Glazunov: Violin Concertos

On this CD:

1. Violin Concerto, for violin & orchestra in D minor, Op. 47
Composed by Jean Sibelius
Performed by Bulgarian Radio Symphony Orchestra, Angele DuBeau
Conducted by Ivan Marinov

2. Violin Concerto in A minor, Op. 82
Composed by Alexander Konstantinovich Glazunov
Performed by Bulgarian Radio Symphony Orchestra, Angele DuBeau
Conducted by Ivan Marinov

Customer Reviews:

The young Fischer has a definite "wow" factor.......2007-03-11

Even a jaded listener would blink twice at this recording, which showcases the German violin prodigy Julia Fischer. She's quite a dynamic player, and although lightning-fingered virtuosos aren't that rare nowadays, Fischer also possesses real charisma. She exudes confidence in every bar, and besides her gorgeous tone, she has an uncanny ability to phrase for someone so young. In all three works here she's able to shift effortlessly from Khachaturian's brash, semi-kitschy Soviet fireworks to Prokofiev's lyrico-ironic modernism and finally Glazunov's plush-velvet sentimentality. Only the Prokofiev concerto comes close to being a masterpiece, but you'd never know that from Fischer's complete dedication to each one.

PentaTone's remarkably vivid sonics make a big impression--this company has been in the forefront of SACD sound for a while--bringing Fischer's violin to life quite remarkably. Even better is Yakov Kreizberg's conducting of the exuberant Russian National Orch. His style is extroverted, like Gergiev's, with unihibited Russian vitality. I'm on the verge of gushing, but how can one help it when confronted by such a brilliant all-around production?

THE FUTURE IS IN GOOD HANDS.......2007-01-03

The very young Violinist Julia Fischer demonstrates in this recording that (to me) the future for the performance of masterpieces of so-called classical music is very bright indeed. Julia gives very sensitive, virtuosic, and beautiful in tone performances of these Russian concertos for the violin. She is rhythmically astute in the Khachaturian concerto and very gorgeous in tone in the overtly romantic Galazunov concerto. Likewise, the Prokofiev's First Violin Concerto is given a finally nuanced performance with Yukov Kreizberg leading the Russian National Orchestra splendidly.

I heard Ms. Fischer in Aspen, Colorado in the summer of 2006 and was very impressed with her; this recording certainly confirms that most favorable impression.

If you want to hear some great violin playing, buy this disc.

By the way, the recorded sound is great-- very full and rich!

An Impressive Début Disc.......2006-07-26

Although this is not the young Julia Fischer's first recording, it is the first she has done in SACD format on the PentaTone label with whom she has signed as an exclusive artist. The CD came out in late 2004, if I'm not mistaken, and she has since released the Bach Partitas and Sonatas, and most recently a disc of Mozart Violin Concerti. I gave a rave to the latter here at Amazon. I had not heard this début disc until recently and was, I will admit, a little concerned that she might be too 'classical' a violinist to make the most of these mostly extrovert Russian concerti. I was wrong to have any hesitation; she plays them with verve, wit, style and plenty of extroversion where needed. But she also brings to them an inwardness -- particularly in the Prokofiev First, which certainly has a veil of mystery about it -- that makes them seem fresh.

In recent times the Khachaturian Concerto has to some extent fallen from favor. When I was a youth it was one of the big modern Russian concerti along with Prokofiev 2 and, late in the 1950s, the Shostakovich 1, and one heard it in concert with some regularity. Happily there has been a bit of a revival lately, in spite of the tendency of some critics and programmers to think it is rather lightweight and too much of a populist work. Whatever the drawbacks it might have, it is an extremely effective piece with plenty of Khachaturian's Armenian flavorings, lots of rhythmic interest and virtuosity galore. Fischer brings to it a musicianly concern for dynamic subtlety and nuanced phrasing along with complete mastery of the concerto's technical difficulties. She eschews the Oistrakh edition of the concerto -- he extended the first movement cadenza and cut some measures in the finale -- and uses Khachaturian's original version. This is a first-class performance of a wonderful concerto which is worth one's attention.

One cannot but adore Prokofiev's First Violin Concerto. And one cannot say enough about the masterful orchestration Prokofiev provides, with harp intertwined with violin harmonics and extraordinarily plangent woodwind writing. The Russian National Orchestra, a group formed not long after the breakup of the Soviet Union and the stirrings of a new freedom in Russia, is a marvelous group. Their conductor here is Yakov Kreizberg, incidentally the brother of the probably better-known conductor Semyon Bychkov, who is making a very favorable impression these days. I've heard a number of his recent recordings and am mightily impressed with his formally clear approach that is, ironically, coupled with a really poetic sensibility. Clarity and poetry make wonderful partners in his recordings. Both Kreizberg and Fischer show us the darker side of the Prokofiev and in the process present it as the lyrical yet fierce work it is.

Glazunov's concerto is a late Romantic work in one movement. It is notable for its heartfelt lyricism, gorgeous tunes, and the equality of the orchestral principals with the violin soloists. It is really more like a symphony with violin obbligato, particularly in the long and lovely andante middle section. That aspect of the work is emphasized here and one must give credit to Fischer and the recording engineers for allowing that to shine through. Fischer is more generous, even self-effacing, in this than some soloists in other recordings the concerto has had (Perlman, Heifetz) and this is to the benefit of the work's effect. (A comparable concerto, to give you some idea of what I mean, is Brahms's Second Piano Concerto where the piano is not always the spotlighted star.) This is a genial reading with Fischer's burnished tone riding above and around the contributions by the orchestra. The folksong aspects of the finale are emphasized and one is left with a kind of uplift that makes one want to start the concerto all over again.

This is, make no mistake, a marvelous disc and I cannot recommend it highly enough. In addition, all three concerti are given strikingly lifelike sound.

Scott Morrison

Quality Classical Music Listening.......2006-04-08

I am not an expert in classical music but I do enjoy listening to good classical music. This recording of Russian Violin Concertos is one that I have enjoyed listening too many times. I would not hesitate recommending it to anyone who enjoys classical music that highlights the romantic violin.

3 Russian Violin Ctos - Verve, Lilt, Dash, & Elegance.......2005-07-15

Julia Fischer is a violinist whose name is news to me, but then, What good news she is. Like the young Anne Sophie Mutter, she appears to have sprung whole from the head of Jove. She plays with a simply huge command of her instrument, and she grasps the music in both local nuances and larger paragraphs. Her intonation and fingerwork and bowing are well nigh faultless, so far as I can hear. She has a sort of wicked ease that actually might remind an older listener of the late, great Heifitz. He used to tell his student violinists to warm up by playing fingered octaves, which is rather like telling people to start just where most others are leaving off in happy achievement.

Nowhere are these capabilities put to better use than in her resuscitation of the much hackeneyed Khachaturian concerto, which she has the gruff to play as her opening. She obviously loves playing it, and has such a good time that it is quite easy to forget all the kitsch renderings you may have heard over the years. The RNO under Yakov Kreizberg (who is also a rising star among conductors now active in Europe) keep up with Julia all the way. Somehow all the flash just sounds scintillating, and the orientalisms just sound atmospheric and colorful. You think in some beautiful spots that Khachaturian knew what he was doing, after all.

Then Julia and company move on to the Prokofiev first violin concerto, and make deft, stunning magic of it, too. Again she and the conductor and the orchestra demonstrate remarkable unanimity of musical purpose. And, they have a good time with the Prokofiev, shattering our stuffy stereotypes that genius in classical western music is always tendentious, fat, and dressed in over-starched shirts with very stiff collars.

Thirdly, we get the Glazunov concerto. This, too, benefits from a completely fresh and straightforward reading, rooted in the players love of the music. Julia realizes the more brilliant moments of the Glazunov without forgetting that its heartfelt pusle is mainly lyrical, and her lyrical is so lithe and athletic that you don't feel for once that Glazunov was tempted to outstay the melodic welcomes embodied in his main themes.

The SACD surround sound is equally wonderful. It completely serves the music and the musicians, without calling attention to itself. You simply get a good, multichannel sense of everybody, including Julia, the super RNO as a whole body and as an unnervingly talented nexus of virtuosos, and of course, of conductor Kreizberg. The hall acoustic adds air and resonance, which is quite an accomplishment considering that we are talking about a recording studio and not one of the historic Moscovite venues like Tchaikovsky Hall at the conservatory.

If you like superior violin playing that is above all musical, with an orchestra and conductor that can keep up with such a soloist; then this disc will do fine. Five stars, fading into sunrise pinks and whites and blues. Where did the slow night go? Oh, well, play that SACD again, will you?

PS. Keep your ears and eyes on the lookout. Julia Fischer is now an exclusive Pentatone artist, and Yakov Kreizberg, maybe, too.

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.

Glazunov, Khachaturian, Kabalevsky: Violin Concertos

Average customer rating:

Transcendent...
Excruciatingly Beautiful
Superb recordings by Oistrakh

Glazunov, Khachaturian, Kabalevsky: Violin Concertos
Aram Khachaturian , Dmitry Kabalevsky , A. Gauk , and Kiril Kondrashin
Manufacturer: Classica D'oro
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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

4-for-3 All Music | 4-for-3 Music | Stores | Music
Similar Items:

Ysaÿe: Solo Violin Sonatas
The Devil's Trill: Showpieces for violin & piano
Meeting in Moscow - Glazunov/Kabalevsky: Violin Concertos
Vieuxtemps: Violin Concertos Nos. 1 and 4
Shostakovich: Cello Concerto No1, Op107; Violin Concerto No1 (revised), Op99

ASIN: B000062XA5
Release Date: 2002-03-05

Tracks:

Allegro Con Fermezza
Andante Sostenuto
Allegro Vivace
Moderato
Andante
Allegro
Allegro Molto E Con Brio
Andantino Cantabile
Vivace Giocoso

Customer Reviews:

Transcendent..........2006-03-29

An astounding performance of some exceptional music; this is one of those older recordings in which the somewhat limited fidelity is transcended completely and wonderfully by the music itself. Wow! ;-)

Excruciatingly Beautiful.......2004-04-28

I have a special affection for the excruciatingly beautiful Khachaturian Violin Concerto, and this is my choice for the best recording. Here is the spectacle of brilliant young David Oistrakh in 1940 during the depths of World War II, standing on stage in Moscow with a single violin engaging in mortal battle with the USSR State Orchestra -- a sublimely beautiful battle that cries out the overwhelming change and struggles of the 20th century. Oistrakh caught up in the maelstrom of history, and emerging. On the surface the score has an ethnic "oriental" Armenian romanticism, timeless, beautiful and moving, yet at it's core it is modern, gritty, frantic, gigantic, and this conflict reinforces the feeling of the collision between the past and future ages. Or of the lone individual caught in the forces of history, fate and society enlarged beyond human scale. As for the performance, Oistrakh is able to bend the tones, dig for the raw textures and build the tension to wring intense passion that literally flies off the recording. In the Allegro, at times the strange harmonies and rhythms flood forth so rapidly they are almost too fast to hear. The force of Oistrakh's playing makes me wonder if he will break his violin. In the dark Andante his soul overflows with sadness and regret. The word virtuoso barely begins to describe the dexterity and soul of this amazing performance. What art! The orchestra under conductor Alexander Gauk captures a certain older native tonal quality of Russian music that seems to belong to some eastern tone system, slightly different than our ears are used to. Khachaturian asked Oistrakh to premier the piece, and I believe this is the first recording of it. It is interesting to compare this version with Oistrakh's 1960s recording with the composer conducting, also very beautiful, but in the extreme moments a more careful performance, and so less passionate.

Superb recordings by Oistrakh.......2002-07-15

Soviet recordings in the 1940's cannot possibly compare to the engineering of today, so allowances must be made for the sound quality in these archived performances. That being said, there is little to diminish superb performances by Oistrakh. Only two recordings compare with this Khachaturian - Kogan's phenomenal contribution and Oistrakh's second recording with the composer conducting. Like the Kabalevsky, it is thrilling in pace and the evocation of its folksy soundscape. The Glazunov is beautifully played, offering a lyrical, poised alternative to Heifetz's dazzling panache, though the latter remains this reviewer's favorite.

Meeting in Moscow - Glazunov/Kabalevsky: Violin Concertos

Average customer rating:

Hauntingly beautiful melody, intricate polyrythms
Great Music-making
Russian Gems Shine in Shaham's Skillful Hands...
Mo from Cairo, Egypt
Wow...You gotta love it!

Meeting in Moscow - Glazunov/Kabalevsky: Violin Concertos

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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

Glazunov, Khachaturian, Kabalevsky: Violin Concertos
Mendelssohn, Bruch: Violin Concertos
Wieniawski: Violin Concertos Nos. 1 & 2
Kabalevsky: Piano Concertos Nos. 2 & 3; Colas Breugnon Overture; The Comedians
Sibelius/Tchaikovsky: Violinkonzerte

ASIN: B000001GZV
Release Date: 1998-02-10

Tracks:

Glazunov - Violin Concerto in A minor: Moderato -
Glazunov - Violin Concerto: Andante sostenuto - Tempo I -
Glazunov - Violin Concerto: Allegro
Kabalevsky - Violin Concerto in C major: Allegro molto e con brio
Kabalevsky - Violin Concerto: Andantino cantabile
Kabalevsky - Violin Concerto: Vivace giocoso
Tchaikovsky - Souvenir d'un lieu cher: Mtation. Andante molto cantabile
Tchaikovsky - Souvenir: Scherzo. Presto giocoso
Tchaikovsky - Souvenir: Mdie. Moderato con moto
Tchaikovsky - Valse-Scherzo op.34

Customer Reviews:

Hauntingly beautiful melody, intricate polyrythms.......2003-04-11

I am sure that most people have ever even heard the Kabalevsky concerto unless you happen to study the violin. Of all great Russian violin concertos, there are 5 that really stand out from the rest: Tchaikovsky, Glazunov, Prokofiev 2, Miakovasky and Kabalevsky. The focus of this review is regarding Shaham's recording of the Kabalevsky concerto, a concerto that should be more known to the masses.

Every one of those five concertos has a unique sound, the Tchaikovsky was the first written of them and was influenced by Lalo's great Symphonie Espagnole. The Lalo is a work with intricate polyrythms and it takes an advanced artist to play the temops correctly in synchronicity with the orchestra. It also takes a disciplined orchestra and skilled and sensitive conductor to allow for coordination between the soloist and the orchestra. The same could be said of the Tchaikovsky, requiring an advanced artist and conductor to play those intricate rythms togather and make it sound convincing. Well it is Tchaikovsky who influenced Glazunov, Prokofiev, Miakovasky and Kabalevsky, each wrote concertos with their own style and all seemed to contain that sence of intricate polyrythms that require a great degree of skill to pull off, it takes an artist with alot of bow control to make it really sound good. The Kabalevsky concerto is more brief than the forgotten Miakovsky making it a highly listenable work. It is so refreshing to hear the Kabalevsky with a a golden singing tone. I love the Oistrakh recording but the sound quality is so poor and dated so I listen to this recording more.

Glazunov actually wrote my favorite russian violin concerto, the brooding melody is so hauntinly beautiful and contains a melody so pure it is simply impossible not to fall in love with. The cadenza is so outrageous you will shake your head in disbelief it is so brilliant. The Tchaikovsky is much more popular but I seem to prefer the Glazunov for some reason, maybe because it it's more smooth and less choppy like in the third movement of the Tchaikovsky. This is not my favorite recording of the Glazunov as I perfer the Perlman recording. Actually Michael Rabin recorded my favorite Glazunov but that is very difficult to find.

The CD also includes incredibly melodic works by Tchaikovsky that will completely make you melt. This is appropriate because of Tchaikovsky's influence on Glazunov and Kabalevsky.

I play this CD when I want to hear the Kabalevsky, a lesser known concerto I am very fond of and you should be too.

5 stars for the Kabalevsky, 4 Stars for the Glazunov

Great Music-making.......2003-01-24

In our era of big egos, it's refreshing to see two artists of great stature come together to celebrate the magic of Russian music. Having been fortunate enough to see both Shaham and Pletnev live in recitals, I was delighted the moment Glazunov's moderato started playing. Pletnev brings his trademark energetic elegance and Shaham virtuosity (so perfectly demonstrated in recent "Devil's Dance" CD) accommodates with ease and finesse.
In Russia, Kabalevsky is most often thought of as a Bolshevik composer. While it's partly true, he also wrote some of the most exquisite violin music since - well - Glazunov, and it is actually a quite natural coupling of two great concertos.
To make this disc even better, the artists included some of Tchaikovsky's morsels. The intent, probably, was to show a connection in Russian music school even as it changed though the decades. It worked well (you can clearly hear Tchaikovsky's lyricism in Kabalevsky's 1948 concerto), but it also provided for some pure joy moments, such as Meditation (track 7).
DG, as usual these days, provided perfect sound quality. The only thing I would add, though, is the piece that "started it all," i.e. the Tchaikovsky violin concerto, but since Gil Shaham has already recorded it just a little while back with Giuseppe Sinopoli (coupled with Sibelius concerto) we could easily fill this "gap" by getting both discs.

Russian Gems Shine in Shaham's Skillful Hands..........2002-10-13

Among the violinists of his generation, Shaham is undoubtedly one of the most versatile and charismatic. His enthusiasm for the violin is evident in all his recordings. Indeed, a genuine zeal and passion for music, in general, appears to be an integral part of his engaging personality. I can attest for this, having personally heard Shaham's mesmerizing peformance of Vivaldi's Four Seasons last season with the Atlanta Symphony Orchestra. As for this particular recording, I was especially impressed by the Glazunov Concerto. In my opinion, Shaham's interpretation of this glorious work is on a par with Heifetz's majestic recording with Walter Hendl. The piece is truly a perfect vehicle for Shaham, whose lush, melodious tone is an ideal match for the Tchaikovsky-esque lyricism of Glazunov's composing. Although I'm less familiar with the Kabalevsky concerto, Shaham's exquisite rendering of it leaves me eager to collect other recordings of it such as David Oistrakh's archive performance from the 1940s. The Tchaikovsky Souvenir and Valse-Scherzo are impressive as well, but the two concerti are where Shaham's virtuousic talents are showcased most brilliantly. As a former violinist, I feel I must state that this recording should be a part of any violinist's CD collection. And even for those who are merely classical music buffs, this recording is a must-own! As I'm an enormous admirer of both Shaham and Pletnev, I can only hope the pair will collaborate on many future recordings.

Mo from Cairo, Egypt.......2001-01-10

I am in the process of studying one of the pieces from this cd (Kabalevsky), and out of all of the recordings of the kabaevsky that I have heard, this is the one that has been the most helpful to me! Gil Shaham knows how to show how it is REALLY played! The Glazanouve and the Tchaikowsky are also really beautifully played. If you like a fine balance of Russian music, BUY THIS CD!!!!

Wow...You gotta love it!.......2000-12-29

Wow this is one awesome CD! The Kabalevsky is my absolute favorite piece, and it's so fun to listen to (and fun to play too:). All the tracks on this CD are excellent, and Gil Shaham is the best violinist ever so you are bound to like it. Buy this right away! :)

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.

Sibelius, Prokofiev, Glazunov: Violin Concertos

Average customer rating:

The Best of the Best
The Best Available Recording of the Sibelius Concerto
Perfect Sibelius
None other
And I usually dislike Heifitz...

Sibelius, Prokofiev, Glazunov: Violin Concertos

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
Similar Items:

Heifetz: Beethoven & Brahms Concertos (Beethoven: Concerto for violin in D; Brahms: Violin Concerto in D Op77)
Bruch: Concerto for violin in Gm; Scottish Fantasy
Tchaikovsky & Mendelssohn: Violin Concertos
Heifetz Showpieces
Jascha Heifetz: The Supreme

ASIN: B000003FIQ
Release Date: 1995-08-15

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.

Tracks:

Violin Concerto No.2 In G Minor, Op.63: Allegro Moderato
Violin Concerto No.2 In G Minor, Op.63: Andante Assai
Violin Concerto No.2 In G Minor, Op.63: Allegro, Ben Marcato
Violin Concerto In A Minor, Op.82: Moderato
Violin Concerto In A Minor, Op.82: Andante Sostenuto; Tempo I
Violin Concerto In A Minor, Op.82: Allegro
Meditation, Op.42 No.1

Amazon.com

This is the first recording of an extraordinarily talented young violinist. Born in Denmark to Polish-Israeli parents in 1975, Znaider won the Carl Nielsen International Violin Competition in 1992 and the Queen Elisabeth Competition in Brussels in 1997, and he's embarked on a flourishing career spanning several continents. From this recording, as from his concert appearances, it's clear that he is a virtuoso with a formidable, utterly secure, effortless but totally unobtrusive technique; a lovely tone of great warmth, purity, and flexibility; and a sensitive musical expressiveness so genuine that it needs no external effects, not even slides.

Of the two Prokofiev concertos, the second is the more ingratiating and lyrical one, and Znaider makes the soaring melodies sing rapturously. His tone in the high register, so beloved by the composer, shimmers radiantly. There are also plenty of fast bravura passages, which Znaider tosses off with ease, brilliance, and absolute clarity. Better yet, he gives them shape and makes them sound like music, even the famously--or infamously--difficult, long, and jagged sections in the Finale. The Glazunov has a warm, ardent glow as well as a subdued, inward delicacy. Its bleak mournfulness is always noble and deeply felt. The Cadenza is wistful and introspective, the Finale elegant and charming. The Tchaikovsky Meditation is melancholy, but never becomes sentimental; the excellent orchestral solos stand out, while the violinist discreetly weaves figurations around them. This is a most promising and impressive debut. --Edith Eisler

Customer Reviews:

A great career is launched.......2005-10-17

Two nights ago while visiting Chicago I heard Nikolaj Znaider live, and it was a cpativating experience. I rushed home and bought this, his first CD, and it fulfills the promise of what I heard (he performed the Mendelssohn concerto with the CSO under Barenboim and has just recorded it). The Amazon reviewer has stated everything perfectly: Znaider is a virtuoso second and a musicain first, never intruding himself into the compoer's total conception. He plays a gorgeous Stradivarius, caught on this CD very well in quite closely miked sound.

To show you how unassuming this virtuoso is, the second half of the CSO program was devoted to the Mahelr Fifth. Without fanfare Znaider sneaked into the back row of the first violins and played along, and he even turned the pages for his desk mate!

There are fine versions of the Prokofiev Second around, but Znaider is competitive with all of them. HIs is better conducted (by Maris Jansons) than the vengerov or Shaham recordings I previously favored. If you want warm, lyrical violin playing to melt the heart a la Joshua Bell, rest asured that Znaider is off to a great career with exactly that style.

Peter Tchaikovsky/Alexander Glazunov: Violin Concertos

Average customer rating:

Maxim's tone is too dry
Why I Owe Maxim Vengerov an Apology. . .
a superb performance
Definitive
Finest Recent Recording of the Tchaikovsky Violin Concerto

Peter Tchaikovsky/Alexander Glazunov: Violin Concertos

Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
Similar Items:

Brahms: Violin Concerto; Sonata No. 3
Maxim Vengerov ~ Dvorák, Elgar
Bruch/Mendelssohn: Violin Concertos
Prokofiev, Shostakovich: Violin Concertos no 1 / Rostropovich, Vengerov
Jean Sibelius / Carl Nielsen: Violin Concertos - Maxim Vengerov / Chicago Symphony Orchestra / Daniel Barenboim

ASIN: B000000SJP
Release Date: 1995-11-07

Tracks:

Violin Concerto In D Major, Op. 35: Allegro moderato
Violin Concerto In D Major, Op. 35: Canzonetta: Andante
Violin Concerto In D Major, Op. 35: Finale: Allegro vivacissimo
Violin Concerto In A Minor, Op. 82: Moderato
Violin Concerto In A Minor, Op. 82: Andante
Violin Concerto In A Minor, Op. 82: Allegro

Customer Reviews:

Maxim's tone is too dry.......2005-02-10

Actually I am not quite keen on Maxim's interpretation. The tone is too dry. I prefer Gil Shahm, and Joshua Bell's interpretation. Among Maxim's Russian compatriot, I like Vladimir Spivakov's interpretation. I wonder why Spivakov did not record as much.

Why I Owe Maxim Vengerov an Apology. . ........2003-10-01

For years, I'd somehow gotten the impression (from where, I'm not even sure any more) that he was all flash and no substance.

What he *is*, is a genius.

I've listened to his recording of the Tchaikovsky Violin Concerto with Claudio Abbado conducting the Berlin Philharmonic twice (again) tonight, and am now quite certain that the man's bow arm is not subject to the force of gravity *or* the laws of physics. It brings home, more than anything I've ever listened to, the difference between an accomplished amateur and one of the best in the world at what he does.

Vengerov's bow arm is preternaturally agile, in ways that cause *my* right arm to hurt just from trying to *think* about them. His control over every muscle, from the big, gross-movement monsters of the shoulder and upper arm to the tiniest muscles in his fingers at the frog of the bow, shows in every note, every beautifully-executed phrase. Especially in the cadenza at the end of the first movement, but really, throughout the disc, he shows time and time again why it is the *right* hand that makes a master violinist, and not the flashier, seemingly more-dextrous left.

All of which might be incidental, if this wasn't the Tchaikovsky. The Beethoven is a more completely perfect concerto for the violin, but *no one* orchestrates like Tchaikovsky. Every important phrase is given over at precisely the perfect moment, to *exactly* the instrument that ought to voice it. And even Claudio Abbado's occasionally plodding direction can't screw up the Berlin Philharmonic when they're playing with a musician of Vengerov's caliber.

If you're a fan of the violin, of Tchaikovsky in general, or of Maxim Vengerov in particular, and *don't* own this CD, you should rush right out and buy it.

Vengerov's performance runs the gamut from playful and humorous to dark and brooding, but his playing on this piece is always brilliant, always appropriate, and nearly flawless, a tour de force of virtuosity, musicianship, and thoughtful interpretation. This disc is the perfect illustration of why major labels and major orchestras continue to occasionally assay a new recording of one of the warhorses of the repertoire.

The Glazunov is a pleasant, well-played, and occasionally moving "B" side (if perhaps a bit light), 'though here Vengerov is not quite as convincing as he is in Shostakovich's Violin
Concerto #1 on his disc with Rostropovich conducting the National Symphony Orchestra.

a superb performance.......2003-05-24

In this recording, both the violinist and conductor excel to give real life to an overplayed "warhorse" of a concerto. The Tchaikovsky can often come across as a rather empty, unfulfilling work in less capable hands, with a wealth of opportunity for very ugly phrasing in the first movement. However, Vengerov once again produces a marvellous, very Slavic performance; out playing, in my opinion, David Oistrakh. Oistrakh's recording with Ormandy is similar to this one, but Verngerov plays with more youthful vigour, without sacrificing technical mastery. Also, Abbado's accompaniment is thrillingly compelling, with very alert playing from the BPO. Of course, it is a futile exercise in claiming that a certain recording is "definitive", everyone has different tastes. Thus, I, unlike others, am not going to join in the argument about whether this outranks Heifetz's olympic-style dash for the finishing post, but if one wants a performance that makes the best possible case for the Tchaikovsky (and the Glazunov, for that matter), with good digital sound, then look no further.

Definitive.......2002-11-25

I grew up listening to the Op. 35 and even as a child I knew it was something special. At the time, the version I had was the old Heifetz (with the white bust of Tchaikovsky on the cover) and I wore it out. To this day, every time I hear the Op. 35 it captures my heart.

So finding a version that mirrors how I actually hear the piece in my mind became almost a personal mission. In fact, over the years, I believe that I have listened to performances from all the top names. And despite hearing Perlman, Mutter, Midori and all their fiddling friends, no one matched up to the interpretation that I always carried with me.

That was until Maxim Vengerov came along. I was not familiar with this performer at all when I purchased this CD. I quickly learned his name because, at last, here was a performer who heard this violin concerto as I did. It was a revelation for me.

The phrasing is exquisite, the mood perfect, the technical artistry unmatched, and the passion simply exudes from Vengerov's performance. Best of all, there is a certain playfulness to his performance that so many other performers have so completely failed to capture in their own interpretations. Throughout, Vengerov is in command. He was born to play the Op. 35. Backed by the able and willing Berliner Philharmoniker under the baton of Claudio Abbado, soloist and orchestra have an almost psychic rapport.

Sadly, I cannot comment on the quality of the Glazunov concerto included since I have no other reference. I can only assume that it, too, is definitive. The concerto itself is actually quite stirring, making it a good - albeit unique - pairing with the Tchaikovsky.

As for the sound of the recording, I must confess it loses a bit of low end in the Allegro. To my ears Vengerov's Strad seems distant at points due to what must be mic placement. This might explain some of the weakness in the lower frequencies. Still, the orchestra also seems weak in the lower registers, so perhaps there are other reasons. But these are minor quibbles that in no way detract from the CD.

As I look back at the criterion performance of my youth, the Heifetz, I must say as I move into my fifth decade that I have a new criterion: Vengerov. Give this one an accessible spot on the shelf because you'll reach for it again and again.

Finest Recent Recording of the Tchaikovsky Violin Concerto.......2001-11-25

Vengerov simply blows away the current competition in this stellar performance of the Tchaikovsky Violin Concerto. I doubt I have heard anyone recently master the extraordinary technical demands on this piece with such grace and lyricism. He produces a vibrant, rich tone on his violin, playing with much warmth and empathy for Tchaikovsky's score. Abbado leads the Berlin Philharmonic in yet another excellent performance. Vengerov's playing of the Glazunov concerto is first rate too, but clearly his performance of the Tchaikovsky is absolutely special; it is my choice for a definitive contemporary recording of this concerto. Both performances were superbly recorded by Teldec's engineers.

Average customer rating:

Phenomenal recording of Russian Horn music
Amazing
Amazing

Russian Horn Concertos

Manufacturer: Koch Schwann (Germ.)
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

R. Strauss: Horn Concertos Nos. 1 & 2; Duet Concertino; Serenade for Wind
Brahms & Beethoven: Music for Horn
Virtuoso Horn

ASIN: B000001STL
Release Date: 1995-01-24

Tracks:

Con Op.91 for Hn & Orch: I. Allegro
Con Op.91 for Hn & Orch: II. Andante
Con Op.91 for Hn & Orch: III. Moderato. Allegro vivace
Four Pieces for Hn & Pno: 1. Romace, Op.35, No.6
Four Pieces for Hn & Pno: 2. Valse triste, Op.35, No.7
Four Pieces for Hn & Pno: 3. Intermezzo, Op.35, No.11
Four Pieces for Hn & Pno: 4. Nocturne, Op.35, No.10
Reverie, Op.24: Andantino
Ser, Op.11, No.2: Allegro scherzando
Idyll: Andante
Conc Op.14, No.2, for Hn & Orch: I. Andante cantabile. Allegro moderato
Conc Op.14, No.2, for Hn & Orch: II. Andante
Conc Op.14, No.2, for Hn & Orch: III. Vivo

Customer Reviews:

Phenomenal recording of Russian Horn music.......2004-04-07

This CD opens with the Gliere Horn Concerto - this is the best recording available of this piece. Neunecker has musicality that is unparalleled in any other recordings available. The other tracks are also played incredibly. The music of Glazunov though not a concerto, is played with an orchestra and is beautiful to listen to. The smoothness of the horn is wonderful. You won't find that on any other recording. The exciting Shebalin Concerto concludes this CD, and if there are other reecordings, I can guarantee that this is the best one. Basically, the only issue I have is with the title of the CD since only six of the thirteen tracks are from concerti.

Amazing.......2003-07-25

This is easily one of the best recordings of the Gliere horn concerto ever made. Marie Luise Neunecker plays with passion and an amazing sound to match. She is not afraid to approach this piece in a new light, and the results are stunning. I am more in love with this recording than any other, including the very acclaimed Hermann Baumann. This is essential Gliere, and an essential addition to any horn player's library. I would reccomend this Gliere recording over any other, and I think after you hear it, you will easily understand why.

Amazing.......2003-07-25

Music Track: