenerentola'
Faure: Sicilienne
Offenbach: Barcarolle
Faure: Berceuse
Saint-Saens: The Swan
Brahms: Waltz In A Flat
Grieg: Wedding Day At Troldhaugen

Album Description

The process of choosing music for a wedding day can certainly be a daunting process for any couple. There are many choices and the questions can be endless. Traditional music or something off the beaten path? Will your Mom cry (and not in a good way) if you do not come down the aisle to the traditional Wedding March from Wagner, or are you eager to try something new? This collection is designed to give the bridal couple some key pointers to navigate the world of classical music for their wedding day. The package includes over 3 1/2 hours of music on 3 CDs for all portions of the wedding service, all from the Naxos classical label (known for high-quality recordings at inexpensive prices). Wedding day favorites are there, along with new discoveries and tunes you may have never considered for a wedding. All pieces are hand selected by professional wedding musicians and consultants. As a bonus, the 20 page booklet will lead you through the process of choosing music, from hiring musicians to sample programs. Everything you need to create your own unique personal wedding soundtrack.

Customer Reviews:

GREAT WEDDING MUSIC!.......2007-01-24

I used these CD's for my wedding, and I was so happy I did. You need to buy this CD if you like having a traditional wedding! :)

Good Music.......2006-07-05

I bought these CDs for my wedding, in ceremony and reception. Also, when I created my own wedding video, I used it as background music.

A very complete selection of ceremony music!.......2005-02-02

I am getting married in several months and we couldn't decide what music we wanted at our wedding ceremony. This three disk compilation reminded us of all the great ones- including new options we hadn't thought about. I really enjoyed hearing the organ and strings versions of the songs. If you're someone who hears a classical or baroque piece of music, but can't remember the name or the precise tune, this is a must-have to jog your memory and trigger the tear ducts!

Comprehensive Classical Selection.......2004-04-15

I searched all over for a CD set that had a somewhat comprehensive list of classical selections that are traditionally played at weddings. When I found this 3 CD set, I was very pleased. It contains 61 works from almost as many composers. This set might not contain the "best recording ever" of each of the selections, however it is very well done and the quality is very good. I used it primarily to choose the pieces that I wanted to have played by the church organist, and so the actual recordings were more for my consumption rather than for use in the ceremony/reception itself. However, I would not have hestitated to use the CD's in the wedding itself if needed. The book inside includes a list of suggested songs for various wedding styles (formal, outside, morning, etc.). From the classical neophyte to the seasoned classical music expert, this CD set will meet if not exceed expectations.

Just one note..........2003-06-07

I have not heard this album, so I cannot rate it as a whole. (The form made me include a rating, but disregard that.) However, I want to point out that track 36, the Pie Jesu from Gabriel Faure's Requiem is - well, from a requiem, a mass for the dead. The Pie Jesu is a lovely, gentle movement, and it has a beautiful and pure sound that does seem to fit the mood of a wedding. The Latin words, however, mean "Merciful Lord Jesus, grant them everlasting rest," where "them" refers to the dead.

Tracks:

Allegro Ma No Troppo
Larghetto
Rondo. Allegro
Romance For Violin and Orchestra No. 1 In G Major, Op. 40
Romance For Violin and Orchestra No. 2 In F Major, Op. 50

Amazon.com

Anne-Sophie Mutter's Beethoven Concerto was recorded live at the final subscription concerts of Kurt Masur's long tenure as the New York Philharmonic's music director. The beautifully played orchestral part is a tribute to his leadership. Mutter plays with a silken tone and astonishing technical command of her instrument--absolute ease in the stratospheric tessitura of the solo part, and an amazing array of microdynamic adjustments that display the infinite variety of pianissimos at her command. She continually varies phrasing, so moments of ethereal beauty are often followed by finicky lapses into mannerisms. For all her instrumental brilliance, the results are curiously unmoving. The depths of the music's emotions remain elusive, her virtuosity veering perilously close to showboating at times. Similar comments apply to the two Romances, whose verdant songfulness needs more lively tempos and straightforward playing. Mutter's fans will want this disc. Others may turn to Heifetz, Perlman, Suk, or Grumiaux. --Dan Davis

Customer Reviews:

A Mix of Not so Hot and Better .......2007-06-21

Mutter's playing in the first movement is nearly enough to make one stop listening to the rest. "Finniky" and riven with "mannerisms" is one way to put it. Another would be that she simply ignores what Beethoven said as to how this should be played. Her work in the latter movements improves to between quite good and excellent. The Amazon review observation that the result is unmoving is right on.

From A Different View.......2005-05-16

In Classical music, in which is never considered 'Popular' music in record stores and the general audience, Violin and Piano have been and are clearly the 'star' instruments. As a person who listens to Alternative music (Bjork, Tori Amos, Radiohead, Sigur Ros, David Bowie and others) more than Classical music, the details the previous reviewers were commenting on were useless to me.

Anne-Sophie Mutter and Nadja Salerno-Sonnenberg, for me, are the only known violinists that makes me want to listen to classical music. In this recording, Mutter is simply breathtaking and remakes the boring (to most people) 'great' concerto into a remarkable paradise of creativity.

This recording has made me dig deeper into classical music, yet her previous Beethoven recording made me feel nauseated and bored just the same as recordings by Joshua Bell and Itzhak Perlman.

Mutter proves that Beethoven's music is Transcendental........2005-03-06

Mutter provides us with another stunning interpretation of the most transcendental Violin Concerto of all time. Unlike her contemporaries, she never looks at this concerto from a purely violinistic standpoint. As learned from Karajan, she looks only from an "eagle's eye view". So call it mannered, call it showboating, but you can never deny the transcendental depth, that she probes into this music. Simply stunning.

Thanks, Mutter!!

Mutter's affectation.......2004-06-10

I am shocked that something as sublime and classical as Beethoven's violin concerto can be played in such an affected and self conscious a manner. Similar maanerisms can be found in her recordings of Kreutzer and Spring but to a lesser degree. Clearly, Mutter does not appear to understand what it means to observe fidelity to a score and to the spirit in which a work is written.

Unmusical and unorthodox performance.......2004-03-30

It seems when all is said and done, Anne-Sophie Mutter's career will be divided into two periods. The first period, beginning with her discovery by Karajan, will find her as a brilliant soloist and musician as represented by the many recordings she made in this first half of her life. However, the second period will show Mutter as a narcissistic technician interested in self-aggrandizing performance that have little musical precedence or interpretive basis. This performance of Beethoven's Violin Concerto certainly belongs in the latter category.

Mutter's completely unmusical handling of the first movement is quite frankly rather disgusting. Of all the pieces to smear with mannered retards, scratchy tone, and vulgar phrasing, why the Beethoven Violin Concerto? Is Mutter so out-of-tune as a musician as to miss the basic constant rhythmic pulse that begins the concerto - the five strokes of the timpani, the heartbeat of the work - that pervades the whole movement? Is she unfamiliar with historical performances practices, the difference between high-classicism and high-romanticism (if that is even what you can call her playing), and basic violin pedagogy? This is a shocking gratuitous performance that represents exactly how not to play this concerto. Tempos fluctuate throughout the entirety of the first movement with no contextual or musical basis, peppered with bizarre dynamic fluctuations, single-handedly destroying Beethoven's clear rhythmic and vocal intentions. Mutter refuses to yield to the orchestra in the various passages where the violin accompanies, attacking her instrument with vehement resistance. And she does all this with the most unflattering sound, coaxing from her instrument some truly bizarre sounds. And all this done over the course of an excruciating 27 minutes.

The second and third movements fare somewhat better, if only by comparison, but Mutter continues to apply her own brand of interpretive graffiti over the entire Largretto, plagued by intonation problems and rather coarse-toned playing. The energetic Rondo is probably the best part of the concerto (perhaps in no small part because the end is near) due mainly to Masur's stronger framework, which forces the capricious Mutter to work within some structure. All in all, this is a pretty vile release from an artist who seems so bored with her repertoire that she must mutilate it in order to keep herself intellectually and musically satisfied. That the listener will find the same satisfaction is hard to believe.

It is a shame, really, that this performance was so bad, for it was taken from Kurt Masur's last subscription concert with the New York Philharmonic. All the more troubling considering the second half of the program, a performance of Beethoven's "Eroica," was phenomenal. Masur showed uncharacteristic fervor in his conducting and the Philharmonic responded in tow with a performance that hung fire. Not only was the energy palpable, but the mutual respect both orchestra and music director shared for each other was moving. Why that performance was not captured, yielding to this arrogantly unmusical account of the Violin Concerto will remain a mystery only Deutsche Grammophon can answer.

Beethoven: Violin Concerto; Romances 1 & 2

Average customer rating:

Listen if only for the Kreutzer Strativarius
Where is Beethoven?
Excellent Sound, Fine Playing from Vengerov, Rostropovich and LSO, But.....
Almost, but Not Quite
Reverent? Yes. Exalting? Sadly, no.

Beethoven: Violin Concerto; Romances 1 & 2

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

Bruch/Mendelssohn: Violin Concertos
Brahms: Violin Concerto; Sonata No. 3
Vengerov
Maxim Vengerov - The Road I Travel
Lalo: Symphonie Espagnole; Saint-Saens: Violin Concerto; Ravel: Tzigane; Maxim Vengerov

ASIN: B000B63IDO
Release Date: 2006-01-10

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.)

Beethoven: Violin Concerto in D Major, 2 Romances

Average customer rating:

Not great to my ears
Very original, very fine; Bruggen sets the standard for HIP
Authentic excellence
Fire and Ice

Beethoven: Violin Concerto in D Major, 2 Romances
Zehetmair , Bruggen , and Orchestra of the 18th Century
Manufacturer: Philips/Universal
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B000023ZEM
Release Date: 1998-03-09

Tracks:

Violin Romance No. 2 In F Op. 50
Violin Romance No. 1 In G Op. 40
Violin Concerto In D Op. 61
Larghetto
Rondo Allegro

Customer Reviews:

Not great to my ears.......2007-03-21

I had great expectations, but am disappointed. Several times in the first movement they are (or seem) too fast for my taste, like they are in a hurry to finish the first movement.
I think I heard this cadenza (or this similar part) before with kremer/harnoncourt (who bring piano in it!) , but it is pretty bad and the part 18:30 to 19:15 completely break the mood/continuity of the first movement and is really horrible to my ears. I am not sure what cadenza they play, but I went back to Oistrakh, Mullova and like them way better. Personally, even if it is what was played at the time, it ruins it for me.

And in the third movement, the 'magic' I hear with Oistrakh, Mullova
(around 3:10 in this recording) is gone to my ears.

I personally way prefer the Gardiner/Mullova version to this one to pick a recent recording and Oistrakh or others for an older recording.

Very original, very fine; Bruggen sets the standard for HIP.......2005-08-06

The reviewers below me call this performance fresh and unpretentious, and I think that hits it right on the noggin. This is a very fleet Beethoven concerto, lighter and faster than we are typically used to hearing, but it's certainly not light*weight,* and the approach makes us feel we are hearing the work with new ears, which is the only reason I can justify adding a 15th recording of the LvB VC to my sagging shelves. Bruggen and his players still manage to give us spiritual radiance and the grand experience, telegraphing what an extraordinary work this was, while avoiding the sound of heavier, thicker, late 19th century conceptions of Beethoven. The recording, a live effort that has crystaline clarity and a nearly dead-silent audience, is a finely-textured experience with small forces and few loud moments. This is almost Beethoven's violin concerto as chamber music, and it works.

I'm not exactly sure how kosher this recording is, though--not that I care. The violinist plays with a free vibrato--I thought that was *verbotten* by periodistas. The orchestra doesn't, however. The real-world necessity for the vibrato by the soloist is to project into the concert hall, and halls are larger now than they were in Beethoven's day. At the same time, this vibrato has the effect of sweetening the tone and making this a very bucolic Beethoven violin concerto. Occasionally I find the first moment's tempo just a **little** rushed--there are moments where I want things to breathe more--but on the whole the approach works, and it's refreshingly different from conductors who think the way to mine a Beethoven violin concerto is to keep slooowing down all the time in the first movement. The Larghetto is gorgeous and the forte chords that announce the finale, along with the springy interplay among the strings and solist in the coda, really make sense and reveal subtlties in the orchestration that often get covered with thicker, heaver, and louder readings (eg, Bernstein's recording with Stern). What's really a miracle about this recording is how softly and delicately these forces sometimes play, yet you never feel they are about to lose control. Bruggen's pin-point (yet never mechanical) control and depth of feeling qualify him, I feel, as one of today's greatest conductors, yet for some reason his name is often overlooked when there's a rollcall of the greats, and that includes by me.

I have only one complaint: Zehetmair went with Wolfgang Schneiderhan's cadenzas. They're not very coherent, and in fact this great concerto has inspired many cadenzas, but few great ones. My favorites belong to Kreisler, and no one plays them better than Isaac Stern, in the aforementioned Bernstein recording (Sony); In the present disc, the cadenzas, with their silly tam-tamming in the first movement and the frequent lengthy breaks in the finale, may seem intrusive to some listeners. But, at the end of the day, this is a minor reservation, given the over-all quality of both soloist and orchestra here.

For a recording on the complete opposite side of the spectrum--very slow and seamless and not at all "period proper"--you really must hear Furtwangler with Yehudi Menuhin, 1947 Music & Arts live performance (as opposed to the later studio effort on EMI, which is completely different and much less satisfying). That release suffers from poor sound, however, even for the time, so audiophiles may want to beware. For a good straight-ahead performance in modern sound, Chung/Tennstedt (also live) should be considered.

Authentic excellence.......2005-05-29

These Beethoven violin concerts are remarkable: the interpretation is fresh, basic, and unpretentious. Being one of the most popular violin concerts, hearing an interpretation like this one is really refreshing!
Played on authentical instruments the sound is 'dolce' and colourful. Is was also wonderfully recorded, so if you are interested in buying these concerts this cd would be a great choice... (yes, it sounds a little like some kind of advertorial, but it's just that great...)

Fire and Ice.......2004-08-11

A very fresh and original interpretation: fiery, moody, and romantic by turns. Zehetmaier plays as if he were the very first person to bring this music to an audience. There is no noticable reverence or bowing to the past, just all the beauty passion and joy of this wonderful concerto played with effortless brilliance. I don't know a recent CD that can come even close.

Beethoven: Violin Concerto in D Major, Op. 61 / Romances for Violin and Orchestra: No. 1 in G Major, Op. 40; No. 2 in F Major, Op. 50

Average customer rating:

Somewhat unusual, but wonderful nevertheless
Larger than life
Too spacious, off tempos, not pure enough for this concerto
Ahh.. Beethoven!

Beethoven: Violin Concerto in D Major, Op. 61 / Romances for Violin and Orchestra: No. 1 in G Major, Op. 40; No. 2 in F Major, Op. 50

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Beethoven: Piano Concerto Nos.4 & 5
Beethoven, Sibelius: Violin Concertos
Beethoven: Concerto for violin in D
Mendelssohn: Violin Concerto in E minor; Bruch: Violin Concerto #1; Itzhak Perlman
Beethoven: Violin Concerto in D major; 2 Romances

ASIN: B000001GFP
Release Date: 1992-03-10

Tracks:

Concerto For Violin & Orchestra In D, Op.61: Allegro ma non troppo
Concerto For Violin & Orchestra In D, Op.61: Larhgetto - attacca subito
Concerto For Violin & Orchestra In D, Op.61: Rondo: Allegro
Romances For Violin And Orchestra: Violin Romance No. 1 in G, Op. 40
Romances For Violin And Orchestra: Violin Romance No. 2 in F, Op. 50

Customer Reviews:

Somewhat unusual, but wonderful nevertheless.......2003-02-27

Zukerman's playing here is absolutely beautiful. Every note he plays seems perfectly, beautifully articulated. The tempos here are taken somewhat slower than customary, but I feel that this is the only way it could have been done: any faster, and Zukerman's supremely elegant, deeply expressive playing would have seemed rushed. It seems to me that most people think that the concerto is a virtuoso piece, which is the way it is normally performed, but here is revealed something profoundly deeper than the somewhat trivial flashiness that most are used to. The Chicago Symphony in some parts is a bit imprecise (at least, that is what I hear), but Barenboim does a fine job conducting, with a broad, expansive style that complements Zukerman's violin playing perfectly, I think. I feel most wonderful is the third movement. The Romances are not as profound as the Concerto, but they are played very well too, and complement the expansive, "romantic" (I put this in quotations because it seems every person has very different definitions of what is romantic) interpretation of the Concerto.

Larger than life.......2000-11-24

Ludwig van Beethoven wrote only one violin concerto, and yet, the one he wrote definined the history of this intrument for all time. There is no other concerto that I am aware of that achieves the same level of vibration or transmission between composer, performer and listener. Mozart, Mendelssohn, Brahms, Tchaikovsky, Bruch, Sibelius; all wonderful concertos in their own rights, but nothing like it compared to the Beethoven one. Here, the violin is not just making music or follwing a melody; it speaks, it talks, it resonates: It lives! Only here the instrument has a true language, a communication, a feeling of its own, and sometimes I think, especially in the adagio, it tells us a story, a story like the blues sometimes does, yes, I would almost say ths concerto has the blues! With Zukermann, Barenboim and the CSO as formidable interpreters, this concerto paints a picture of romantic music like nothing else before or since.

Too spacious, off tempos, not pure enough for this concerto.......2000-06-13

I LOVE Beethoven's violin concerto, and seeing this CD with a great conductor, a great violinist, and a great orchestra, I thought it would be a good performance. Wrong! Zukerman's tempos are so terrible. Just listen to lazy solos at the beginning of the third movement. Barenboim's conducting doesn't help either, sounds too large and bombastic, even violent. One music critic said the violin sounds like it has "fat" on it. Well, I wouldn't go that far, but it doesn't sound refined and pure enough for Beethoven's concerto. I would recommend Itzhak Perlman's recording with Giulini on EMI, it has better-judged tempos, better conducting and orchestral accompaniment, more beauty, and more refined technique. In fact, it's the best version I have ever heard, so much more beautiful than the Zukerman recording. As for Zukerman, his performances of the Romances aren't bad, but I can't stand his solos in the violin concerto.

Ahh.. Beethoven!.......1999-09-18

It doesn't get much more perfect than this. Zukerman, CSO, and Beethoven. I highly recommend this CD.

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Easy listening
Gil Shaham Shines
Beautiful music; gorgeous playing.
Gil Shaham is my favourite violinist and I love his playing.
Very beautiful, relaxing music.

Violin Romances
Edward Elgar , Fritz Kreisler , Johan Svendsen , Ludwig van Beethoven , Pyotr Il'yich Tchaikovsky , Antonin Dvorak , Jem Cohen , Gil Shaham , Orpheus Chamber Orchestra , and Pablo de Sarasate
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Dvorák For Two: Works For Violin & Piano
Vivaldi: The Four Seasons/Fritz Kreisler: Concerto for Violin
Mendelssohn, Bruch: Violin Concertos
Devil's Dance
Sibelius/Tchaikovsky: Violinkonzerte

ASIN: B000001GS8
Release Date: 1996-08-13

Tracks:

Salut D'amour - Edward Elgar
Schon Rosmarin
Romance In G Major, Op.26
Liebesfreud
Romance No. 1 In G Major, Op.40
Romance No. 2 In F Major, Op.50
Liebesleid
Serenade Melancolique In B Minor,Op.26 - Peter Ilyich Tchaikovsky
Romanza Andaluza Op.22 No.1
Romance In F Minor,Op.11 - Antonin Dvorak

Customer Reviews:

Easy listening.......2007-05-15

Beautiful performance by Shaham (especially the two Kreisler pieces), perfectly backed by the Orpheus orchestra.

Gil Shaham Shines.......2003-11-01

Gil Shaham has been a regular guest artist with the Fort Wayne Philharmonic and, whether I've heard him in person or via the rebroadcast of the concert on National Public Radio station WBNI, it has always been a treat to hear him play. He is usually interviewed for the broadcasts, too, and he is as fascinating and enthusiastic a speaker as he is a player. He genuinely enjoys what he does and this comes across in his warm playing.

I am a big fan of Fritz Kreisler and have long enjoyed the short pieces that he wrote and performed, both in live performances and for Victor recordings. The first recording I ever heard of Kreisler was a 78-rpm album called "My Favorites," which featured a remarkable full color photograph of the musician (something rare in the 1940's). He included arrangements for solo violin and full orchestra of his most popular works, some of which are included in this recording. Kreisler's music is nostalgic and touching; he made no effort to go along with twentieth century musical trends and was still very successful as a composer and performer. It's great to hear his music again in these modern performances, expertly played by Gil Shaham and the Orpheus Orchestra.

I acquired this recording via a record club and have really enjoyed it. These are some of the lighter, shorter works by a variety of composers and they are all extremely enjoyable. The playing is exquisite throughout and conductor-less Orpheus Orchestra provides very fine accompaniment. (It always amazes me how well these musicians play without a conductor; they obviously are very gifted, skilled musicians and this is apparent in this recording.)

Shaham has also spoken enthusiastiacally about his recordings, which he immensely enjoys making since he can reach a wider audience than could ever hear him in concert or recital. This is definitely one of his best recordings.

Beautiful music; gorgeous playing........2000-09-20

No violinist I've ever heard has a tone as gorgeous as Gil Shaham. Shaham's gorgeous tone, as well as his artistic taste and easy-going temperament, make this excellent collection of violin romances a joy to listen to. This may or may not be great music, depending upon your taste, but it certainly is beautiful music, beautifully performed.

Gil Shaham is my favourite violinist and I love his playing........1998-12-10

Gil has been my favourite young violinist for quite some time and I think he is just brilliant. This CD has some of the most gorgeous pieces of music ever written for the violin and he plays them all beautifully.

Very beautiful, relaxing music........1998-09-18

I love the combination of these peices. They are all very expressive and eloquent on the part of the performer.

Itzhak Perlman & Daniel Barenboim - Beethoven: Violin Concerto, Romances 1 & 2

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In german language.
Excellent performance of greatest of all violin concertos
Excellent performance of greatest of all violin concertos
Great performance, terrible sound
Better than previous Guilini recording

Itzhak Perlman & Daniel Barenboim - Beethoven: Violin Concerto, Romances 1 & 2
Ludwig van Beethoven , Berliner Philharmoniker , Daniel Barenboim , and Itzhak Perlman
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
Similar Items:

Beethoven: Concerto for violin in D
Favourite Violin Concertos
Beethoven: Violin Concerto; Romance in F
Mendelssohn: Violin Concerto in E minor; Bruch: Violin Concerto #1; Itzhak Perlman
David Oistrakh

ASIN: B000002RQP
Release Date: 1990-04-10

Tracks:

Concerto In D Major For Violin And Orchestra, Op.61: Allegro ma non troppo
Concerto In D Major For Violin And Orchestra, Op.61: Larghetto
Concerto In D Major For Violin And Orchestra, Op.61: Rondo
Romance No. 1 In G Major, Op. 40
Romance No. 2 In F Major, Op. 50

Customer Reviews:

In german language........2005-10-20

I've listened lot of versions of this concert played by some outstanding violinist and conductors, but no one with the inspiration and technical precision of this EMI recording, developed with a great germanic taste in the way they play this music.

It's very well known Daniel Barenboim's affinity with the music of the genius from Bonn and you can listen it very clearly in this live-recording with the Berliner Philharmoniker, in my opinion the most beethovenian orchestra in the world, much more than the Wiener, because of the very german sound the berliners have, a very complex concept to explain but very easy to recognize if you are used to listed some compared versions between the most strong, deep, dense and male Berliner Philharmoniker, and the most clear, opened, crystal-built, and female sound of the Wiener; a difference that was appointed by many artists in different areas of arts and philosophy.

So, what we have here is a high performance, from the technical point of view and from the sense of the performance, a really beethovenian-language version, built up with the conviction and the strong stream Barenboim creates with the orchestral sound. Perlman gives his best in one of his top performances, in my opinion better than the recording with Carlo Maria Giulini for EMI label too. The Romances are wonderfully played too in versions I really love.

The sound it's not bad at all. Of course it's not the best DDD recording I've listened, but it can be enjoyable with a good Hi-Fi system. It's well known that EMI recordings use to be poor sometimes, specially in live-recordings, but this is correct enough.

This recording it's not the same that EMI has released on DVD, both are live-recording and wonderful performances, but I prefer this one from the technical and inspiration point of view.

Excellent performance of greatest of all violin concertos.......2000-08-04

Itzhak Perlman and the Berlin Philharmonic Orchestra, under the direction of Daniel Barenboim, recorded an excellent live performance of Beethoven's violin concerto - arguably the greatest violin concerto ever composed. Perlman plays the concerto with great versatility - he conveys a sense of virility in the first movement, an almost ethereal peacefulness in the Larghetto, and finally, a joyful, dancelike exuberance in the Rondo. The two Beethoven romances are no less outstanding. The musical dialog between Perlman and the BPO is exemplary.

The CD's sound quality is very good, as are most EMI classical releases. However, in the violin concerto, Perlman does seem balanced too far forward in relation to the orchestra. It should be remembered, though, that this is a recording of a live concert, where engineering allowances are sometimes made for the sake of audiences. The quality of the listening experience doesn't seem to suffer too much from this imbalance.

This version of Beethoven's violin concerto and romances is a good choice, and is certainly recommendable.

Excellent performance of greatest of all violin concertos.......2000-05-23

This version of Beethoven's violin concerto and romances is a good choice, and is certainly recommendable.

Great performance, terrible sound.......2000-05-04

What a pity that this recording is ruined by the most ridiculous balance between soloist and orchestra imaginable. Perlman is so much to the front, that he seems to be playing a 20-feet long violin. This may have been acceptable in 1930 but certainly not today. EMI engineers should hear some BIS recordings from Sweden.

Better than previous Guilini recording.......1999-10-14

Perlman outdoes his own previous recording with Giulini. Even though I'm not a big fan of Barenboim, this recording is outstanding. The Berlin Philharmonic sound awesome and it is one of the best "live" recordings I've run across. But Perlman is simply divine. The man is a genius. Buy this!

Average customer rating:

Romantic Classics

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

Ballets | Ballets & Dances | Classical | Styles | Music

Pavanes | Ballets & Dances | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

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Compilations | Classical | Styles | Music

Lullabies & Berceuse | Vocal Non-Opera | Opera & Vocal | Styles | Music

Choruses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

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ASIN: B0007KTIJM
Release Date: 2005-03-22

Tracks:

Intermezzo
Pavane
Largo Ma Non Tanto
Nocturne
Romance No. 2 In F Sharp
Salut D' Amour, Op. 12
Largo
Meditation
Clair De Lune
Prelude
Liebestod

Tracks:

Scene No. 1
Rhapsody On A Theme Of Paganini
Adagio Moderato
Fantaisie-Impromptu
Adagio Sostenuto
Pavane Pour Une Infante Defunte
Larghetto
Berceuse
Adagio Sostenuto
Liebestraum
Andante

Tracks:

Canon
Adagio
Air On A G String
Gymnopedie
The Girl With The Flaxen Hair (La Fille Aux Cheveux Lin)
Andante Semplice
Adagio
The Swan
Elegy
Traumerei
Romeo And Juliet
Adagio
Adagio For Strings

Beethoven: Violin Concerto; Romances; Piano Concerto No. 5 / Mozart: Piano Concerto No. 20

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Beethoven: Violin Concerto; Romances; Piano Concerto No. 5 / Mozart: Piano Concerto No. 20

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Tracks:

Violin Concerto In D, Op. 61: Allegro ma non troppo - Ludwig Van Beethoven
Violin Concerto In D, Op. 61: Larghetto - Ludwig Van Beethoven
Violin Concerto In D, Op. 61: Rondo (Allegro) - Ludwig Van Beethoven
Romance No. 1 In G, Op. 40 - Ludwig Van Beethoven
Romance No. 2 In F, Op. 50 - Ludwig Van Beethoven

Tracks:

Piano Concerto No. 5 In E Flat, Op.73 'Emperor': Allegro - Beethoven and Mozart
Piano Concerto No. 5 In E Flat, Op.73 'Emperor': Adagio un poco mosso - Beethoven and Mozart
Piano Concerto No. 5 In E Flat, Op.73 'Emperor': Rondo (Allegro) - Beethoven and Mozart
Piano Concerto No. 20 In D Minor, K.466: Allegro - Beethoven and Mozart
Piano Concerto No. 20 In D Minor, K.466: Romanze - Mozart
Piano Concerto No. 20 In D Minor, K.466: Rondo (Allegro assai) - Beethoven and Mozart

Beethoven: Violin Concerto; Romances Nos. 1 & 2

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Beethoven Violin Concerto
More Magnificent Menuhin

Beethoven: Violin Concerto; Romances Nos. 1 & 2

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Mendelssohn: Piano Concertos Nos. 1 & 2; Violin Concerto
Brahms: Violin Concerto; Double Concerto for violin and cello
Brahms: Violin Concerto; Mozart: Sinfonia
Beethoven: Triple Concerto; Septet
Beethoven, Sibelius: Violin Concertos

ASIN: B00005UUOE
Release Date: 2003-08-19

Tracks:

Violin Concerto In D, Op.61: I. Allegro, Ma Non Troppo
Violin Concerto In D, Op.61: II. Larghetto
Violin Concerto In D, Op.61: III. Rondo (Allegro)
Romance No.1 In G, Op.40
Romance No.2 In F, Op.50

Customer Reviews:

Beethoven Violin Concerto.......2007-01-16

A supremely dreamy account of the concerto where both soloist(Menuhin) and conductor (Silvestri) are at one.By far the most satisfying I have heard,either live or on disc.

More Magnificent Menuhin.......2004-01-05

This recent edition to EMI's "Encore" series featuring Beethoven's Violin Concerto and Romances by the great Yehudi Menuhin is welcome indeed. It is hard to listen to this performance of the Violin Concerto (or any performance of it for that matter), and not think of Menuhin's brilliant 1953 mono account with Wilhlem Furtwangler. But as with most recordings, stereo provides an added dimension here on this 1960 rendition with Constantin Silvestri and the Vienna Philharmonic. While Silvestri is not the towering figure that was Furtwangler, he again proves a master accompanist. (Silvestri recorded a brilliant Beethoven VC the previous year with Leonid Kogan, featured on that violinist's now out-of-print "Artist Profile" collection.) The two Romances, also recorded in 1960 but with Sir John Pritchard leading the Philharmonia Orchestra, are the perfect ending to another magnificent effort by Menuhin.

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