Customer Reviews

Beethoven: Violin Concerto; Violin Romances

5 star:		(10)
4 star:		(0)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

As in his remarkable Beethoven symphony cycle, Zinman and his Zurich orchestra allow the listener to hear the concerto from a fresh perspective; the cadenzas used by Christian Tetzlaff, Germany's finest violinist at present (yes, above Mutter - just compare their Mozart concerti),derive from Beethoven's transcription of his violin concerto for the piano. When the cadenza first appears this listener REALLY took notice, and some will find the piece virtually unrecognizable at this point, but I found it fascinating and successful-far removed from the heavily romanticized accounts of the work most will be accustomed to. The finale, which at a slow tempo can be quite laborious, sparkles like no other of recent vintage. I can imagine some will abhor this recording for the first movement waywardness, but any one who has enjoyed Zinman's Beethoven symphonies will delight in this new recording and gain a refreshing view of this, arguably the greatest of all violin concerti. Excellent sound-better than that heard in the symphonies. I want to hear now the rest of the piano concerto cycle with Zinman and Bronfman.

I've been on a Beethoven Violin Concerto binge. This one is the best I've heard. It is intelligent, imaginative and stylish. By "stylish" I mean more in a Classical style than a Romantic. This is a rather early work, and I think that is appropriate. On some of the other versions I heard, the tempos are sluggish. This is sprightly, heartfelt and beautifully played by both soloist and orchestra.

The Beethoven violin concerto is one of the great works of classical music, many would say the greatest concerto ever. I would agree that it is the best written since the baroque period. It is one of the most recorded, there are 166 versions available in the catalogue, it would be a brave man, or woman, who nominated the best.
This recording by Christian Tetzlaff with the Zurich Tonhalle is at least a very good one; conductor David Zinman has recently recorded all the orchestral music of Beethoven on a series of highly acclaimed CDs. They play on modern instruments but follow the practices of the period, the romantic overlay has been removed, it is like removing layers of varnish from and old master and seeing the original colours revealed.
I don't want to go on about the quality of the sonics, the positioning of the percussion etc, suffice it to say that this is a near perfect recording of both the concerto and the two violin romances. Near perfect? My only reservation is the use of the cadenzas written for Beethoven's transcription of the concerto for piano, especially the first few notes of cadenza at the end of the first movement, I find them jarring, but the use of drum beats again suits very well.
Which is my favourite version ? Well, of the few I know it has been Monica Huggett's neglected period instrument recording of 1992, which is very similar to this one in many ways. When I get used to that cadenza it could well be this one.
Without my doubts about those few notes this recording is easily worth five stars, as I will probably get used to them I am happy with five, especially when I remember the super bargain price.

I approached this recording with trepidation. I have not been impressed with Zinman's Beethoven in the past, finding it lacking tension and cohesion. On the other hand, I can't stand what I find a hectoring quality in so many Beethoven interpretations. I'd read and heard that the current performance provided the proverbial breath of fresh air, but how many times has that phrase been trotted out? Listening to what Tetzlaff and Zinman do in this work, though, I was stunned. As a point of reference, my benchmark interpretation has been the Perlman/Giulini on EMI which, sadly, is starting to show its age sonically.

The very first notes of the present performance announced something new. Rather than the deep drumbeats I was used to hearing there was a lighter tapping, as if on a military drum, that sounded more "authentic." At the beginning of the opening tutti, though, I was afraid the performance would be too militant or, with the way Zinman stressed the four- (or five-) note motif that runs throughout the first movement, unsubtle (I think it is in a couple of places, but not fatally so), but such fears were, for the most part, put to rest with the expansive second theme group, lovingly but never indulgently phrased. Throughout there was a widening of the emotional compass that I wasn't used to and an absolutely superb interplay between soloist and conductor. Tetzlaff's tone could charitably be described as silvery, though I find it a little thin for my liking, reminding me of the astringent tone of Zino Francescatti, whose performance of this work, I now remember, was my introduction to it back in high school. But Tetzlaff seems to find something compelling to say at every turn--not necessarily "new" but intelligent and expressive enough to keep the ear perked at all times. Perhaps Zinman needed a soloist of this caliber to keep his own interpretation so consistently stimulating. For my money, this is easily the best of all Zinman's Beethoven recordings.

The slow movement was touching in its simplicity; kudos to the performers for refusing to indulge in bathos. The music is profoundly moving as Beethoven wrote it, nobody needs to point that out in their interpretation. But it was the finale that left me cheering; never before had I heard such a sense of joy and rapture in Beethoven. Uplifting. Enlivening. With superb sound and orchestral work in all departments (the brass nicely present and not swamped by the strings), it was an unmitigated pleasure for me to finish listening to this, thinking not so much "What a great performance" as "What a great piece of music!"

Amid the 160-some recordings of Beethoven's only violin concerto, there are many fine performances. I don't want to play the game of claiming that one or another is the best or the definitive. I merely want to say that I enjoy Tetzleff's interpretation a lot - enough in fact to reignite my excitement for this great piece of music. There are several reasons, not the least of which is Tetzleff's decision to use the cadenzas from Beethoven's own piano resetting of the concerto rather than the standard Fritz Kreisler cadenzas. The cadenzas here are more colorful, more harmonically appropriate, and more demanding in technique.

Let's consider technique. Tetzleff plays a modern violin, and David Zinman's Tonhalle Orchestra is a modern instrument ensemble, but clearly both Tetzleff and Zinman have absorbed much of the aesthetic of the "period" instrument movement. The tempos show as much, being faster and more balletic throughout. Tetzleff excels at double-stops, a fundamental art of 18th C fiddling. In general, Tetzleff offers a light, lyrical, almost feminine tone, quite silvery at times, fairly subdued and pensive rather than "heroic". He seems to be willing to let the orchestra deliver the striding, marching side of Beethoven while his violin larks and flirts through the ranks. It's really this subtle 'dialogue' relationship between the orchestra and the solo violin that distinguishes Tetzleff's interpretation from others. The violin doesn't strive to dominate but rather to observe and comment, an artist in the midst of a popular festival. Such an anti-romantic performance is sure to disappoint listeners who expect the violin to be robust and Napoleonic, but I find it emotionally satisfying, this slyly amorous silky Beethoven. I know, by the way, that Tetzleff intends the effect that I hear; I've listened to him play Brahms, Janacek, and Bach. He has the resources to make his instrument sound precisely as he wants it to. By playing most of the concerto delicately- to the point of being aloof at times - Tetzleff positions himself for maximum contrast in the folksy festivities of the Rondo, bringing a longed-for sense of fun back to music that has tended to slump into post-Wagnerian ponderousness.

[Joseph Joachim, in case you wonder, was the popular concert violinist of Beethoven's own musical milieu, whose performances of the violin concerto made it acceptable to audiences.]

I have never studied music, and so my opinion is that of a complete amateur. However, I have listened to countless hours of classical music and attended many concerts. I think that I can tell the difference between an ordinary, mechanical performance and a virtuoso performance full of emotion. My words are a reflection of the effect that this performance had on me.

This is virtuoso extraordinary. Each note of Christian Tetzlaff's playing is concise and pure, but never for a moment mechanical. The notes soar from the violin, full of passion, unbelievably clear. I was shaking my head in disbelief when listening to this piece, especially to the previously unheard extra cadenzas which are brilliant. The beautiful romances are just that - beautiful. This is a 'must have'.

There is no doubt that Christian Tetzlaff is one of the foremost violinists of our time. His flawlessly articulated and deeply felt versions of the most difficult works in the violin repertory have led him to a prestigious career crowned in the recent years with an impressive international acclaim, both for his live appearances and recordings. This CD represents an outstanding Beethovenian rendition, comprising the famous D major Concerto op.61 and the two Romances, signed by Tetzlaff who is paired here by an inspired maestro - David Zinman - conducting the accomplished musicians of the Tonhalle Zurich Orchestra.

Truly recommended!

Arte Nova discs undercut Naxos discs by two or three bucks each. With Naxos already being a bargain, a good Arte Nova disc is a supernova of a bargain. And this is not just a good Arte Nova disc, it is a great disc--by any standard.

Zinman and his orchestra have distinguished themselves with an exceptional series of Beethoven releases; their accounts of the symphonies have been praised highly by several reviewers in these pages over the past few years. Now they have teamed with young violinist Christian Tetzlaff to produce a top-drawer rendition of the music for violin and orchestra. This is an account that has both lyricism and power, and it is well-recorded to boot. At a ridiculous bargain price, this CD can only be described as a ridiculous bargain!

Tetzlaff is a fantastic violinist, technically and musically in the front rank: and he is ably supported here by David Zinman and a very good orchestra with which he has worked for some years, and recorded all the Beethoven symphonies, to great acclaim. What is most unusual here is that, instead of using the time honoured cadenzas by Kreisler or others, or writing his own, Tetzlaff has adapted the cadenza which Beethoven wrote for his own piano transcription of the concerto, and it involves the timps heard in the opening bars to great effect. It may take a little getting used to, but it really does work.
This is a razor-sharp performance, beautifully played and recorded. Even if you have several other versions, this one is well worth adding to your collection. The two Romances are an attractive bonus, given real stature in these performances.

This is an extremely well done modern rendition. The tempi and phrasing are refreshing and (to my novice ears) perfectly judged. Zinman's accompaniment is praiseworthy. So (both for both different and similar reasons) this recording ascends the pedestal next to Wolfgang Schneiderhan's marvelous, elegant DG version from decades ago. AND the Beethoven cadenza...an extra bonus. Honestly, I don't know why the classical music mafia gets itself wrapped around the flagpole over this cadenza. I certainly don't mind the typical Kreisler cadenza...very dignified and all, but this one just gives the whole first movement that much more color and interest. Well worth the price, which is a bargain in and of itself.