Customer Reviews

Beethoven: Violin Concerto / Romances Nos. 1 & 2 ~ Menuhin / Furtwangler

5 star:		(2)
4 star:		(4)
3 star:		(0)
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1 star:		(0)

 

 

Yehudi Menuhin and Wilhelm Furtwangler were recorded Beethoven's Violin Concerto three times. First is here, and second is live recording(with Berliner Philharmoniker) made by RIAS(Radio in American Sector) Berlin. Last is EMI's re-recording with Philharmonia Orchestra in London. First was recorded in Luzern, with Orchester der Festspiele Luzern(Lucerne Festival Orchestra). It was EMI's SP recording but its sound quality is very good in this time. Luzern Kunsthaus' resonant effect was very 'fantastic'. Menuhin's humanistic approach in this marvelous concerto so good. And Furtwangler's accompaniment is very comportable, too. Two lovely Romances was recorded in London with Philharmonia Orchestra(Recording times and place were same as third recording of concerto). Menuhin's ringing performance on Furtwangler's generous accompaniment is so nice, too. Recording of Romances were first CD restoration internationally in this-by Testament.

Reviewers here consistently prefer this live 1947 radio broadcast from the Lucerne Festival over the 1953 studio recording from London. I'm not sure the choice is that clear cut, however, until one knows the salient details.

Lucerne 1947: Historically, this is a touching memento of Menuhin's decision to appear with Furtwangler soon after the war, at a time when the conductor's de-Nazification was slow and painful. Menuhin's generous gesture helped to rehabilitate Furtwangler in circles that had condemned him, and this Beethoven concerto performance shows how musically sympathetic the two artists were. Menuhin is placed far forward, his tone bright and at times shrill (as captured by the microphone) but nonetheless warm enough to listen to without wincing. His technique is adequate to the piece despite some effortful passages.

Furtwangler gives almost an identical accompaniment in both recordings, although the Lucerne Festival Orchestra in concert is less polished than the Philharmonia in the studio. Sonics are good radio mono. Tempos are the same in both recordings except for the slow movement, which is 2 min. slower in Lucerne. Menuhin opens the finale firmly and in tune.

1953 London: This studio recording is in quite good mono for its day, and the Philharmonia sounds especially warm and inviting. One notes a metallic edge in both orchestra and soloist at loud volumes (I haven't heard the latest remastering, which might have solved this problem). Menuhin's technique is no longer entirely adequate to the part, though his interpretation hasn't changed in six years. He is noticeably out of tune beginning the finale, with gravelly tone on the G string. In both performances his approach is cautious rather than free and rhapsodic.

Furtwangler's accompaniment has great depth and lyric flow, without the drama he is capable of in Beethoven, however. It's often said that he felt constrained in the studio and freer in concert, but in this case both accounts are quite similar.
After all is said and done, the difference isn't so much interpretive but technical--Menuhin had slipped too far by 1953, at least to this listener.

The final and most important question is whether these are deeply felt and noble performances. Surprisingly, I didn't find them so this time around, but I did ten years ago. Subjectivity plays a crucial part in the role of the listener. I can sympathize with people who feel ennobled by these readings even though they have dimmed for me.

Comparing this with the highly regarded 1953 EMI recording with Furtwangler and the Philharmonia reveals a slightly sweeter and more lyrical performance by Menuhin in the earlier Lucerne recording on Testament. Also, the violin tone sounds a bit deeper and mellower than the later recording, almost as if he is using a different instrument in 1947 than 1953. Both are great, but the Lucerne has the edge.

Oh my, oh my!! Beautiful music beautifully played. I have loved Yehudi's interpretation style since I was in grade school, especially his Bach, so it is not surprising for me to love this, too. Better sound quality (recording-wise) than his norm, so I consider it a better CD to own.

The great combination and chemistry between Furtwangler and menuhin produced this most unique of Beethoven's masterpiece. A must for all serious collectors.

M. Lynch

Beethoven: Violin Concerto & Romances~ Ludwig van Beethoven is a wonderfull recording of one of my favorite composers of all time. Beethoven is a rare genius indeed and can only compared to a handfull of composers, i.e., Wagner, Bach and Mozart. Mr Mebuhin is an amazing violinist and one of the best that I have ever heard period, and is right up there with other masters such as Hilary Hahn. Hearing him playing is such a treat that one wonders if God spent an extra second on such a tallented muiscian. The problem and why I only give this recording 4 stars instead of 5 has nothing to do with music and everything to do with the less then stellar book-let. Emi were severely niggardly when they decided to release this album and it shows. The book-let is a cheap miserely done thing and it is a shame since it does befoul an otherwise excellent production. Still and all this is a very fine production with an accomplished violinist and I therefore give it 4 out of 5 which is exactly what it deserves.