Sibelius: Violin Concertos

On this CD:

1. Violin Concerto, for violin & orchestra in D minor, Op. 47
Composed by Jean Sibelius
Performed by London Philharmonia Orchestra with Ginette Neveu
Conducted by Walter Susskind

2. Symphony No. 2, for orchestra in D major, Op. 43
Composed by Jean Sibelius
Performed by New York Philharmonic
Conducted by Sir John Barbirolli

Tracks:

Concert For Violin And Orchestra In D Major, Op.61: I. Allegro Ma Non Troppo (Cadenza: Fritz Kreisler) - Bruno Walter
Concert For Violin And Orchestra In D Major, Op.61: II. Larghetto - Bruno Walter
Concert For Violin And Orchestra In D Major, Op.61: III. Rondo: Allegro - Bruno Walter
Concerto For Violin And Orchestra In D Minor, Op.47: I. Allegro Moderato - The Philadelphia Orchestra
Concerto For Violin And Orchestra In D Minor, Op.47: II. Adagio Di Molto - The Philadelphia Orchestra
Concerto For Violin And Orchestra In D Minor, Op.47: III. Allegro, Ma Non Tanto - The Philadelphia Orchestra

Amazon.com

The Sibelius Violin Concerto was a David Oistrakh specialty. He brought to it a personal warmth and poetry, and he made the most of what critics call Sibelius's "Russian melancholy," which is the term applied to Russian music when it sounds most Finnish. But seriously, the great Finnish composer was a strong admirer of Tchaikovsky, whose Violin Concerto was another Oistrakh specialty. Eugene Ormandy's Sibelius credentials were similarly well established at the time that this great recording was made. At a budget price, with a terrific Beethoven Violin Concerto tossed in, you'd have to be nuts not to want to hear it. --David Hurwitz

Customer Reviews:

Francescatti vs. Heifetz.......2007-04-21

I've owned this CD and the Heifetz/Reiner Beethoven for years, and it's hard to imagine that both violinists were playing from the same score. Francescatti makes a regular practice of holding a note just a bit, to shape a phrase or add emphasis. Heifetz makes a consistent practice of avoiding this and moving briskly on--which raises the issue of tempo: in the first movement, Heifetz takes a full 2 minutes less than Francescatti (despite Heifetz' somewhat elaborate cadenza), and the remaining movements are similarly timed. As he bustles along, Heifetz tends to vary the force of his notes more subtly than Francescatti, who deploys a wider range of volume levels.

As a result, lovers of the Francescatti approach may find Heifetz clipped, brusque and impersonal, while lovers of the Heifetz approach may find Francescatti slow, heavy and mushy. Or to put it in positive terms, Heifetz excels in maintaining and building rhythmic energy, while Francescatti is best in developing the emotional content of the work and letting it "breathe." It took me a long time to come to appreciate both approaches, and I signal this as a study in contrast. At this low price, you can buy both and decide for yourself. (My favorite? This one.)

The gentleman of the violin!.......2006-06-30

Zino Francescati was a very solvent violinist with a pleasant tune and a warmth temperament. His phrasing was kind and delicate, and this is perhaps his main virtue and his main defect, because many works don't resist such approach.

But in this case, Beethoven' s Violin Concerto works out because the sublime inspiration of this Opus, allows to be expressed under this considerations and particularly this vision is carefully performed in this case.

Elegance and refinement feature this version. So please, don't miss it.

In the case of Sibelius violin's concerto, there are better options in the market such Ginette Neveu, ivry Gitlis and Jasha Heifetz.

masters at work.......2006-01-18

Francescatti's Beethoven concerto is shapely and engaging, and the playing is warm and refined throughout. My ultimate preferences with this piece are Shumsky's 1988 recording with the Philharmonia Orchestra under Davis, and Menuhin's recording under Furtwangler, but I admire Francescatti's beautiful lines and devoted intelligence. The reason, however, for seizing this remarkable offer (who knows anymore how long any recording will remain available!) has to be Oistrakh's incomparable recording of the Sibelius under Ormandy and the Philadelphia Orch. Of the many versions of this great work, for me, there is none that matches this particular Oistrakh/Ormandy recording. Of more recent versions, Cho-Liang Lin turns in a stupendously musical performance of this piece - convincing and beautiful. I believe five or six D. Oistrakh recorded versions of this concerto remain in print; his Melodiya recording with Rozhdestvensky is a rival, but Ormandy's command of the glacial cast of Sibelius' orchestral writing is just amazing, and, underpinning Oistrakh's inimitable conception, the playing of the Philadelphia Orch is rich and perfectly attuned to Sibelius. The remastered sound is first-rate, you'd think it was a modern recording. Whether you love this concerto, or dont yet know it, you've found here a defining performance to reveal its mysteries. I've treasured this recording for thirty years, and urge you to give it a hearing.

Two Violin Concerti - Two wonderful recordings.......2005-12-25

I don't play the violin at all, but I love these two concerti (They're among my favorites for violin).

The Beethoven is pretty good, actually very good. This is one of the first pieces I heard live at a concert. The length of the whole piece doesn't matter when you're actually listening to it. I've heard more romantic versions, but I actually prefer Francescatti's interpretation. It's very fine, nothing too showy to make the music more than what it is. For a more "modern" recording, I would choose Hilary Hahn's.

I haven't listened to the Sibelius as much as the Beethoven on this CD, but I actually prefer this playing to the artists of today, such as Bell, Chang, etc. Oistrakh's tone is wonderful.

I would definitely recommending this CD to anyoone, to introduce these pieces to a new listener, or to add this to a classical music connoisseur's collection.

Excellent recording, good price.......2005-08-10

This is a really great CD, featuring two of the 20th century's best violinists - Zino Francescatti on the Beethoven and David Oistrakh on the Sibelius. While the majority of my recordings are by modern day artists (Hahn, Chang, Bell, Midori, etc), I have several recordings by older artists, and for the most part I can tell a real difference in their playing styles compare to modern day players. To me, the older artists seem to play with a much more elegant, restrained style than the newer artists (with the exception of, perhaps Heifetz). While both artists play magnificently on this CD, I would say that this more elegant playing serves the Beethoven much better than the Sibelius.

The Beethoven isn't really one of my favorite concerti, mostly because it's so long that I rarely listen to the entire thing (all movements). However, I have listened to this entire recording more than enough times to recognize the warm, personal playing that Francescatti delivers.

The Sibelius, one of my all-time favorite concertos (for any instrument), is played exceptionally well by Oistrakh, though I think his playing style is a little too reserved for my tastes. To me, it often sounds like Oistrakh is playing in a more classical style than the Sibelius warrants. Compared with a recording at the other end of the spectrum (for example, Salerno-Sonnenberg), Oistrakh's playing is just a little boring, particularly on the spectacular final movement. Don't get me wrong, he plays beautifully, but I just prefer Sibelius to be a little grittier. However, to Oistrakh's credit, his playing is always perfect and controlled, even in incredibly difficult spots where some other artists can sound border-line out of control. It seems that playing with fire and abandon often comes at the price of clarity, and playing with technical clarity and perfection often comes at the price of excitement. That being said, no recording can really be said to be better than the other... I just happen to prefer the sibelius to be played slightly closer to the "fiery abandon" side of the spectrum (however, my favorite version of this concerto, by Midori, seems to find a perfect balance between the two extremes). Enjoy

Average customer rating:

A strong collaboration that is of one mind
The Passion and Precision of Sibelius and Nielsen Flow from these Performances
Much Needed Reissue

Sibelius, Nielsen: Violin Concertos

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music

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

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

Bruch: Concerto NO.1/Scottish Fantasy
Mozart: Violin Concertos Nos. 3 & 5; Adagio for Violin & Orchestra
Mozart: Sinfonia Concertante, K.364/Concertone, K.190
Bartok: Violin Concertos, Viola Concerto, 6 Duo for 2 Violins, Violin Rhapsodies; Yehudi Menuhin
Nielsen: Symphonies no 4-6 / Blomstedt, San Francisco Symphony Orchestra

ASIN: B00077F94I
Release Date: 2005-10-18

Customer Reviews:

A strong collaboration that is of one mind.......2006-07-26

Esa-Pekka Salonen and Cho-Liang Lin seem to think alike, as one immediately notices here. In both the Sibelius and Nielsen concertos the orchestral part runs along seamlessly with the soloist. It's rare for violin virtuosos to submit themselves to an equal partner, and perhaps Lin goes a bit too far. He has a big tone (especially as miked here) and a very direct way of expressing himself. I only wish he'd cut loose in the first movement of the Sibelius, or that in the finale his playing felt a little less controlled.

But those are quibbles. There's a lot to be thrilled by in these muscular, sometimes brash performances. As remastered, Sony's recorded sound for Lin is demonstration quality, adding a great deal to one's pleasure. The Nielsen is so well played that for years this CD was the front-runner, although Vengerov has managed to beat Lin out with extra passion and finesse. Even so, Lin has musical integrity and impeccable technique. The stronger personality here, I suspect, is Salonen, who is a first-rate Sibelian and turns the orchestral parts of both concertos into symphonic works.

The Passion and Precision of Sibelius and Nielsen Flow from these Performances.......2006-01-23

That Esa-Pekka Salonen and Cho-Liang Lin have enjoyed a strong collaborative affinity over the past years is well known and their recordings never fail to satisfy, no matter the composer's works at hand. But this now restored recording of the fiendishly difficult Sibelius and Nielsen Violin Concerti with Salonen conducting the Philharmonia Orchestra of London and the Swedish Radio Symphony Orchestra is once again proof that few musicians understand these works as well as the partnership of Salonen and Lin.

Lin's sumptuous, golden tone is never forced out of focus even in the most rapid sequences of the Sibelius. His intonation and phrasing are right in the middle of the target and his integration with the orchestral fabric is so natural that when exposed phrases emerge it is as though the entire string section is distilled into one instrument. The second movement is one of the most beautiful ever recorded, with Lin and Salonen bringing all the understated Nordic passion into full flower.

The Nielsen is rarely performed and the reasons are unclear, especially hearing the way the concerto works so well in these collaborators' hands. The performance is bracing and makes the most of Nielsen's extended melodic lines.

If there is a 'flaw' to be found, it is in the recorded sound of the orchestras. Whether that is due to the orchestras or to the engineers is unclear, though having just heard the LA Philharmonic with Hilary Hahn as the mesmerizing soloist leaves one thinking it is the former. The Sibelius in Disney Hall becomes a musical experience that rings through the spaces of the hall and the mind long after the final chord. Now that Salonen and the LA Phil are recording for DGG let's hope that he and Lin will again record these concerti in this ambience. Until that time, this amazingly affordable CD is a must for every collector. Highly Recommended. Grady Harp, January 06

Much Needed Reissue.......2006-01-08

This CD has been out since 2004, but only recently has it started selling here at Amazon. That is because when this new line of Sony "Great Performances" first came out, they were being offered exclusively through Tower Records, but now thankfully they are available anywhere fine music is sold (I sound like a commercial). There were a dozen or so initial "GP" titles and the majority of them have been previously available on CD at full price, and with this reissue are receiving their midline debut. And for this Sibelius/Nielsen VC CD that is very important as copies of its out-of-print predescesor were being sold at outrageous prices in the Amazon Marketplace. I won't go into specifics about these performances, other than to say they are brilliant, because there are some great commentaries posted with its previous incarnation. I'm still fuming mad at Sony for recently deleting so many of their best CDs, but at least they are continuing to make some classics available once again.

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

Average customer rating:

Perfect Sibelius
Nice package, exemplary sound and solid performances
Outstanding

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

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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

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

Brahms, Tchaikovsky: Violin Concertos [Hybrid SACD]
Beethoven: Violin Concerto; Mendelssohn: Violin Concerto [Hybrid SACD]
Rimsky-Korsakov: Scheherazade; Stravinsky: Song of the Nightingale [Hybrid SACD]
Mussorgsky: Pictures at an Exhibition, A Night on Bald Mountain, and Other Russian Showpieces [Hybrid SACD]
Heifetz plays Bruch & Vieuxtemps [Hybrid SACD]

ASIN: B0006PV5U8
Release Date: 2005-01-25

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sibelius & Korngold Violin Concertos-Sinding Suite

Average customer rating:

Korngold reworks his THE PRINCE & THE PAUPER (WB 1937) score for for Violin Concerto in D, Op.35
Perlman Back In Print

Sibelius & Korngold Violin Concertos-Sinding Suite

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
Similar Items:

Dvorák: Violin Concerto; Romance; Sonatina; 4 Romantic Pieces
Paganini: Violin Concerto Vo. 1; Sarasate: Carmen Fantasy
Itzhak Perlman: Violin Encores
Sibelius/Tchaikovsky: Violinkonzerte
Paganini: 24 Caprices

ASIN: B0000AF1KO
Release Date: 2003-10-21

Tracks:

I: Allegro Moderato
II: Adagio Di Molto
III: Allegro Ma Non Tanto
I: Presto
II: Adagio
III: Tempo Giusto
I: Moderato Nobile
II: Romance (Andante)
III: Finale (Allegro Assai Vivace)

Amazon.com

On this disc, the playing's the thing and it is fabulous. Originally made in 1979 and 1980, these recordings capture Perlman at his incomparable peak. The effortless perfection of his technique leaves you gasping in disbelief; even the infamously unplayable passages in the Sibelius Finale are tossed off with easy nonchalance, and he avoids the false accents often heard in the treacherous opening theme. And Perlman's toneis warm, mellow, pure, and constantly expressive; its golden glow is like burnished copper on the low strings, like radiant sunshine up high, and he can vary it instantaneously with bow and vibrato to fit the music. Of the three works, the Sibelius is, of course, the best and most familiar; underplaying its extroverted flamboyance without sacrificing its virtuosity, Perlman brings to it an unusual degree of inwardness. Another striking feature of the performance is the clarity of the orchestral texture, which allows generally unnoticed lines and details to come out. The Sinding Suite begins with a marathon run-around, goes into a sentimental ballad up the G string, and ends with what sounds like a parody of a baroque dance.

Of all the European emigré composers who found refuge in Hollywood, Korngold was probably the most talented and best known. His film scores deservedly brought him fame and fortune but little artistic satisfaction; he continually attempted, to write "serious" music but found his old style passé and the new styles incomprehensible. Perhaps this disappointment eroded his inspiration; all his American concert compositions fall back on material from his film music. The violin concerto, premiered by Heifetz, who championed several European Hollywood composers, is ingratiating and somewhat derivative. The melodies swoop and soar, the form is episodic, the orchestration colorful, the style overripe, sentimental, atmospheric and evocative: one can easily imagine a film around it. The solo part is ferociously difficult but very effective, exploiting every resource of the instrument; Perlman plays it with incredible virtuosity, a glorious sound, and completely serious, honest expressiveness. --Edith Eisler

Customer Reviews:

Korngold reworks his THE PRINCE & THE PAUPER (WB 1937) score for for Violin Concerto in D, Op.35.......2007-01-26

Erich Wolfgang Korngold came to the U.S. in 1934, leaving behind him in his native Austria an incredible body of work, including operatic and concert successes. As a composer of film music, he was nominated for the Academy Award four times, receiving an Oscar twice, for his original scores for ANTHONY ADVERSE (1936) and THE ADVENTURES OF ROBIN HOOD (1938). After composing scores for 18 major Warner Bros. features, Korngold retired from films in 1946 to continue his career of serious composition.

This selection begins with a chase-like theme, as the First Lord rushes out of Westminster Abbey during the Coronation of beggar-boy Tom Canty and races through the streets of London to Windsor Castle to collect the Great Seal of England, which will prove the true identity of Prince Edward, who has just appeared in rags proclaiming himself to be king. Followed by a romantic interlude and the majestic Main Title. All brilliantly performed and remastered.

Perlman Back In Print.......2004-05-22

"The Perlman Edition" is a new CD series from EMI which collects many of the violinist's most celebrated recordings for the label. These performances of the Sibleius and Korngold Violin Concertos, and the Sinding Suite, with conductor Andre Previn and the Pittsburgh Symphony Orchestra from 1979-80, are among the best. The material on this title has been available on CD previously -- the Sibelius and Sinding were coupled on one disc, while the Korngold was paired with the Goldmark, which has yet to be reissued. In my opinion, Heifetz owned these three works, however only his recording of the Sibelius is available in stereo (and as a performance, it plays second fiddle to his mono account with Beecham available on Naxos). With that being said, it is great to hear a world class violinist like Perlman tackle these works in the prime of his career in stereo. While I don't see myself buying all of the "Perlman Edition" discs, it is certainly good to have them back in print, particularly this one.

Joshua Bell ~ Sibelius · Goldmark - Violin Concertos / Los Angeles Philharmonic · Salonen

Average customer rating:

Excessive rather than expressive
LACK OF SOMETHING ON MY PART
Bell and Salonen: A Fine Collaboration!
Lovely, lovely sounds but not involving as performances
What a performance!

Joshua Bell ~ Sibelius · Goldmark - Violin Concertos / Los Angeles Philharmonic · Salonen
Jean Sibelius , Karl Goldmark , Esa-Pekka Salonen , Joshua Bell , and Los Angeles Philharmonic
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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

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

Mendelssohn & Beethoven: Violin Concertos
Tchaikovsky: Violin Concerto [Hybrid SACD]
Tchaikovsky, Wienawski, Brahms, Schumann: Violin Concertos
Romance of the Violin
Bruch, Mendelssohn, Mozart: Violin Concertos

ASIN: B00004WK4D
Release Date: 2000-08-22

Tracks:

Concerto for Violin and Orchestra in D minor, op. 47: I. Allegro Moderato
Concerto for Violin and Orchestra in D minor, op. 47: II. Adagio Di Molto
Concerto for Violin and Orchestra in D minor, op. 47: III. Allegro, Ma Non Tanto
Concerto No. 1 For Violin And Orchestra In A Minor, Op. 28: I. Allegro Moderato
Concerto No. 1 For Violin And Orchestra In A Minor, Op. 28: II. Andante
Concerto No. 1 For Violin And Orchestra In A Minor, Op. 28: III. Moderato - Allegretto

Amazon.com

Joshua Bell has returned to the mainstream repertoire from his recent successful excursions into film (The Red Violin) and bluegrass-crossover (Short Trip Home), and his playing, always brilliant, and arresting, has reached a new peak. Despite the booklet's claim to the contrary, these two concertos have nothing in common except fiendishly difficult bravura solo parts; rather, they represent a perfectly valid pairing of opposites. Bell makes the most of the contrasts, bringing out each work's idiomatic character. The Sibelius, from the eerily icy opening to the exuberant ending, is heavy, rugged, austere, majestic, expansive, with grand, intense climaxes. The Goldmark has a Hungarian flavor with its romantic, melancholy lyricism, poetic, almost religious inwardness, charm, and vitality. Bell's effortless virtuosity is unlimited but entirely unobtrusive; his intonation is perfect, the passage-work crystal clear. He seems incapable of producing a bad sound, even in double and triple stops; his tone is ravishingly beautiful, radiant as golden sunshine, warm as dark velvet. Best of all, he makes music: every note is expressive, everything has shape and direction; the playing is always noble, honestly felt, and without excess or exaggeration. --Edith Eisler

Customer Reviews:

Excessive rather than expressive.......2006-10-02

Bell's prodigious technique not withstanding, he continually approaches the repetoire as a personal Rorshach, rather than a journey to the composer's intention. In concert, he bends and sways like a fiddler at a Hungarian restaurant. Judging by this Sibelius, he's never met a ritard he didn't like. All of that herky-jerky stopping and starting all but ruins the gorgeous through line of this miraculous concerto. Sibelius may have been a romantic, but his Finnish personality was cooler by many Celsius degrees than the stereotypical sheen given by Mr. Bell. By contrast, Salonen's accompaniment with the L.A. Phil may be even more persuasive than his work with The Philharmonia for Cho-Liang Lin. But Lin's absolute understanding of the work, his intelligence, clarity, beautiful tone...his total approach makes this the recording to own. Lin has unjustifiably never attained the superstar status of Bell, but he is by far the greater musician.

LACK OF SOMETHING ON MY PART.......2006-05-30

Due to, I'm sure, a lack of musical sophistication on my part, I've never really had much of an appreciation for Sibelius's violin Concerto. I have always loved many works by Jean (mainly his symphonies) just not his Violin Concerto which, in the past, has failed to move me in any way. I must put a fine point on the aforesaid. I have indeed heard some live performances of the Sibelius violin Concerto that I have been "moved" by; however, the recordings that I've heard have left me rather "cold" until this recording with Bell and Salonen. They deliver it wonderfully! Bell plays the outer fast movements with breathtaking virtuosity and the slow one with great feeling; the melodies really flow in a beautiful arch of sound. To me, Bell's tone is gorgeous Salonen is a most sensitive accompanist always keeping his forces under great control and never allowing them to drown out the soloist as I have heard in other recordings. I feel that one of the main reasons I enjoyed this recording of the Sibelius so much is the recording itself--the balance along with the sound is marvelous.

The Goldmark concerto is played wonderfully too. Bell again delivers its many melodies wonderfully and again the balance of the recording added to my enjoyment.
If you like romantic violin concertos, you can't get any better than this--two great artist (Bell and Salonen at the height of their powers.

Bell and Salonen: A Fine Collaboration!.......2005-10-27

Joshua Bell continues to mature as a soloist. With every passing year his tone becomes ever more rich and luxurious and his technique now literally sparkles with virtuosity. And given the fact that this recording of the Sibelius and Goldmark Violin Concertos is five years old now makes the listener want to seek out contemporary collaborations between Bell and Esa-Pekka Salonen and the Los Angeles Philharmonic to discover how each has grown.

This pairing of Sibelius with Goldmark is very wise: the two concertos are so widely different that they create a fine continuum of just what the violin is capable of doing. The Sibelius, played here with passion and all the aura of the high north of Scandinavia, finds Joshua Bell in committed form: the phrasing is liquid and longing, the rapid sequences are articulated with utter ease, and the soaring conclusion is among the finest recorded. Salonen and the LA Phil provide that wondrous sonic support for which they are so well known.

The Goldmark concerto is less well known to the concertgoer, so ensconced is it in folk rhythms and flavors that it longs for a line of continuity. Yet Bell tosses off this fiendish work with aplomb and makes it seem a natural for the standard repertoire.

Hearing this recording makes one want to attend a concert performance today, with the same forces, and with the associated growth in expressivity of all concerned. A fine recording. Grady Harp, October 05

Lovely, lovely sounds but not involving as performances.......2005-09-24

Bell doesn't know how to make an unbeautiful sound on the violin, and he plays an incredible Stradivarius. The recorded sound of both soloist and orhestra is super-clear and detailed, one of the best to come out of LA from Sony. But as a peformance the Sibelius in particular is uninvolving, sounding far too careful and fussed over. Too bad, becasue both Bell and Salonen are major young artists. I had hoped for better.

What a performance!.......2004-03-30

Just listen to the Goldmark concerto. Joshua Bell is well on his way to becoming one of the greatest violinists ever. Stunning interpretation! The violin as it was meant to be played! Don't miss it.

Average customer rating:

Warm and passionate Stern, masterful Ormandy
Great
Very fine versions of these two concertos
A must have for Stern fans, others shop around
Not too bad, but certainly not great.

Tchaikovsky, Sibelius: Violin Concertos

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music

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

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

A Life In Music: Isaac Stern, Volume 8
Wienawski, Bruch: Violin Concertos
Brahms: Violin Concerto; Double Concerto for violin and cello
Mendelssohn, Dvorak: Violin Concertos
Mendelssohn: Violin Concerto In E Minor, Op. 64 / Tchaikovsky: Violin Concerto In D Major, Op. 35

ASIN: B000002AXW
Release Date: 1995-05-16

Tracks:

Concerto For Violin And Orchestra In D Major, Op. 35: I. Allegro moderato
Concerto For Violin And Orchestra In D Major, Op. 35: II. Conzonetta. Andante
Concerto For Violin And Orchestra In D Major, Op. 35: III. Finale. Allegro vivacissimo
Concerto for Violin and Orchestra in D minor, op. 47: I. Allegro moderato
Concerto for Violin and Orchestra in D minor, op. 47: II. Adagio di molto
Concerto for Violin and Orchestra in D minor, op. 47: III. Allegro, ma non tanto

Customer Reviews:

Warm and passionate Stern, masterful Ormandy.......2003-11-13

I can never pass up a good Sibelius Violin Concerto and picked this CD up for a couple of bucks in a bargain bin. Needless to say, it was well worth it. I've never been very impressed with recordings from the '60s, but this one is excellent. The acoustics are superb -- obviously not as good as modern ones, but not "muddy", as the reviewer below said. The Philadelphia Symphony Orchestra sounds outstanding on this recording, and Ormandy is a master. For example, there are parts of the Tchaikovsky concerto where the orchestra's playing is even more breathtaking than Stern's. Is that possible? Ormandy jumps strongly into the rollicking 3rd movement of the Sibelius concerto, unlike a lot of the limp and flaccid performances I've heard under other conductors. And of course, Stern is phenomenal here: it may not his best disc, but it's definitely a very good one. He is characteristically warm and passionate, eschewing show-offy technical fireworks for a down-to-earth and very emotional style. His playing can be just slightly loud in places on this disc (which probably has more to do with the placement of the microphone than anything else), but overall it's a fantastic recording. Five stars.

Great.......2001-07-04

This has to be one of my favorite CDs. Peter Tchaikovsky's Violin Concerto has to be one of my favorite pieces by the violin, and Jean Siblius does a great job on his too. Isaac Stern does a great job, making only one mistake in the third movement of the Tchaikovsky piece. As always, Eugene Ormandy does a great job conducting his Philadelphia Orchestra. I find this an almost perfect replica of what Peter Tchaikovsky and Jean Sibelius pictured when they composed their pieces. This is a very good price considering that I have seen it in bookstores for [a lot more]....

Very fine versions of these two concertos.......2001-02-20

These are wonderful performances, full of the flair that made Stern famous. I was glad Sony chose this particular version of the Tchaikovsky with Ormandy and the Philadelphians for his "Life in Music" series, rather than Stern's later version with Berstein and the NYPO. This earlier recording captures Stern with more spontaneity and displays his virtuosity to greater effect. The faster passages of the Tchaikovsky are handled with ease, even at speeds faster than normally heard. The Sibelius was recorded much later and therefore has slightly better sound but the performance again is on a very high level. It may not be THE best version of this concerto out there, but it is very satisfying. Overall I would recommend this recording.

A must have for Stern fans, others shop around.......2000-05-10

The Tchaikovsky dates from the 1950's and the recording shows its age, although Sony has done an admirable remastering job. The violin is placed very forward in relation to the mic, which captures Stern very well. The fluidity and technical precision he exhibits in the quick passage work reminds me of Heifetz in his almost robotic ability to hit every note. To Stern's credit, he is considerably more poetic than Heifetz in this particular work. This might even be a top recommendation if not for the orchestra not being captured very well. The orchestra is too far back and sounds a bit muddy. The sound in the Sibelius is much better (recording from late 1960's), but Stern's performance is not on a par with the Tchaikovsky. It is quite adequate and probably better than average, but it is missing that last bit of dark mystery I associate with this piece. This reading pales in comparison to Lin/Salonen on Sony, Repin/Krivine on Erato, and Kennedy/Rattle on EMI.

Not too bad, but certainly not great........1999-12-22

The Tchaikovsky on this album is good, very good, but the Sibelius is somewhat mediocre. I have other recordings of Isaac Stern, and they are quite good, but a master of violin can't always get it perfect, and the Sibelius concerto here makes that obvious. Much better, in my opinion, is the recording with Anne-Sophie Mutter, and even better is the Heifetz (although the quality of the recording isn't that good, it's still a great performance).

Sibelius/Glazunov/Tchaikovsky: Violin Concertos - Jascha Heifetz, Sir John Barbirolli, Sir Thomas Beecham, London Philharmonic Orchestra

Average customer rating:

Sibelius/Glazunov/Tchaikovsky: Violin Concertos - Jascha Heifetz, Sir John Barbirolli, Sir Thomas Beecham, London Philharmonic Orchestra

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

Requiem/Pavane/Requiem
Tchaikovsky: Symphony No. 4; The Nutcracker
Prokofiev: Sinfonia Concertante; Miaskovsky: Cello Concerto
Bax: Tingtagel; Delius: The Walk to the Paradise Garden; A Song of Summer; Irmelin Prelude and others
Mussorgsky: Pictures at an Exhibition; Tchaikovsky: Symphony No. 4

ASIN: B000I2ISMW
Release Date: 2006-10-03

Tracks:

I: Allegro Moderato
II: Adagio Di Molto
III: Allegro Ma Non Tanto
I: Allegro Moderato
II: Canzonetta (Andante) -
III: Allegro Vivacissimo
Moderato -
Andante -
Cadenza -
Animando

Average customer rating:

Underpriced
Superb survey of one of the all-time greatest violinists

Violin Concertos [Box Set]

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Brilliant Classics | Amazon.com Label Stores | Stores | Music
Similar Items:

Historic Russian Archives Emil Gilels Edition [Box Set]
Leonid Kogan Edition [Box Set]
Historic Russian Archives: Sviatoslav Richer in Concert
Emil Gilels Plays Beethoven (Box Set)
Arturo Benedetti Michelangeli Vol. 2 [Germany]

ASIN: B0009VI51G
Release Date: 2005-06-28

Customer Reviews:

Underpriced.......2006-12-19

It is incredible to me that I was able to purchase ten discs of probably the single greatest violinist of the century tackling immortal masterpieces for less than the cost of a utility bill.

You are thinking, "where's the catch?" Well, there is none. The transfers are excellent, the performances, of course, are superb. The only corner-cutting to be found was in the packaging, but even that was more than sufficient.

All these riches made me greedy, though. I wish there was Bartok 2 as well as 1, same with Szymanowski. I wish there was Khatchaturian. But how spoiled I am to be complaining! There is so much here to be enjoyed, from the crags of Szymanowski and the peaks of Beethoven to the cool, dark valleys of Chausson. If you only ever buy one violin box set, buy this one.

Superb survey of one of the all-time greatest violinists.......2005-08-28

We haven't been exactly short on releases by the great David Oistrakh, whether in the LP days or on CD. The trouble was that his recorded legacy - one of the most extensive in history by any violinist - has been made accessible through a multitude of labels, often in a haphazard fashion, and even more often for a very short time. The arrival of this new 10 CD-box has to be saluted for its effort to group a splendid selection of live recordings by Oistrakh made in the USSR between 1939 and 1968 with the Moscow Philharmonic, the Leningrad Philharmonic and the USSR Radio Symphony Orchestra, with some of the foremost conductors of the day (Alexander Gauk, Kirill Kondrashin, Gennady Rozhdestvensky, Kurt Sanderling).

Undoubtedly, collectors will already have the majority of the recordings presented here (although a lot is no longer available), but this box covers all the great concertos and as a survey of the art of "King David" it is presently unbeatable.

The sound quality is variable, of course, but totally acceptable regarding the age of some of the documents.

Khachaturian, Sibelius: Violin Concertos

Average customer rating:

Khachatryan and Sibelius
the best
Sibelius & Khatchaturian, by Khachatryan: Superb Music
STAR FROM THE EAST
A Stunning Début

Khachaturian, Sibelius: Violin Concertos

Manufacturer: Valois
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
Similar Items:

Music for Violin and Piano
Shostakovich: Violin Concertos
DEBUT - Alisa Weilerstein & Vivian Hornik Weilerstein ~ Works for Cello and Piano
Khachaturian: Concerto for violin in Dm; Prokofiev: Alexander Nevsky, Op. 78
Piano Quintet in F Min / Complete String Quartets (1, 2, 3)

ASIN: B0000CNTJH
Release Date: 2004-03-16

Tracks:

Allegro Moderato
Adagio Di Molto
Finale (Allegro Ma Non Tanto)
Allegro Moderato
Andante Sostenuto
Allegro A Battuta

Customer Reviews:

Khachatryan and Sibelius.......2007-02-10

I was curious to hear this recording because one of my students recommended it highly. Sure enough, I was quite impressed, especially by the Sibelius. But I had objections, too. In terms of tone, general technique and intonation, Sergey lacks very little. His playing is often very beautiful. He has the gift of expression 'between the notes', the notes falling naturally and gracefully on the fingerboard. The playing is never boring. There is great clarity in the general execution. Nothing inhibits him. Phrases make sense. They breathe.

What's wrong? He occasionally looses presence as the soloist. There are two occasions in the first movement, at the beginning of an entrance, where there just isn't enough sound to carry the musical argument. At first I thought it might be a problem with the recording balance. But after the second movement, I was convinced otherwise. Sergey generally takes a symphonic approach to this work, at times participating on an equal footing with the orchestra. This can be admirable, especially in Mozart or Beethoven. But not in Sibelius. For instance, at the very opening of the second movement, the violin is much too soft. It is an intimate opening, for sure, but the violin has to dominate nonetheless. Another instance, at the ascending octave scales against the descending ones in the winds, the soloist is barely heard (especially at the bottom). Because of this curious lack of presence, the 2nd movement hardly resonates. The violin part seems almost an obbligato voice to the full orchestra. The third movement fares much better. Sibelius often pits the natural tessitura of the violin against low sounds in the orchestra, so the violin stands out more. But even the scales right before the final flourish are much too subdued.

All in all, I would say that this was a bold attempt to interpret the Sibelius in a personal way, by an extremely gifted, young violinist. And to that extent, Bravo! Whether it is entirely successful or not depends on the listener. To this one, not quite so.

the best.......2005-06-04

By no means whimsically or freshly swayed by the beauty of the music itself, and after having listened to various interpretations including those of patent greats, it is clear to me that this work of Khachatryan's is the most measured, exact, and mellifluous of all. There is simply so much symmetry, meter in his notes. Yet, there is also fire, and so much more ever suggested. The only critique I can think of is that I WISH I could hear it live. This rendition belongs in the place where music meets itself -- realizing it sometimes forgets where it comes from: the genius of 2, and not one!

As for Khachatryan on Kchaturian, the oddysey continued.

Sibelius & Khatchaturian, by Khachatryan: Superb Music.......2004-10-05

We all know that fields of gravity cross and criss-cross our local solar system as planets spin in their orbits around our sun. We also may know of the immense amount of space debris that flurries this way and that, here and there and seemingly everywhere. When you put the two realities together, you may feel you are walking down a historic but neglected city street where the character of the neighborhood has fallen prey to transience and forgetfulness and poverty. We peer dimly into an unglorious human future for our civilization that promises only to be punctuated with inevitable crisis as one brute hand of circumstance or the other hammers in fits against the nearest wall of the human heart. If you find yourself noticing the dimming lights of humanism in our current era, then by all means you should get this CD and listen to it repeatedly before you make any major decisions.

Like a rising star against the velvet horizon edging an otherwise vaulted and gloomy night sky, the fiddler here is a new talent named Sergey Khachatryan. After listening to this disc, I am very pleased to report that he is indeed the genuine article. His energy and innocence demonstrate how much he still loves music. Unlike some artists of his generation, ... he is barely out of his late teens, ... the sheer physicality of his playing somehow demonstrates how profoundly one with his instrument a great artist may become. Sergey has apparent complete mastery of all that his fiddle may offer .... as if he were that magic Rumpelstiltskin of fairy tale who could spin gold from straw. This Sergey can also spin music shining with silver, platinum, and that rarest of metals ....joi de vivre. His fiddle is a Guarnerius on loan from some German fans, and he uses it to incredible and glorious effect. You are no doubt vulnerable to this spell to the extent that you may have been feeling like a princess locked in a high tower, away from the air and the sun and the green beauty of the fields. You may start to think that the violin is surely the King of Instruments.

Though Sergey is undoubtedly a representative of the true Russian school of violin playing, he represents an uncommon amalgam of talent with heritage. His string tone has a true emotional center, glowing with the sort of hot penetrating fire we have previously come to know and love in many Russian string players. Sergey's hot sound does not suffer any detriment from being compared with, say, David Oistrakh himself. But Sergey also has something else, something more. He has a kind of celestial luminosity and a Russian elegance (think, Leonid Kogan?) that transform and complete his string tone. The result is that his upper registers penetrate directly to the heart, without requiring any added noise or over-acting. At fast or slow tempos, his musical sound breathes or hovers or dances. Phrased alchemy purges all the base metals and leaves only the purest and most gleaming tonal treasure behind. This sort of fiddle playing is more ballet than athletics or tumbling.

It is no surprise to read that Kachatryan won the Helsinki Sibelius prize, several years back when he was only fifteen years old. Here on this CD he surely recreates, or perhaps even surpasses, that pinnacle. Sergey puts his considerable gifts completely at the disposal of the composer. He conjures both the composer as ordinary human being and as a kind of Finnish mystic. This CD is the first one in a very long time that I thought could rub shoulders with the legendary Jascha Heifitz recording, and hold a decent musical conversation with that great master as an equal. If anything, Khachatryan surpasses Heifitz in depth and breadth of deep humanity. Sergey has an uncanny yet musical heart as big as the famed Finnish forests.

To fill out the remainder of the disc, we are treated to Armenian composer Aram Khatchaturian's only violin concerto. On most fiddles, with most players, this concerto turns into an over-heated folk-festival of garish colors and heavy-handed dramatic pointing for both the solo violin and the rest of the orchestra. It is too easy for this concerto to go nowhere.

Applying himself, Sergey returns this concerto safely and brilliantly to the musical center. He finds narrative where other fiddlers find only repetition. He never, ever has to be loud to be convincing. The orientalized musical noodling in the slow movement that wears on your nerves with so many other fiddlers, becomes ever so mysteriously whispered. You find yourself hearing the authentic yet exotic voice of that famous story-teller, Sheherazade herself. There is perfume and romance, but communicatively embodied. I don't think I have ever before wanted to repeat the slow movement. But Sergey made me hear the Armenian soul of this concerto.

Well I have been so taken with the fiddler that I have hardly mentioned the conductor and the orchestra. They deserve high praise, too. The Sinfonia Varsovia is a wonderful band that can sound perfect for Mozart, but too small for Beethoven. Let loose upon the late Romantic breadth of each of these concertos, they finally sound perfectly fine for both. Emmanuel Krivine keeps tempos moving, but he never sounds superficial or rushed. He never seems to be embarrassed by the music's large gesture or the massed heft of the orchestra. He is content to be background for the soloist without lapsing in attention. The woodwinds are particularly distinguished. Thus, the wonder of this young fiddler is recognized and encouraged and fully supported by all involved. You feel as if everyone in Sinfonia Varsovia was paying just as much attention to their music, as was Sergey to his own. You feel that Krivine values both concertos as music of symphonic scope and power. In short, this CD can be very highly recommended on all counts. It is, indeed, a five star labor of great love.

STAR FROM THE EAST.......2004-07-24

It would be interesting to try a minor experiment with this record. Play some extract from it - almost any part would do - to some experienced musicians and ask them simply to picture the soloist. If the image of a small and slightly-built teenager comes to anyone's mind I shall be very surprised indeed. In his contribution to the liner note Sergey Khachatryan notes that his next project is to be Shostakovich. It was in Shostakovich that I heard him two weeks ago with the BBC Philharmonic, and mightily impressed I was. What Khachatryan's playing has is quality - quality in the tone, quality in the phrasing, quality in the rhythm, and I need hardly say total and perfect quality in the intonation.

This record was made in July 2003. It was time to get a cd version of the Sibelius anyhow to supplement my LP account of the first recording of the work, done in 1935 but sounding surprisingly well still, by Heifetz and Beecham, and this particular soloist struck me as a good bet. So it has turned out. For me, the Sibelius concerto sometimes works and sometimes not. In his thoughtful book on the composer Robert Layton hints that its style is not completely consistent, and I have heard many performances that leave me feeling the same way. From the symphonies it would be hard to imagine Sibelius as a concerto writer, not a difficulty one would experience in listening to Mozart Beethoven or Brahms as symphonists. Nothing in the finales of the Sibelius symphonies is remotely suggestive of concerto style for one thing. When it comes to the bit, Sibelius turns out a finale in something at least resembling the normal idiom of such, a slow movement with more 19th century lyricism than is customary from him, and a first movement that is a strange mixture of that kind of lyricism and a remote cold idiom that reminds me that the fourth symphony was not far in the future. This is presumably what left Mr Layton less than convinced, but the right artists can overcome the difficulty as I have always felt Heifetz and Beecham do triumphantly. And now here is Khachatryan, with the Sinfonia Varsovia under Emmanuel Krivine, pulling off the trick again. Speeds in the outer movements are a little slower, but speed is not the issue. The issue is -- is this work really coherent? If it can be, it must be.

Khachaturian, for me, is not really a heavyweight composer. He is not quite so relentlessly traditional in idiom as Myaskovsky, but nothing here and not much elsewhere in his work can surely have given much difficulty to Zhdanov. Naturally the Armenian elements in his music have a special significance for the soloist, and even from my own standpoint the slow movement, a very long one, rises to real eloquence particularly near the end. The soloist shows the same mastery as in the Sibelius, although I fancy his task was a little easier, and the work is a thoroughly welcome addition to my collection.

In general I was impressed by the Sinfonia Varsovia, particularly by some vivid woodwind work in the first movement of the Sibelius. The recording is good in general too, if just a touch rowdy in some of the bigger tuttis, but we have got used to such a high standard these days that we can now afford to be very particular indeed. I feel privileged to have heard an emerging superstar so early in his career. If he is as mature and accomplished as this now, what is he going to develop into? I read his plans with interest in the liner note. These are fairly conservative, as I suppose we might expect at this stage, and I might even be persuaded to listen to the Tchaikovsky concerto if I get the chance to hear it from Khachatryan.

A Stunning Début.......2004-06-05

I had the pleasure of hearing the American recital début of violinist Sergey Khachatryan a year or so ago. I was extremely impressed by his playing - not only his virtuosity and élan but the remarkable maturity for someone so young; he was born in 1985. I've been on the lookout for any recordings he might make. This disc containing both the Sibelius and Khachaturian concerti lives up to my expectations. Indeed, I would put his Sibelius performance up against any I've ever heard. I can't pretend to have heard all the extant recordings of the Sibelius but I am familiar with those of Leonid Kavakos (in both versions - with the original finale as well as the one Sibelius replaced it with), Mutter, Mullova, Perlman, and of the irreplaceable Oistrakh. The best performance I ever heard live was an incandescent one by Pinchas Zukerman. Khachatryan may be over the top at times in this piece, especially in the finale, but the concerto can benefit from this kind of all-out approach. The Sinfonia Varsovia, which I take to have a rather smallish string section, has a lean sound that actually benefits the piece. Conductor Emmanuel Krivine occasionally lets the music almost bog down in the second movement and I truly believe he is led away from that by the relaxed but always forward-moving playing of his soloist, young Mr Khachatryan. The sound of the orchestra at the beginning of that second movement is ravishing and it is matched by the stunning sotto voce entrance of the soloist.

The Khachaturian benefits from a red-blooded performance; this is not subtle music. The orchestra's lean profile could have benefitted from a fuller string sound, but it's not a big matter. I feel fairly sure that Khachatryan's Armenian background informs his feel for the folk-inflected melodies used by his Armenian near-namesake, Aram Khachaturian; this is particularly true in the melismatic Orientalisms of the second movement. In the faster passages there is a raw energy and edge in Khachatryan's playing that makes the music almost unbearably visceral, and I suspect that this is precisely the approach Khachaturian had in mind. Whether or no, it is an exciting reading. Young Khachatryan has slancio to spare and he is matched in this by Krivine and his Polish orchestra. Again, the benchmark recording for this concerto is David Oistrakh's 1944 effort, but Khachatryan's is in very nearly the same class and has the advantage of being in modern sound. I must add, though, that there is a spiffy new recording on Naxos played by Mihaela Martin that also includes Khachaturian's less-known 'Concerto Rhapsody' for violin and orchestra. Still, this one is a bit more exhilarating.

Highly recommended.

Tracks:

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

Amazon.com

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

But this CD changed my mind.

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

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

This CD is one of my car's 'top 5'.

Music Track: