Mendelssohn: 2 Violin Concertos

On this CD:

1. Violin Concerto in D minor
Composed by Felix Mendelssohn
Performed by Metropolitan Orchestra with Angele DuBeau
Conducted by Joseph Rescigno

2. Violin Concerto in E minor, Op. 64
Composed by Felix Mendelssohn
Performed by Metropolitan Orchestra with Angele DuBeau
Conducted by Joseph Rescigno

Tracks:

Concerto For Piano & Orchestra No. 1 In G Minor, Op. 25: I. Molto Allegro Con Fuoco
Concerto For Piano & Orchestra No. 1 In G Minor, Op. 25: II. Andante
Concerto For Piano & Orchestra No. 1 In G Minor, Op. 25: III. Presto. Molto Allegro E Vivace
Concerto For Piano & Orchestra No. 2 In D Minor, Op. 40: I. Allegro Appassionato
Concerto For Piano & Orchestra No. 2 In D Minor, Op. 40: II. Adagio. Molto Sostenuto
Concerto For Piano & Orchestra No. 2 In D Minor, Op. 40: III. Finale. Presto Scherzando
Concerto For Violin & Orchestra In E Minor, Op. 64: I. Allegro Molto Appassionato
Concerto For Violin & Orchestra In E Minor, Op. 64: II. Andante. Allegretto Non Troppo
Concerto For Violin & Orchestra In E Minor, Op. 64: III. Allegro Molto Vivace

Customer Reviews:

Mendelssohn's Concerti performed with excellence.......2006-02-27

This recording by Serkin and Stern is a terrific performance to add to your collection if you like Mendelssohn. I highly recommend these performances especially at such a budget conscious price!

Mendelssohn is put on a Serkin-support system.......2006-01-12

The flashy runs in both Mendelssohn piano concertos, particularly the first, haven't redeemed the banality of their musical content, which actually rivals the Liszt concertos--they are diabolically humdrum while Mendelssohn is academically humdrum. Serkin didn't care about their low status. He pitches into both works as if they are incendiary masterpieces, and for as long as he is playing you're held in his spell. The sonics on these 1959 recordings are a bit thin in the orchestral background--the piano is caught very well--so getting the most up-to-date pressing seems like a good idea.

1959 was also the year when Isaac Stern recorded this Mendelssohn Violin Concerrto, and the sound is still respectable, with the violin escaping the nasty edginess found on old budget CDs. Ormandy is quite vigorous here, as in the piano concertos--he was at his best as an accompanist. Where Menuhin takes every opportunity to make a musical point and Heifetz every opportuity to dazzle, Stern is midway between. He isn't introspective, but he plays seriusly. Passagework and intonation are impeccably clean, and although not the most individual reading in the catalog, Stern's is excellent, particularly in a budget release.

Very good performances.......2005-03-17

It is very nice to have both Mendelssohn piano concertos and the famous violin concerto all on one CD. A very good bargain, and very good performances. Sound quality is actually pretty good too, even though these recordings are somewhat old.

Conciertos al mejor nivel.......2004-09-15

Mendelssohn escribio estos tres conciertos de gran factura y ciertamente tener los tres en un CD ya es algo bastante interesante, ahora si a eso añadimos la calidad de la interpretación estamos frente a un CD de colección.
Rudolf Serkin es un gran pianista y aqui lo demuestra doblemente, el concierto Nº 1 es exquicito, innovador, bello y Serkin lo lleva con fuerza y pulcritud, el comienzo es apasionado, diria frenetico, Serkin me sorprende nuevamente y lleva al piano al maximo, Arrau seria mas majestuoso y quizas le daria un toque de delicadeza, Serkin al contrario y Ormandy lo acompaña, hacen de este comienzo un apasionado y abrumador, muy bueno. Asi el segundo movimiento es mas sutil pero ese toque que Mendelssohn le da a todos sus conciertos, finalizamos con otro momento agitato por decirlo de alguna manera y el solista denuevo nos deslumbra. El Nº 2, aunque inicia como si fuera mas suave es solo eso, un comienzo sutil unos acordes suaves orquesta y luego piano, y de pronto frenesi, impetu, voragine, verdaderamente genial, tengo que decirlo Serkin es un pianista de excepcion y Ormandy como Uds, lo saben acompaña como el solo sabe hacerlo, en forma perfecta. El concierto es recio, contundente, no estoy seguro cual de los dos es mejor, pero definitivamente siempre opacados por el concierto para violin. Aqui otro solista de la mayor calidad Stern lleva el vigor y la alegria de este concierto hasta hacerlo inolvidable, es hermoso, los sonidos de la orquesta, la sutileza y la no tanto del violin envuelven al oyente en una magica red de portentoza gracia y esplendor.
Eugene Ormandy hace lo suyo de manera impecable, lo he comentado antes, es un director de rigor, que acompaña y que sobresale, es espectacular. En este caso acompaña a Serkin y lo hace con fuerza y vigor, y bueno su conocidisima pomposidad.
La Orquesta de Columbia que aparece en forma especial, fue creada para Bruno Walter y es por cierto de una calidad inmejorable. Para la Orquesta de Filadelfia no creo que tenga ya mas halagos que decir que es perfecta.

A must in your collection.......2004-06-20

The piano concerts are ornamental works , and never reach the peak of the champions . They are deeply lyrical and inmersed in the mood of that age signed by the virtuosistic mood. Think in those forty years , Thalberg , Herz, Czerny , Henselt , Moscheles , Bronsart and Liszt to name the most remarkable. In that generation it was more important the show itself that the music could mean. The romanticism in its peak , with all his effects over the great audiences . Transcriptions for piano , fireworks , eight hours concerts , where the music felt in a show business.
Only Schumann , Chopin , Brahms among others could keep the level in their works. And we had to expect for the second half of the century for that show fever eventually dissapeared.
The violin concerto in this case was the best work in the genre of the concerts. In my opinion , F.M. will be reminded by his string quartets , his last three symphonies and this violin concert.
Stern gives to that work , eloquence , majesty and dignity . And the only version I remember to that level is Szigetti Beecham . Deep musicality and above all elegance , and nuance.
Undoubtly this work itself deserves you to acquire.The Philadelphia strings as always superb and powerful. Ormandy was deeply inspired in that ocassion.

Mendelssohn-Bartholdy: Symphonies; Overtures; Concertos

Average customer rating:

Triumphant return of Flor's Mendelssohn

Mendelssohn-Bartholdy: Symphonies; Overtures; Concertos

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B0009A1AJG
Release Date: 2005-05-31

Tracks:

Merce, Diletti Amici - O Tu, Che L'alma
Scena, Coro E Brindisi
Mamma...Quel Vino E Generoso
Lamento Di Federico
Improvviso
Come Un Bel Di Dimaggio
Oh! Fede Negar Potessi
Fontainebleau, Foresta Immense
Amor Ti Vieta
Cielo E Mar
Epilogo
Vesti La Giubba
Dio, Mi Potevi Scagliar
La Danza

Customer Reviews:

Triumphant return of Flor's Mendelssohn.......2005-06-01

At last Claus Peter Flor's Mendelssohn symphonies, overtures and piano concertos (with Edelmann) have returned. On the basis of these recordings (all previously issued) Flor, who is probably in his early 50s now, is still one of the better Mendelssohn conductors out there.

In particular, his Symphonies Nos. 2 and 5 have been hailed by critics on this side of the Atlantic for their beauty, proportion and Mendelssohnian sensibility. His other symphonies are also good and his collected overtures have been revered on both sides of the Atlantic by critics from Gramophone (which gave the overtures a rosette) to American Record Guide (which continued to promote his works even after they were out of print).

Flor's regualr partner in these performances, the Bamberg Symphony Orchestra, is a European band of the second rank. While not being confused with the more well-known orchestras in Vienna, Berlin or London, they perform universally well in these CDs in recordings that sound better than ever.

This is a very good collection of Mendelssohn's symphonic music and piano concertos that will rank with the best recorded boxes including Abbado and Karajn. In musical terms is far exceeds the collections led by Masur, Ashkenazy and the newer Naxos cycle of mixed quality.

Collectors that have never heard Flor conduct (or have never heard of him) can rest assured that this is a worthy alternative collection in this music. If this grouping and this price are attractive, go for it.

Average customer rating:

One of the most neglected pages of the Violinist literature!
Truly the best!
No other violinist has the Sound Of Isaac Stern!
A low point in an excellent series
Isaac Stern at his best.. A must for all violin lovers.

Mendelssohn, Dvorak: Violin Concertos

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002AXV
Release Date: 1995-05-16

Tracks:

Concerto For Violin And Orchestra In E Minor, Op. 64: Allegro molto appassinato
Concerto For Violin And Orchestra In E Minor, Op. 64: Andante
Concerto For Violin And Orchestra In E Minor, Op. 64: Allegretto ma non troppo - Allegro molto vivace
Concerto For Violin And Orchestra In A Minor, Op. 53: Allegro ma non troppo
Concerto For Violin And Orchestra In A Minor, Op. 53: Adagio ma non troppo
Concerto For Violin And Orchestra In A Minor, Op. 53: Finale. Allegro giocoso, ma non troppo
Romance For Violin And Orchestra In F Minor, Op. 11

Amazon.com

This is a wonderful recording of two famous, justly beloved concertos played with all the romantic ardor, poetic lyricism, urgent drama, serenity, and ecstasy one could wish for. Stern's technique is impeccable, his tone gorgeous: the low register has a warm glow, the top a soaring, celestial shimmer. His phrasing is elegant, his expressiveness simple, deeply inward, never sentimental or exaggerated. Dvorák's less familiar, lovely Romance in F-minor, adapted from the slow movement of an unpublished string quartet, predates the concerto by several years. Dvorák later orchestrated the original piano part, adding much color and atmosphere. Based on a lilting, tender, melancholy theme, it becomes suddenly lively and affirmative in the coda; after some major-minor fluctuations, it surges up passionately and floats into sunlit serenity. Among other Dvorák recordings, that by Josef Suk, the composer's great-grandson and representing the family tradition, is also splendid. --Edith Eisler

Customer Reviews:

One of the most neglected pages of the Violinist literature!.......2005-12-23

From the moment Beethoven wrote his admirable, and monumental Op. 61 in D minor, the audiences around the world seem to have closed the curtains. I must admit this Violin Concerto is the Violin Concerto per excellence, but that would not be impediment to become inflexible respect other notable works and let 's insist, minor projects that nevertheless possess texture and melodic richness.

To my mind, the intransigence veil has accented specially around three notable works: Dvorak, Schumann and Hubay. I would even affirm that the D minor 's syndrome empowered of the musical taste 's great audiences: Tchaikovsky, Brahms and Mendelssohn and Sibelius. And there has been a major receptivity in what concerns to listen new Concertos for other instruments. (How many people do really know Korngold, Enescu, Prokoviev, Shostakovich, Busoni, Bartok and Berg `s Violin Concertos? Just to name some few)

Dvorak 's Violin Concert seems to have been sheltered by the eminent Isaac Stern since the early Fifties. Somehow this notable soloist found the key to get inside to the core of this nostalgic breath that permeates almost the score. If you add it besides, the presence of the most remarkable strings section, ever existed in previous or later American ensembles and the notable contribution of Eugene Ormandy, you will have all the available terms of this decision matrix. If you want, just listen any other random version and compare by yourself.

You may find perhaps, sumptuous performances and expansive performances like Johana Martzy-Fricsay in 1953 (my second choice), and a live recording hard to find recording with Zino Francescati in the early Fifties but both of them never overcome this supreme status.

The Mendelssohn to my mind is the most incandescent and noblesse performance ever recorded.

Recommended without hindrances of any genre.

Truly the best!.......2003-01-31

I was extremely desterbed to see the earlier review that called this a "dead" performance. Clearly the reviewer is a novice at the art of listening. For my part, I have loved this particular piece ever since I heard it. The previous reviewer should know that I and a close friend of mine (who happens to play the violin and has studied this piece) carfully analized this performance and that of several other performers. It should be know that in the face of admittedly stiff competition (Perlman & Lin), Stern's performance topped them all! He plays every note, has perfect timing, and makes an extremely demanding piece seem effortless!

I am only sad that Mr. Stern is not with us anymore and can no longer treat us to these wonderful performances.

No other violinist has the Sound Of Isaac Stern!.......2000-01-05

Stern's Mendelssohn is one of the top 5 recordings of this Piece. No other violinst has the Stern Sound, Color,or nuance that he has. Also he is one of the top 5 violinst of all time, along with Heifetz. I don't know what this other reviewer is saying about scratch scratch. This recording of the Mendelssohn is Beautiful! Take a listen also to his recording of the Bernstein Serenade written by Leonard Bernstein.

A low point in an excellent series.......1999-12-23

I was badly disppointed by this CD, especially after hearing some other works in this series. The Mendelssohn is especially disappointing - such a moving work spoiled by a dead performance. I'd recommend Milstein/VPO/Abbado instead.

Isaac Stern at his best.. A must for all violin lovers........1999-07-01

Isaac Stern as usual showcases his talent of playing with the emotion the composers intended. The music sounds deceptively easy to perform, however, it is very difficult. Its simplicity in sound, difficulty level to play, and pure beauty in sound, make it a must for all lovers of violin.

Average customer rating:

Mostly Magnificent Menuhin, with a Few Reservations

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

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ASIN: B0000BWTKJ
Release Date: 2003-11-04

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I. Allegro
II. Affettuoso
III. Allegro
I. Allegro
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I. Allegro
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II. Allegro
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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.

Felix Mendelssohn Bartholdy: Complete Solo Concertos

Average customer rating:

Lovable

Felix Mendelssohn Bartholdy: Complete Solo Concertos

Manufacturer: Bis
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000G5QL
Release Date: 1999-01-25

Tracks:

I. Allegro Molto - Isabelle Van Keulen
II. Andante - Isabelle Van Keulen
III. Allegro - Isabelle Van Keulen
Scherzo - Lev Markiz
I. Allegro Con Fuoco - Isabelle Van Keulen
II. Andante - Isabelle Van Keulen
III. Allegretto Non Troppo-Allegro Molto Vivace - Isabelle Van Keulen

Tracks:

I. Allegro - Ronald Brautigam
II. Adagio - Ronald Brautigam
III. Finale. Allegro Ma Non Troppo - Ronald Brautigam
I. Molto Allegro Con Fuoco - Ronald Brautigam
II. Andante - Ronald Brautigam
III. Presto - Ronald Brautigam
I. Allegro Appassionato - Ronald Brautigam
II. Adagio-Molto Sostenuto - Ronald Brautigam
III. Finale. Presto Scherzando - Ronald Brautigam

Tracks:

I. Allegro - Isabelle Van Keulen
II. Adagio - Isabelle Van Keulen
III. Allegro Molto - Isabelle Van Keulen
Andante-Allegro Con Fuoco - Ronald Brautigam
Presto - Ronald Brautigam
Andante-Allegro Giocoso - Ronald Brautigam

Tracks:

I. Allegro Vivace - Lev Markiz
II. Adagio Non Troppo - Lev Markiz
III. Allegro - Lev Markiz
I. Allegro Vivace - Lev Markiz
II. Andante - Lev Markiz
III. Allegro Vivace - Lev Markiz

Customer Reviews:

Lovable.......1999-11-30

Wonderfull set of CD's. Two pianistic performers are already mentioned; to these must be added the pianist Brautigam and the violinistin van Keulen. Beautifull performances of Mendelssohn's romantic and exciting concertos. Listening to these CD's is simply a great pleasure, if such an unprofessional qualification is allowed.

Average customer rating:

Classics for Relaxation

Manufacturer: Madacy Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B0001MZ804
Release Date: 2004-04-06

Tracks:

Prelude a l'AprMidi d'un Faune - Belgrad Philharmonic Orchestra, Igor Markevitch
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Orfeo Ed Euridice 2nd Act -- Ballo: Andante (Dance of the Blessed ...) - Wilhelm Keitel,
Liebestraum No. 3 in A flat major, Op. 62 "O Lieb So Lang" du ... - Peter Schmalfuss
Ice Skaters Waltz "Las Patineurs" Excerpt - Gerhard Becker, Berlin Symphony Orchestra
Peer Gynt Suite No. 1, Op. 46 Death of Ase - Libor Pesek, Slovak Philharmonic Orchestra
Air - Artur Faihs, Frida Faihs
Nutcracker Ballet Suite, Op. 71a III: Dance of the Sugar Plum Fairy - Alfred Scholz, South German Philharmonic Orchestra
Goldberg Variations, BWV 988, No. 1: Aria - Christiane Jaccottet
Tales of Hoffman "Barcarolle" - Philharmonic Orchestra, Christian Rainer
Suite Bergamasque III: Clair de Lune - Peter Schmalfuss
Landler, Op. 171, No. 4 - Peter Schmalfuss
Ave Verum Corpus, Motet K. 618 - Rolf Schweizer,
Preludes, Op. 28 No. 15 in D flat major: Sostenuto "Raindrops" - Bianca Sitzius
Canon in D major: Preludes - Bernhard G Stuttgart Chamber Orchestra
Elegies for Piano, Op. 34 I: Wounded Heart - Stefan Jeschko

Tracks:

Preludes, Book 1 No. 8: "La Fille aux Cheveux de Lin" - Peter Schmalfuss
Suite Espa, Op. 47 Sevilla - Irina Kircher
Water Music Suite, Allegro - Oliver VonDohnanyi
Humoresque, Op. 101 - Erich Appel, Oliver Colbentson
Songs Without Words for Piano, Book 2, Op. 30, No. 6 in F sharp minor - Sylvia Capova
Swan Lake, Ballet Suite, Dance of the Swans - Belgrad Philharmonic Orchestra, Igor Markevitch
Divertimento No. 1 in B flat major, 2nd Movement - Chorale Saint Antoni Andante,
Symphony No. 5, 4th Movement: Adagietto - Anton Nanut
Lohengrin, Prelude to Act 3 - Bystrik Rezucha, Slovak Philharmonic Orchestra
Peer Gynt Suite No. 1 Op. 46: Anitra's Dance - Libor Pesek, Slovak Philharmonic Orchestra
Preludes, Op. 3, No. 2 in C sharp minor - Yuri A. Rozum
Tale of the Tsar Saltan -- Flight of the Bumble Bee - Camerata Rhenania, Hanspeter Gmur
Symphony No. 41 in C major, K. 551 "Jupiter," 1st Movement: ... - London Philharmonic Orchestra, Alfred Scholz
Finlandia, Op. 26/7 - Roland Donatte,
Etudes, Op. 10, No. 5 in G flat major "Black Keys" - Peter Schmalfuss
Serenade in E major, Op. 22, 1st Movement: Moderato - Marian Lapsansky, Bystrik Rezucha, Stuttgart Chamber Orchestra

Tracks:

Piano Concerto in A Minor, Op. 54, 2nd Movement: ... - Marian Lapsansky, Bystrik Rezucha,
Nutcracker Ballet Suite, Op. 71a, Arab Dance - Alfred Scholz, South German Philharmonic Orchestra
Divertimento for 2 Horns & Strings in F major "A Musical Joke," ... - Capella Istropolitana
Faust "Margarethe" -- Ballet Music, Allegretto - The London Symphony Orchestra, Alfred Scholz
Gymnopedies No. 3 - Stuttgart Chamber Orchestra
Serenade for Strings in C major, Op. 48, 2nd Movement; Waltz - Kurt Redel
Scenes from Childhood, Op. 15 Traumerei - Peter Schmalfuss
Piano Concerto in A minor, Op. 16, Adagio - Marian Lapsansky, Bystrik Rezucha, Slovak Philharmonic Orchestra
Waltz in A flat major, Op. 69/1 - Peter Schmalfuss
Symphony No. 2 in D major, Op. 73, Adagio Non Troppo - Libor Pesek, Royal Philharmonic Orchestra
Largo from Xerxes - Ernst Riedlinger
Symphony No. 22 in E flat major, "Philosopher," Adagio
Quintet in E minor, G. 451, Allegro Moderato - Karl Heinz Ber, Hans Kalafusz, GKehr, Gunter Lemmen, Siegfried Palm

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The Prokofiev is a Revelation

Mendelssohn/Prokofiev: Violin Concertos

Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Customer Reviews:

The Prokofiev is a Revelation.......2004-01-13

Given the soloist and the orchestra, it is hardly surprising that this is a fine recording. Perlman's playing is lovely and the Chicago has its beautiful sound. What makes this recording distinctive, however, is the presence of the Prokofiev 2nd concerto. This splendid piece of music deserves to programmed and performed more often.

Mendelssohn: The Two Piano Concertos;Violin Concerto in Em

Average customer rating:

Inspired Mendelssohn!
The Best Single Mendelssohn CD ever!
Waste of Time?
Nina hanan is right, these are bad concertos
MENDELSSOHN WITH METTLE!!!

Mendelssohn: The Two Piano Concertos;Violin Concerto in Em

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B0000027AX
Release Date: 1991-08-19

Tracks:

Concerto For Piano & Orchestra No.1 In G Minor, Op.25: I. Molto allegro con fuoco
Concerto For Piano & Orchestra No.1 In G Minor, Op.25: II. Andante
Concerto For Piano & Orchestra No.1 In G Minor, Op.25: III. Presto; Molto allegro e vivace
Concerto For Piano & Orchestra No.2 In D Minor, Op.40: I. Allegro appasionato
Concerto For Piano & Orchestra No.2 In D Minor, Op.40: II. Adagio: Molto sostenuto
Concerto For Piano & Orchestra No.2 In D Minor, Op.40: III. Finale: Presto scherzando
Concerto For Violin & Orchestra In E Minor, Op.64: I. Allegro molto appasionato
Concerto For Violin & Orchestra In E Minor, Op.64: II. Andante - Allegretto non troppo
Concerto For Violin & Orchestra In E Minor, Op.64: III. Allegro molto vivace

Customer Reviews:

Inspired Mendelssohn!.......2006-02-02

Consider these four joined variables: Eugene Ormandy ' prodigious baton, the excel and overpowering sound of this superb Orchestra and the presence of such artistic status: the legendary Isaac Stern and his supreme tonal register, filled of imagination and splendid vibrato, giving what to my mind is the most exquisite Mendelssohn ever recorded and finally the succesful contribution of this one thousand carats pianist: Rudolf Serkin.

I must insist in the fact both soloists were permamanet guests in Prades. And that, by itself, established an axiomatic enhancement in both of them. All the musicians in Prades became still better performers; there was a special and enriching atmosphere that undoubtedly permeated the psique, spirit and bliss of all of them.

In what Mendelssohn Piano Concertos, I shoulkd name just two other interpreters: John Ogdon and Rena Kyriakou are fundamental recordings that would integrate the reduced collection in this particular genre. Serkin plays both scores with brightness, transparency and fluency; his distinguished pianissimos and superb fingering crown these works, supported, evidently for this glorious ensemble.

In what Violin Concerto concerns, Stern illuminates the score. This hard to play piece is far to be considered just a simple and essential romantic piece. Stern goes toward the flame and core of this brilliant work with his cvharacteristic and admirable expressiveness.

This is a succesful and more than rewarding acquisition, due there are not so many performances that can include so many merits.

The Best Single Mendelssohn CD ever!.......2003-09-12

And it's cheap. This recording has compilation has popped up in various incarnations for a while now and is easily available at almost any used outlet. Even the new price is a tremendous bargain. It features Felix Mendelssohn's 3 best concerti played by soloists and conductor with great affinity for this literature and perform it with fondness and sparkling panache. It clocks in at just over 69 minutes, which isn't bad at all. Amazingly, this is also the only CD (known to me) that contains this obvious combination of kindred pieces.

The pieces on the disc are Mendelssohn's Piano Concerti 1 & 2 (soloist: Rudolf Serkin) plus his Violin Concerto 2 (soloist: Isaac Stern). They and the Philadelphia Orchestra are conducted by Eugene Ormandy. In short, this is Mendelssohn heaven. The recordings, originally made around 1959, are bright, spacious, and clear; you can hardly get better from recordings made in the 21st Century.

Mendelssohn wrote 4 piano concerti. The other 2 are duo-piano works composed earlier in his career (presumably for himself and Fanny to perform as soloists), and a lot of fun in their own right. He composed these works, in g (that is, G Minor) and d, for his own concert use. Mendelssohn is amazing: whereas so many composers regard minor keys as hallmarks of sturm, drang, and angst, he makes them sound at least as deliriously happy as any major. If the typical German piano concerto (Beethoven, Brahms, that bunch) is heavy-duty red wine to be drunk with dishes with names of at least 2 words and many syllables, the Mendelssohn concerti are the lightest champagne - and they are truly clear and sparkling.

Contrary to opinions one sees now and then, this isn't a sign that Mendelssohn's concerti are inherently inferior to, for instance, Brahms'. Mendelssohn's models were the piano concerti of Mozart, which are frequently virtuosic display pieces tempered by Mozart's melodic genius. These are virtuosic display pieces tempered by Mendelssohn's melodic genius. OK, let's say they're somehow not the equal of Brahms' concerti; they're certainly the equal of Mozart's, and that's about as good as it gets.
The pattern of the concerti is typical: a meltingly beautiful slow movement sandwiched between two dazzling fast movements. Like Dvorak, and even more so than Mozart, Mendelssohn decorates his works with fleeting and temporary melodies most composers would build entire movements around. Each of the fast movements is an exhilarating roller-coaster ride of the sort no composer would outdo until Tchaikovsky's 1st. As to the slow movements: just try not to hum along. Serkin responds to the challenges of these concerti with tremendous elan, a dazzling affirmation of why he's on the short list of truly great pianists of the mid-20th Century. Ormandy is by temperament a fabulous interpreter of Mendelssohn's bubbly music.
Mendelssohn's Violin Concerto 2 is usually referred to only as "Violin Concerto in e", but there is a #1 - a juvenile work in d (1822). The 2nd Concerto (1844) is easily the most ingratiatingly beautiful violin concerto ever written (just ahead of the Bruch #1 ... also in a minor key, by the way). This is another case of "just try not to hum along". The primary theme of the 1st movement alone is on the very short list of best-known themes in the symphonic literature. The 1st movement altogether is one of the most passionate in the entire concerto literature. The 2nd movement, attached to the first by a single sustained note, is a love song for soloist and orchestra. The 3rd movement if full of the sort of wildness that would later be seen in the works of Wieniawski, Paganini, and Sarasate. Isaac Stern is fully the equal of Jascha Heifetz in this rendition, his tone more lush and ripe.

This CD has everything: a perfect combination of similar pieces, given outstanding performances by some of the greatest performers of their time - and a recording that is still, almost half a century later, a sonic hallmark. And did I say before that it's cheap?

Waste of Time?.......2003-06-02

One wonders, if the other reviewers are indeed correct, why such great artists such as Rudolf Serkin and Isaac Stern would waste their time recording less-than-masterpieces. While I do admit that the concertos of Mendelssohn are not his strongest musical compositions, and because of this, perhaps lack the profundity of the concertos of Beethoven, Mozart, Schumann, Brahms and others, I will not admit that they are wastes of time. Who ever said that great music must always be profound? Why is it not enough sometimes to simply write pieces that are fun, enjoyable to listen to and play and are full of life? I think that is the reason that such great artists such as those listed above would "waste their time" with this kind of music. But enough in defense of Mendelssohn (needless to say the greatest child composer of all time - his reputation was secure even at age seventeen, when he had finished the String Octet and the Overture to a Midsummer Night's Dream....comparably even Mozart at that age had written nothing of equal stature). But, as I said before...on to the performances. Serkin brings to these concertos, I believe, exactly what they need, namely strength. One can play these two concertos as if they were light pieces, and this is how so many performances of them are (in which case, we need not only blame the music, but the performance mentality as well). But, to play them not only with the light scherzo-like attitude, but with virtuosity and power, elevates this music even further. It is up to the performer to bring this music to life, and I can only be ecstatic that Serkin "wasted his time" recording these concerti. Stern's performance of the Violin concerto is not my benchmark for the piece, though he offers some interesting ideas throughout. His articulation is crisp, and his concept is always present, though he may be out of tune occasionally. For any Stern fanatics...buy it...it is surely worth having.

Nina hanan is right, these are bad concertos.......2002-06-25

I won't even discuss the violin concerto, since it is a universal favorite. The piano concertos, on the other hand, are childish works that border on the insipid. Even Mendelssohn's most eminent biographer, Phillip Radcliffe, found his works for piano and orchestra to be the least inspired of his oeuvre. These concertos each attempt some kind of con fuoco/appasionato profundity, but, like much of Mendelssohn, they to lack any depth. Of course these concertos suffer when placed next the greats (e.g., Mozart, Beethoven, Brahms, etc) but I owuld even rank them below those by unknown composers such as Reinecke, Moscheles, and Field. Of course, all the performances are excellent.

MENDELSSOHN WITH METTLE!!!.......2001-08-05

Of the many Mendelssohn piano concerto recordings that have passed through these ears, Serkin's with Ormandy has remained my favorite since the LP era, and Sony was exceedingly wise to transfer them, early on (1991), to CD, coupled with Stern's sturdy performance of the E minor Violin Concerto. So, somebody was on the ball (for once).

Piano Concerto No. 1 in G minor, Op. 25 (written by Mendelssohn in his early twenties, hard to believe), his most popular, and for excellent reasons, is a work that grabs you immediately--- and never lets go. From the outset, the orchestra roils open, fomenting, and Serkin surges in, full-throttle--- truly "con fuoco"!--- his fiery and stunning virtuosity leaving you gasping for air. His is a force that gathers momentum like a coming tornado. No "prissy" Mendelssohn here: not with the Serkin/Ormandy electricity creating sparks at every turn, and spiralling us about like rag dolls. Doubtless, this is about as thrilling as it gets (without completely imploding). Serkin's daring panache, his execution of brilliant runs, double-noting that defies description, octaves and fabulous chordal sequences that are full and dead-on create a totality of such exciting proportions that, frankly, it peaks at darn near orgasmic level. It's pure, unadulterated musical tension at its finest. That's why when the tender secondary development appears, which we need badly, we are lulled by the brief respite, but only lulled--- because then, suddenly, in a whirlwind of almost impishly devilish delight, Mendelssohn lets all hell break loose again... until he seques flawlessly into the second movement Andante without interruption.

And, ah, what an Andante this is, and what a manipulator that Felix! From the throes of an almost unbearable adrenalin rush, he slows to a crawl and proceeds to drain our emotions further by the apposition of the most lyrical and tender sentiments. Serkin's playing here is as gentle as I've ever heard him, and Ormandy never intrudes on the pianist's ponderings; he caresses them. The interweaving of these two consummate artists is a wonder. Listen, for example, to Serkin's handling of the solo closing notes of the Andante... as the movement now seques, again, flawlessly, into the Presto finale... and we are shocked out of our reverie, yet a second time!, by a brass fanfare--- the Philadelphians playing their hearts out!--- and Serkin re-enters with a forward cascading thrust that delights, uplifts, intoxicates, his fingerwork dazzling... Ormandy's violins shimmering... and everyone, including us, sitting on the edge of our seats in a rivetting expectation of the fabulous conclusion to come... which comes, inevitably, and, yes, fabulously. Mr. Serkin, bravo!

The D minor Piano Concerto, Op. 40 (written in Mendelssohn's late twenties), although good, has always remained subordinate to the Op. 25, and probably for these reasons: It's quite obviously derivative of Op. 25 (almost a vague doppleganger) and far less inspired. Mendelssohn, himself, noted that it was written "in haste" for a concert tour of England, and it shows. Regardless, though, with the strength of Serkin and Ormandy behind it, the Op. 40 gets a better-than-expected reading, with a particularly beautiful Adagio.

As a "bonus," Sony gives us a good, though not altogether outstanding, performance of the E Minor Violin Concerto, Op. 64 with Isaac Stern (one of my favorite "rough and ready" violinists). There are many felicities here, not the least of which is the rousing Allegro finale, but overall the concerto, to me, seems a tad perfunctory. However, I'd rather have it on this reissue than not.

Amazingly enough, all these concertos come from 1959 recordings and, regardless of age, have been transferred to CD fresh and firm. The piano image, in particular, closely-miked and upfront, is phenomenal, never hidden or subservient, and allows us to hear every note, as well as more than a little huffing and puffing from Serkin himself (but I find this adds a nice human element to the mix). Ormandy's orchestral forces (both Philadelphia and Columbia Symphonies) come off superbly under his usual bold, warm direction. The recordings defy their age magnificently.

This is an outstanding bargain--- if for the Op. 25, alone, which must be heard to be believed: Mendelssohn with all the stops pulled! And Serkin at his zenith. Don't let this one pass you by. All other competition pales by comparison.

[Running time: 69:31]

Average customer rating:

Buy it for the Mendelssohn
Favourite Violin Concertos...
Buy It for the Beethoven
Buy It for the Beethoven
Not as impressive as his Mozart...

Favourite Violin Concertos

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
Similar Items:

Favorite Violin Encores
Mozart: Violin Concertos
Complete Violin Sonatas Volume1
Beethoven & Brahms: Violin Concertos
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:

Buy it for the Mendelssohn.......2006-10-11

My five stars go to one performance only here, and it is good enough stand alone to this price. My experience is that unique performances are rare, so this would be a nice buy with one exceptional performance only. The others I consider bonus tracks.
In all of the Violin Concertos represented here, I know better performances, with one exception: the Mendelssohn op. 64. It is true that Milstein/Abbado's recording from early 70ties is as good, in very a different way, but Grumiaux and Haitink made the perfect balance between masculinity and elegance in a concerto that is often played too softly, thus sounding too sweet.
The Tchaikovsky I prefer by Stern/Ormandy, the Beethoven op. 61 I prefer by Oistrakh (conducted by Cluytens and Ehrling; i.e. I love both), the Brahms I prefer by Mullova/Abbado (a performance that overshadows all others, even the Oistrakh/Klemperer, even the Heifetz/Reiner...).

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.

Mendelssohn, Bruch: Violin Concertos [SACD]

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Mendelssohn, Bruch: Violin Concertos [SACD]

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Fugues | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

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

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Similar Items:

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Tchaikovsky, Mendelssohn: First Piano Concertos [Hybrid SACD]
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ASIN: B0000AZKK8
Release Date: 2003-08-26

Music Review: