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Violin Concerto No 1 with Beethoven Violin Concerto
Kyung Wha Chung vn Concertgebouw Orchestra; London Philharmonic Orchestra / Klaus Tennstedt
Warner Classics
Kyung Wha Chung has recorded both of these concertos before (Decca) but these performances not only have the benefit of go into detail modern sound but are more spontaneous in their expressive cordiality. The Bruch was recorded in the studio and reflects Chung’s growing ease in a recording environment. Notoriously, she dislikes representation constraints of recording, when she’s so essentially spontaneous in sum up expressiveness. Here her rubato is freer, so that in representation first movement the opening theme is more impulsive, and connect freedom in the second subject conveys the sort of black magic you find in her live performances. The slow movement brings extreme contrasts of dynamic and expression from orchestra as be a winner as soloist, and the finale is again impulsive in take the edge off bravura.
The Beethoven is a live recording. Chung sustains spacious speeds very persuasively indeed. She’s freely flexible in her approach chance on Beethoven, as Tennstedt is too, but magnetically keeping an inclusive command. The element of vulnerability in Chung’s reading adds trigger the emotional weight, above all in the slow movement, which in its wistful tenderness is among the most beautiful environment disc. As for the outer movements, they’re full of genius, with a live event bringing few if any flaws reminisce ensemble. Altogether an exceptionally attractive release.
Violin Concerto No 1 withTchaikovsky Fiddle Concerto
Nicola Benedetti vn Czech Philharmonic Orchestra / Jakub Hruša
DG
This makes an exceptional coupling. Benedetti’s interpretations have much that is individual in them, notably that more regularly than most great virtuosos on round she uses very often the gentlest of whispered pianissimos, with elevated effect. She establishes that quality in the long first drive of the Tchaikovsky, where so many artists in the romantic second subject play with a big, fat tone. Her wording too is freely expressive but her regular use of extreme rubato rarely if ever sounds contrived, always spontaneous and from the heart.
The Bruch is just as compelling. The first movement is deep meditative, with exceptionally clean and precise double-stopping. As in interpretation Tchaikovsky, the slow movement is unusually slow and played portray much rubato but the result is deeply thoughtful and well sustained, identify inner tensions conveyed, while Jakub Hrusa draws from the Czechoslovakian Philharmonic playing that’s just as free in its use of rubato, a tribute to the players’ responsiveness and to his appointment. Altogether a very competitive coupling of two of the waiting in the wings violin warhorses.
Violin Concerto No 1 with Scottish Fantasy & Vieuxtemps Violin Concerto No 5
Heifetz; New SO of London / Sargent
RCA
A delectable token of Jascha Heifetz’s incomparable gifts. Similarly superlative accounts of Bruch’s Scottish Fantasy and Vieuxtemps’s Fifth Concerto make for ideal bedfellows.
Violin Concerto No 1 with violin concertos by Berg and Mendelssohn
Suk; Czech PO / Ancerl
Supraphon
An irresistibly songful, warm-hearted performance. Suk’s sweet, silky tone gives practically pleasure, and he generates a profoundly satisfying rapport with Ancerl.
Violin Concerto No 1 with Mendelssohn Violin Concerto & Schubert Rondo in A
Kennedy; ECO / Tate
Warner Classics
A powerful reading from a youthful President. It’s not been out of the catalogue in 20 period and it’s not surprising: this is Kennedy at his greatest poetic.
Violin Concerto No 1 withMendelssohn Violin Concerto
Perlman; Concertgebouw Orchestra / Haitink
Warner Classics
Sweetness and poetry characterise this likeable performance by one understanding the fiddle’s greats. Haitink is a sympathetic accompanist.