Customer Reviews

Beethoven: Violin Concerto / Romances Nos. 1 & 2

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

 

 

The first movement is played much more slowly than I'm accustomed to; so it took patience for me to be able to really HEAR it. I had to let my mind adjust for 10 minutes or longer, and stop anticipating a quicker pace; sort of acclimate to the perspective. Once I had the payoff was tremendous! It is a unique and beautifully realized rendition. By the end of the 2nd movement I knew that it will bring me years of pleasure.
It is not, as one reviewer put it, confused or floundering; but it IS a new view of this amazing work. I was stunned by the balance between the LSO and Yengerov; to my ears Rostropovich has elevated the orchestra's individual and combined parts to a great extent, creating a gorgeous soundscape I've not heard before(and giving fresh insight to the solo violin itself). I have copies of most of the usually recommended recordings of the concerto, and some fairly obscure versions both vinyl and cd. There are three or four I inevitably (and joyfully) return to again and again. This makes it five!

No doubt this is a fine recording. For those who remember Vengerov and Rostropovich's breath-taking Prokofiev/Shostakovich, however, this is rather disappointing.

As other reviewers pointed out, the tempo in this Beethoven is unusually slow, reminding me of Anne-Sophie Mutter's far from successful recordings of the same concerto. Vengerov's performance is not weird, though; his violin sound is dulcet without exaggerated and excessive rubatos; plus, in spite of, or precisely because of his leisurely tempo, i could relish the gracefulness of this representative masterpiece in the violin repetoire. The two romances are fine too. But I wish the orchestral support was more dynamic and powerful.

If you want to turn to other recordings of this concerto, I would recommend David Oistrakh (EMI)or Kyung Wha Chung (EMI). The former is a lengendary recording and coupled with the Bruch Violin Concerto no. 1. The latter live recording, also coupled with the Bruch concerto, is unsurpassable. It's Chung's second Beethoven recording and leaves nothing whatsoever to be desired. All three movements are gorgeously performed, and yet the second movement in particular is, as one reviewer in the Penguin Classical CD Guide wrote, one of the most beautiful tracks ever recorded. Along with Chung's Tchaikovsky/Mendelssohn CD (Decca), this CD will remain one of the finest in decades to come.

It must have been Giulini who started the modern tendency to maunder through the orchestral accompaniment to the Beethoven violin concerto, but his tempos with Perlamn on EMI are greased lightning compared to this painfullly sodden version led by Rostropovich. At 46 min., it is only 2 to 6 min. slower than other versions, but it feels like a world running on molasses. The absence of accent and propulsion makes all the difference.

The first movement in particular hasn't a hint of vitality, and although Vengerov does everything possible to add interest in his tone and phrasing--both marvelous--this CD is a keen disappointment to anyone who admired his early Beethoven sonata recordings. He oculd have produced a concerto for the ages, but now we will have to wait until the remake, perhaps a decade or more from now.

Maxim Vengerov is the finest violinist of my generation, whose closest peer may be Joshua Bell for both the dramatic intensity of his playing and the warm, lyrical sounds produced from his violin. I have greatly treasured his recordings of the Prokofiev and Shostakovich violin concerti with Rostropovich and the London Symphony Orchestra, Dvorak violin concerto with Masur and the New York Philharmonic Orchestra, Tchaikovsky violin concerto with Abbado and the Berliner Philharmoniker, and last, but not least, Brahms violin concerto with Barenboim and the Chicago Symphony Orchestra; these are among the finest violin concerti recordings I have heard from any of today's prominent violinists. Sadly, I can't accord this relatively new record with Vengerov accompanied by Rostropovich conducting the London Symphony Orchestra, the same high praise I have given to Vengerov's earlier Teldec (now Warner Classics) recordings. It deserves high praise from me only because of the exceptionally well-balanced sound engineering done by EMI's recording team; however, this performance has a lot that isn't desirable.

It was undoubtedly the late Carlo Maria Giulini who began the tendency for having slower tempi for the Beethoven violin concerto, as evidenced by his celebrated EMI recording featuring a younger Itzhak Perlman (This still remains one of my favorite recordings of the Beethoven violin concerto.), but regrettably, whereas Giulini was able to carry it off, Rostropovich's account, especially of the first movement, is glacially slow, and does not emphasize the dramatic tensions and emotional richness of Beethoven's score; it is instead, a plodding, often dull, account that is rescued by Vengerov's technically brilliant, and still, quite passionate, performance. Only the third movement, the exhilirating Rondo, sounds fine, and in Rostropovich's hands, almost as fine a performance as I have heard from the likes of both Nikolaus Harnoncourt and David Zinman in relatively recent recordings of this concerto. My only favorite tracks on this recording are of the two Romances for Violin and Orchestra, which, oddly, sound more fresh and vivid, than the performance of the violin concerto. I am sure that diehard fans of Vengerov, Rostropovich and the London Symphony Orchestra will still want to acquire this recording, but for others, I have to recommend strongly as more suitable recent alternatives, Hilary Hahn's glistening account for Sony with David Zinman conducting the Baltimore Symphony Orchestra and - if it is still available - Gidon Kremer's vibrant performance for Teldec with Nikolaus Harnoncourt conducting the Chamber Orchestra Of Europe.

If you like your Beethoven played like Mahler or Bruckner, go out and buy this CD. But if you want your Beethoven played like Beethoven, avoid this horrible performance. The tempos here are so slow, the album should be called "Beethoven on the Freeway at Rush Hour". And where are the accents? Were they left on the studio floor? Vengerov is a fabulous musician but this recording is a disgrace.

I had high hopes for this one. Maxim Vengerov is perhaps the finest violinist of his generation; he is certainly among the finest of musicians. I watched his master class on Ovation, and his coaching of students through Mozart, Tchaikovsky, Ysaye made clear his depth of feeling for, and his understanding of, the music (also clear: his charm, his graciousness, his love of teaching). I respect and enjoy his recordings of the Brahms, the Tchaikovsky, the Bruch concertos, and others.

But this one's disappointing; it's a performance that I think Mr. Vengerov will come to regret. It's note-perfect; it's also dull. The world doesn't need another ponderous and reverent Beethoven Concerto. We want one that gives it life, that thrills us. Even the third movement - the rondo that should dance - is plodding. The largo, that should be exalting, is simply tiresome. The first movement, that should draw us into the music and hold us, exemplifies why so many dislike classical music; sitting through it feels like enduring a solemn duty.

The finest performance I know is this one (Doremi 7727):

http://www.amazon.com/gp/product/B00004X0NJ/qid=1139635782/sr=1-1/ref=sr_1_1/002-3273165-0151249?s=classical&v=glance&n=5174

It's a 1945 broadcast by Jascha Heifetz with Artur Rodzinski and the NYPhSO (New York Philharmonic Symphony Orchestra, the predecessor of today's NYSO).

In my opinion it is the definitive recorded performance. Swiftly paced but heartfelt, played with a passion, an intensity and a profound understanding of the musical line that isn't approached by today's stars of the fiddle (nor even by Heifetz himself with Reiner for RCA). I listen to it often, and when I do I'm convinced it's the performance Beethoven heard in his mind, in his heart.

My thanks to Jacob Harnoy for issuing this unsurpassed performance and for achieving audio quality that makes it not just a listenable historic recording but a highly enjoyable one. I think it's a must-hear performance for all who love this work. (Another transfer I own - by Music & Arts - is thin and scratchy; this transfer by Doremi is full and rich.)

For those who find Heifetz too fleet (and if you think so, I think you're wrong!), try performances by Adolf Busch/Fritz Busch, Ginette Niveau/Hans Rosbaud, Yehudi Menuhin/Wilhelm Furtwangler, David Oistrach/Sixten Ehrling, Ida Haendel/Rafael Kubelik - performances that today's prodigies can only hope to grow to understand and equal. Or even try Fritz Kreisler/Leo Blech; it was Kreisler who begat the now-accepted modern tradition of performing the Beethoven reverently (i.e. slowly). But he carried it off, and did so compellingly!

And I can't close without commending another broadcast performance: Bronislav Huberman/Leo Barzin - an extraordinary performance by an extraordinary man. (All of these are available from Amazon.)

I was travelling home in my car from the weekly shopping and then Classic radio played Beethovens Romance No.2 with violinist Maxim Vengerov,conducted by Rostropovitch.I was so deeply moved that I had to stop the car at the near parking space, because I bursted into tears and couldn't see anything. The quality of Vengerovs play is phantastic and he plays with dexterity and the understanding of the souls need. The exquisit quality of his instrument has a good deal to do with this and Rostropovitch as an excellent conductor brought the best out of Vengerov here and they complement one another that it is a joy to hear this CD over and over again.

A thoroughly flawed recording. Other than the cadenza (way tooooooo slow -problem mentioned in other opinions as well), the phonic quality is totally out of whack! Miserable mixing (or recording...)! The violin is sometimes barely audible - unacceptable volume swings. Definitely doesn't do justice to Vengerov and such a fine orchestra. Rostropovich is well past his glory days - should have exited graciously after his (fantastic!) cello playing weakened...

I bought this CD after hearing Vengerov play it live with the Green Bay Symphony at the Weidner Center just a few weeks ago. Vengerov plays the 1727 "Kreutzer" Stradivarius violin, named after former owner Rudolphe Kreutzer (1766-1831). Vengerov came to be playing in Green Bay through the efforts and support of the family of the Kreutzer's former owner, a Green Bay resident -- a rare treat for such a small city.

My suggestion: forget the pacing and focus on the stunning beauty of the instrument and the music that is made by man who loves it.

.
This seems to be one of those special realizations which is either passionately loved or despised.

I am firmly in the former camp: this is my new favourite Beethoven Violin Concerto, although I am still very fond of Schneiderhan's and Mütter's readings.
Beethoven, Mozart: Violin Concertos / Schneiderhan, Jochum
Beethoven: Violin Concerto
.
But what makes this Vengerov's different? The expanded time-scale? Yes, but let's understand something: it's only in Movement I that this is strictly applicable. (It shares this regard with Gould's infamous Brahms' 1st Piano Concerto.) The other movements are totally within common duration.

Movement I is absolutely stately and reverent, meditative and deliberate. And Vengerov's tone is pure and clear and fervently effusive. The LSO's sound is also clearly enunciated and colourful. The rhythm is good, the pace simply slower. Vengerov's cadenza is refreshing after the usual--though much beloved--Kreisler's.

Movement II Larghetto is actually brisker than Schneiderhan's--and as sweet, but curiously soporiferous nevertheless. I was reminded of Keats' lines:
"Ripe was the drowsy hour;
The blissful cloud of summer-indolence
Benumb'd my eyes [and ears (!)]; my pulse grew less and less..."
The Major Works: Including Endymion, the Odes and Selected Letters (Oxford World's Classics)

One complaint could be made that the soloist is too enmeshed with the orchestra.

This is evident in Movement III where Vengerov is just too close to the orchestra--although some of the winds chime very nicely with the soloist: they swing well and the timbre is very Pastoral.
(It may be that the ensemble was trying to achieve an "authentic" sound such as would have been heard in Beethoven's time--that is, without individually microphoning the soloist [?].)

For major works it's probably nice to have a brisk reading and a more meditative interpretation.
For the latter, see:
Beethoven: Symphony No. 6, Schubert: Symphony No. 5 / Böhm, Vienna Philharmonic Orch.
Beethoven: Symphonie No. 9
.