Introduction And Rondo Capriccioso

On this CD:

1. Violin Concerto, for violin & orchestra in D minor, Op. 47
Composed by Jean Sibelius
Performed by Philadelphia Orchestra with Dylana Jensen
Conducted by Eugene Ormandy

2. Introduction and Rondo Capriccioso, for violin & orchestra in A minor, Op. 28
Composed by Camille Saint-Saens
Performed by Philadelphia Orchestra with Dylana Jensen
Conducted by Eugene Ormandy

Tracks:

I. Allegro
II. Affettuoso
III. Allegro
I. Allegro
II. Andante
III. Allegro Assai
I. Allegro
II. Adagio
III. Allegro Assai
I. Vivace
II. Largo Ma Non Tanto
III. Allegro

Tracks:

Rhapsody No. 2 (Lassu [Moderato] - Friss [Allegro Moderato])
I. Allegro Non Troppo
II. Andante Tranquillo
III. Allegro Molto
I. Andante
I. Allegretto (Scherzando)
II. Allegro
II. Adagio

Tracks:

Romance No. 1 In G Major
I. Allegro Ma Non Troppo (Cadenza: Kreisler)
II. Larghetto
III. Rondo (Allegro) (Cadenza: Kreisler)
I. Allegro Moderato
II. Adagio
III. Finale (Allegro Energico)

Tracks:

Romance No. 2 In F Major, Op. 50
I. Allegro Non Troppo (Cadenza: Kreisler)
II. Adagio
III. Allegro Giocoso, Ma Non Troppo Vivace - Poco Piu Presto
I. Allegro Molto Appassionato
II. Andante
III. Allegretto Non Troppo - Allegro Molto Vivace

Tracks:

I. Allegro
II. Andante
III. Allegro Molto
I. Andante Tranquillo
II. Presto Capriccioso Alla Napolitana & Trio (Canzonetta)
III. Vivace

Tracks:

I. Allegro Moderato (Cadenza: Menuhin)
II. Adagio Molto
III. Finale (Presto) (Cadenza: Menuhin)
I. Allegro
II. Andante Cantabile
III. Rondo (Andante Grazioso - Allegro Ma Non Troppo)
I. Allegro Maestoso
II. Andante
III. Presto

Tracks:

I. Allegro Non Troppo
II. Scherzando (Allegro Molto)
III. Intermezzo (Allegretto Non Troppo)
IV. Andante
V. Rondo (Allegro)
I. Allegro Non Troppo
II. Andantino Quasi Allegretto
III. Molto Moderato E Maestoso - Allegro Non Troppo
Introduction & Rondo Capriccioso, Op. 28
Havanaise, Op. 83

Tracks:

I. Allegro Maestoso (Cadenza: Emile Sauret)
II. Adagio Espressivo
III. Rondo (Allegro Spiritoso)
I. Andante - Moderato - Cadenza
II. Adagio Religioso
III. Scherzo (Vivace) & Trio
IV. Finale (Allegro)
I. Allegro Non Troppo
II. Cadenza
III. Adagio
IV. Allegro Con Fuoco

Tracks:

Serenade Melancolique
I. Allegro Moderato
II. Adagio Di Molto
III. Allegro Ma Non Tanto
I. Praeludium (Largo)
I. Allegro Cavalleresco
II. Intermezzo (Poco Adagio)
II. Rondo (Allegretto Scherzando)

Tracks:

I. Allegro
II. Largo
III. Allegro
I. Allegro Non Molto
II. Adagio
III. Presto
I. Allegro
II. Adagio
III. Allegro
I. Allegro Non Molto
II. Largo
III. Allegro
I. Vivace - Allegro - Adagio - Vivace - Allegro - Largo Andante
II. Allegro
III. Grave - Andante Largo - Allegro
Fantasia Concertante On A Theme Of Corelli

Customer Reviews:

Mostly Magnificent Menuhin, with a Few Reservations.......2004-01-06

The recent trend toward classical box sets focusing on the performer instead of the composer (see my reviews of the various DG/Decca "Original Masters" sets) continues with EMI's new "Yehudi Menuhin - The Violinist." Sure EMI's past sets have showcased individual performances by Samson Francois, Eugen Jochum and Rudolf Kempe to name a few, but it was always under the heading of a given composer's works, and in the cases mentioned above, to Chopin's piano pieces, Bruckner's Symphonies and Strauss' Orchestral Works respectively. Therefore, this Menuhin collection is the first of EMI's "Budget Box Sets" to showcase a performer playing the works of a variety of composers.

As Menuhin was an EMI recording artist for an incredible 68 years (1931-99), his performances for the label number in the hundreds. With so much music from which to choose, this 10-disc set aims "to highlight some of those alternative versions, including recordings that have not been easily available since the days of LP and others that have never previously appeared on CD." Therefore, the obvious mainstream, easily attainable recordings are omitted here -- for example, the Beethoven/Mendelssohn VCs with Furtwangler, the Elgar VC with the composer conducting, and the Bruch/Mendelssohn VCs with Susskind and Kurtz.

However, a lot of this material has been on disc before on titles which the serious collector most likely already owns. Most of the Bach is currently available as part of the Bach "Budget Box Series" title. The Bruch, Mendelssohn, Brahms and Vivaldi VCs were all available in the now out-of-print 2CD EMI Seraphim series. The Elgar and the Walton are still available in the "British Composers" series. And perhaps most annoyingly, the previously unpublished Beethoven VC and Tchaikovsky "Serenade melancolique" (available as a single disc), and the Beethoven Romance No. 2 (available on an EMI Encore title) were both reissued just a few months back.

But let's focus on the positive, which are the other rare performances, the most significant being the never before reissued 1954 performance of Mozart's Violin Concerto No. 4 with John Pritchard and the Philharmonia. Other elusive recordings include Viuextemps and Paganini VCs with Fistoulari, Lalo and Saint-Saens works with Goossens, and excellent Berg and Bartok accounts with Boulez. Though I'm delighted at their inclusion, of lesser importance is a 1965 Bartok VC No. 2 with Dorati -- his mono EMI with Furtwangler and an earlier account with Dorati on Mercury Living Presence are far superior. Also, neither the Sibelius (Boult, 1955) nor Nielsen (Woldike, 1952) Concertos are truly Menuhin's cups of tea.

My last complaint has to do with the packaging. I know I'm being rather trite but it seems that EMI has taken the "slim" out of slim, paper-sleeved box sets with their latest batch of releases. Both this title and the new box of Liszt Orchestral Works by Masur are noticeably thicker than previous EMI sets featuring a similar number of discs. A minor point, but us serious classical collectors need every centimeter of space on our increasingly crowded CD shelves, not to mention the amount of wasted packaging.

Overall though, despite the fact that "Yehudi Menuhin - The Violinist" is not as essential a reissue as its counterparts in the "Original Masters" series, it is a delightful set that most collectors will thoroughly enjoy.

Average customer rating:

Classic Concerto Collections

Early Concerto Recordings, Vol. 2

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
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Early Concerto Recordings, Vol. 1
Beethoven, Brahms: Violin Concertos
A Life in Music, Volume 13: Isaac Stern
Ernest Ansermet: Decca Recordings 1953-1967
Tchaikovsky, Sibelius: Violin Concertos

ASIN: B000002716
Release Date: 1991-07-01

Tracks:

Symphonie espagnole In D Minor, Op. 21: I. Allegro non tropo
Symphonie espagnole In D Minor, Op. 21: II. Scherzando: Allegro molto
Symphonie espagnole In D Minor, Op. 21: III. Intermezzo: Allegretto non troppo
Symphonie espagnole In D Minor, Op. 21: IV. Andante
Symphonie espagnole In D Minor, Op. 21: V. Rondo: Allegro
Concerto No. 1 For Violin Op. 26: I. Prelude: Allegro Moderato
Concerto No. 1 For Violin Op. 26: II. Adagio
Concerto No. 1 For Violin Op. 26: III. Finale: Allegro energico
Zigeunerweisen, Op. 20

Tracks:

Concerto For Violin, Op. 47: I. Allegro moderato
Concerto For Violin, Op. 47: II. Adagio di motto
Concerto For Violin, Op. 47: III. Allegro, ma non tanto
Serenade After Plato's 'Symposium' For Solo Violin, String Orchestra, Harp And Percussion: I Phaedrus: Pausanias
Serenade After Plato's 'Symposium' For Solo Violin, String Orchestra, Harp And Percussion: II Aristophanes
Serenade After Plato's 'Symposium' For Solo Violin, String Orchestra, Harp And Percussion: III Erixymathus
Serenade After Plato's 'Symposium' For Solo Violin, String Orchestra, Harp And Percussion: IV Agathon
Serenade After Plato's 'Symposium' For Solo Violin, String Orchestra, Harp And Percussion: V Socrates: Alcibiades
Introduction & Rondo Capriccioso, Op 28

Tracks:

Concerto No. 1 For Violin, Op. 19: I Andantino
Concerto No. 1 For Violin, Op. 19: II Scherzo: Vivacissimo
Concerto No. 1 For Violin, Op. 19: III Moderato
Concerto No. 2 For Violin, Op. 63: I Allegro moderato
Concerto No. 2 For Violin, Op. 63: II Andante assai
Concerto No. 2 For Violin, Op. 63: III Allegro, ben marcato
Concerto No. 2 For Violin, Op. 22: I Allegro moderato
Concerto No. 2 For Violin, Op. 22: II Romance: Andante non troppo
Concerto No. 2 For Violin, Op. 22: III Finale: Allegro moderato, a la Zingara

Customer Reviews:

Classic Concerto Collections.......2003-06-18

Both Volumes "The Early Concerto Recordings" from the Isaac Stern Collection are absolutely brilliant. If these recordings were released today by Sony there would be two concertos per disc, they would come in some lavish original jacket packaging, and cost a small fortune. As is (they were released by CBS in 1990), they are packaged as two three-CD sets at a mid-line price. Granted the product is without a lot of bells and whistles, though Stern's anecdotes in the liner notes about the recordings are insightful and enjoyable, but who needs added fluff when the music is this good.

Tracks:

Christian Sinding, Suite in A Minor, op. 10
Saint Sa, Camille, Havanaise for Violin and Orchestra in E major, Op. 83 9:51
Saint Sa, Camille, Introduction and Rondo Capriccioso for Violin and Orchestra in A minor, Op. 28
Klaus Egge, Violin Concerto, Op. 26 - I Moderato
Klaus Egge, Violin Concerto, Op. 26 - II Grave
Klaus Egge, Violin Concerto, Op. 26 - III Finale Allegro de Ciso

Tracks:

Lalo, Edouard, Symphonie espagnole, Op. 21 I . Allegro non troppo
Lalo, Edouard, Symphonie espagnole, Op. 21 II. Scherzando: Allegro molto
Lalo, Edouard, Symphonie espagnole, Op. 21 III. Andante
Lalo, Edouard, Symphonie espagnole, Op. 21 IV. Allegro non troppo
Lalo, Edouard, Symphonie espagnole, Op. 21 V. Rondo Allegro
Tchaikovsky, Peter Ilyich, Serenade Melancolique for Violin and Orchestra in B minor, Op. 26
Sibelius, Jean, Humoresque for Violin and Orchestra: No. 1 in D minor , Op. 87, No. 1
Pablo de Sarasate, Zigeunerweisen, Op. 20 9:03
Ole Bull, Saeterjentens Sondag (DES HIRTENMCHENS SONNTAG)

Album Description

Recorded during Rosand's tours of Norway with orchestral and piano accompaniment, this 2 CD set features Lalo's Symphonie espagnole, Saint-Saëns' Havanaise and Introduction and Rondo Capriccioso as well as Klaus Egge's Violin Concerto, and Christian Sinding's Suite in A Minor. Also included are Tchaikovsky's Sérénade Mélancholique; Sibelius's Humoresque, Op. 87, Sarasate's Zigeunerweisen and Ole Bull's Saeterjentens Sondag.

Sibelius/Saint-Saens: Violin Concerto/Introduction And Rondo Capriccioso

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Dylana Captures the Essence of Sibelius

Sibelius/Saint-Saens: Violin Concerto/Introduction And Rondo Capriccioso

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B00000E6EB
Release Date: 1990-10-25

Customer Reviews:

Dylana Captures the Essence of Sibelius.......2003-05-25

Sibelius' Violin Concerto by Dylana Jenson and Eugene Ormandy definitely holds a place in my list of "ten records I'd take with me to a desert isle."

Among violin concertos, the Sibelius is obligatory for any soloist who wishes to be taken seriously, but I do not believe this piece has been sufficiently recognised for its place in the Sibelius repertoire. In Harold Johnson's 1959 biography, "Jean Sibelius," the author is at a loss when it comes classifying this among Sibelius' other masterworks. This may in part be due to the treatment the Concerto had previously been given by violinists - as a virtuoso piece, rather than a composition written in Sibelius' own inimitable style. This is understandable, given that Sibelius was an accomplished solo violinist.

Prior to obtaining this recording, the only two I owned were by Heifetz (with Hendl/Chicago Symphony) and Perlman (Leinsdorf/Boston Symphony). While I admire Heifetz' sterling performance, it seems aloof from the actual music itself, brilliantly and expertly played, but lacking in depth. The Perlman just never did anything for me.

This CD by Dylana Jenson with Eugene Ormandy and the Philadelphia Orchestra was her debut recording, which RCA chose to showcase in its then-new digital series. What makes it so satisfying is that it is by far the most Sibelian performance I've heard, then or since (and I own 11 different recordings). This is more difficult than it sounds. I have found most violinists to have rather "inbred" perspectives in regards to the repertoire for the solo violin - they tend to "interpret" a piece of music from the standpoint of the music out there for their instrument (which is logical), rather than understanding the composition's place within the composer's output. Hence, a brilliant performer such as Heifetz sounds as though he doesn't "get it," despite his sound musicianship. This approach by lesser virtuosos, such as Sarah Chang in her 1996 performance with the Berliner Philharmoniker and Mariss Jansons (himself a dedicated Sibelian), falls flat on its face.

But the Jenson recording does not "come close"; it's *there.* Jenson, who recorded this when she was twenty, obviously holds an affection for the music of Sibelius and beautifully gets under the skin of the piece. Her playing is seemingly paradoxical: Her timing is so mathematically precise that one could set a metronome to it and her execution is so matter-of-fact, that it sounds inevitable. And yet, this could never for a minute be mistaken for indifference, for her performance comes across as inspired and impassioned. Through her performance, you can hear that the Sibelius Concerto belongs not in a category by itself (as Johnson suggests) but thematically with the First Symphony and "En Saga" and structurally with the Second and Fifth Symphonies.

From the opening of the first movement (Allegro moderato), Jenson's violin subtly rises from within the ostinato of the upper strings played in pp-p, placing her violin firmly at the helm, but never outside, of the orchestra. Eugene Ormandy's conducting goes a long way towards the seamless integration between soloist and orchestra - as with so many other soloists, Ormandy places the Philadelphia in the service of providing a sympathetic accompaniment. The genius of Ormandy (and Jenson) is that the orchestra is never in a subordinate role. Throughout the opening movement there are intimate passages in which Jenson's solo violin beautifully communicates with orchestra soloists, such as the cellist, the bassoonist and clarinetist. There is one passage in which Jenson's violin and the solo 'cello repeatedly exchange a handful of notes between each other in so simple and understated a manner, that it conjures in the mind's eye two lovers meeting, then parting, in the night.

Dylana Jenson's violin (a treasured Guarnerius del Gesu) has such a warm tone that it almost sounds like a viola and her bowing is smooth without ever having to over-rely upon vibrato. Her playing clearly achieves the Sibelian ideal in sound: Her instrument sounds as though it is playing from within the orchestra, though she never becomes subsumed in the ensemble.

Nowhere is this more evident than in the second movement, Adagio di molto. I've heard many a performance in which the soloist tries to "impart meaning" to this movement by letting the bow linger just a shade too long on the strings, which only ruins the whole effect intended by the composer. From listening to Jenson's simple and persuasive interpretation, it is refreshing to hear this movement interpreted gently, honestly and forcefully, the meaning found where it had been all along - in the notes as written by the composer.

The Finale (Allegro ma non tanto) is where Jenson really gets to show her "chops." This movement runs the whole gamut of difficulty in bowing and fingering, and Jenson brings the same expertness she does in the earlier movements in building towards the finale's climax tautly and suspensefully, yet without tearing the concerto away from its thematic roots. A couple of the runs sound so breathtakingly impossible (without sounding in the least incongruous to the thematic material) that you realise that you're listening to perhaps to the most difficult of concertos; difficult not only technically, but one that demands an implicit understanding on the part of the soloist, conductor and orchestra. This recording more than delivers on all three accounts.

Saint-Saens' "Introduction and Rondo Capriccioso" is likewise imparted with the same maturity on Jenson's part as the Sibelius: As music, first and foremost. Yet, unlike the Sibelius, Jenson realises she's got a "showpiece" on her hands, and plays accordingly. Yet, as Toscanini would even conduct Rossini's "William Tell" Overture with the same thoughtfulness and passion that he would "Turandot," Jenson never comes across as hackneyed, but rather musically committed to this piece. There is a section in which her playing deftly shifts gears into a wistful, reflective interlude, then effortlessly builds to the quicksilver finale without missing a beat.

Tracks:

No. 1 In D Minor
No. 2 In D Major
No. 3 In G Minor
No. 4 In G Minor
No. 5 In E Flat Major
No. 6 In G Minor
Serenade Melancolique
Reverie Et Caprice
Introduction And Rondo Capriccioso
Poeme
Tzigane

Tracks:

Allegro Non Troppo
Andantino Quasi Allegretto
Molto Moderato E Maestoso
Havanaise
Allegro Non Troppo
Scherzando
Intermezzo
Andante
Rondo

Album Description

"The recordings are uniformly clear and rich in detail--truly amazing for their vintage. At Vox's prices, a collection like this one by an estimable violinist like Rosand is well-nigh irresistible. Think of it this way: for almost nothing, you can get one of the best Lalos ever recorded and about an hour and a half of music absolutely free. A phenomenal bargain!" (Robert Maxham - Classical Net Review)

Customer Reviews:

Basement Prices for Penthouse Music.......2007-05-13

Aaron Rosand's CDs are always cheap - yet he's made some of the greatest recordings of standard literature, and often the ONLY recordings of non-standard literature. This disc is like a miniature treasure trove. It features the Saint Saens concerto #3 and the Lalo - and these two recordings are definitely among the aforementioned best out there. Rosand's sound is like that of a vintage bottle of wine. Although he never became a household name, his playing reveals a polished, refined quality that lends itself especially well to romantic works such as these.
His approach brings out all the sparkling Spanishness of the Lalo. The Saint Saens has many pleasing moments; to mention just one, the section of that closes the second movement is perfectly-paced and the harmonics are crystal clear. So many recordings and performances of this piece are played with an almost brusque "Tchaikovskyan" style; Rosand doesn't go overboard and articulates the lyrical sections especially well.
The Sibelius Humoresques are delightful; these six small pieces are never played on concert programs because they simply don't match up well against a concerto or a symphony. On a less positive note, Rosand's Chausson "Poeme" is probably the longest one I've ever heard, at over 17 minutes. The tempos drag considerably and although Rosand's big tone comes forth nicely, the opening cadenza and ending are just too slow. Like Grumiaux's recording of Ravel's "Tzigane", Rosand's is also very padded and lacking the necessary abandonment. He plays it very straightforwardly, hitting all the notes and never deviating far from the printed page. Berlioz's "Reverie & Caprice" and Saint Saens' "Havanaise" get good readings here. But the Lalo and Saint Saens concerto definitely make this 2-CD set well worth the investment. Four stars.

Phenomenal bargain.......2002-07-15

Aaron Rosand is one of the most overlooked fiddlers of our day. His Sibelius is fresh, with Rosand capturing a musical snapshot of the dark, cool Finnish landscape. The Lalo is stylish and impeccably executed. The remainder of the discs, while well played, does not quite reach the excellence of exalted interpretations by Heifetz in the Havanaise and Rondo Capriccioso, or Oistrakh in the Poeme. Occassionally there is some strain in Rosand's slender tone, some of which may be attributable to the sonic limitations of the recording. Climaxes in the Chausson and Berlioz and hindered by such technological limitations. But beneath such problems is exciting and vibrant playing well worth the unusually affordable price.

Aaron Rosand plays Berlioz, Tchaikovsky, Ravel, Lalo, others.......2000-08-21

Great player Aaron Rosand

Music Review: