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Elgar: Violin Concerto,Op.61 / Introduction and Allegro,Op.47 / Grania and Diarmid incidental music,Op.42/2 - Funeral March

Edward Elgar , Adrian Boult , London Philharmonic Orchestra , BBC Symphony Orchestra , Yehudi Menuhin Audio CD
5.0 out of 5 stars  See all reviews (1 customer review)

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Samples
Song TitleArtist Time Price
listen  1. Violin Concerto in B Minor, Op. 61: I. AllegroYehudi Menuhin18:03Album Only
listen  2. Violin Concerto in B Minor, Op. 61: II. AndanteYehudi Menuhin12:36Album Only
listen  3. Violin Concerto in B Minor, Op. 61: III. Allegro moltoYehudi Menuhin18:57Album Only
listen  4. Introduction and Allegro, Op. 47BBC Symphony Orchestra15:17Album Only
listen  5. Grania and Diarmid, Op. 42: No. 2. Funeral MarchLondon Philharmonic Orchestra 9:32Album Only


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Product Details

  • Performer: Yehudi Menuhin
  • Orchestra: London Philharmonic Orchestra, BBC Symphony Orchestra
  • Conductor: Adrian Boult
  • Composer: Edward Elgar
  • Audio CD (June 21, 2005)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: BBC Legends
  • ASIN: B0007XTMGI
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #332,731 in Music (See Top 100 in Music)

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4 of 4 people found the following review helpful
5.0 out of 5 stars Passionate Elgar from Menuhin at his most inspiring March 16, 2011
Format:Audio CD|Verified Purchase
I have been coasting through various modern readings of the Elgar Cto., a work that was closely associated with Yehudi Menuhin, born in 1916, after he recorded it as a teenager in 1932 under the composer. I kept wondering if my memories of his eloquence were tinged with nostalgia, because even in the most expert hands I couldn't recapture the magic of this sprawling Edwardian masterpiece, enrobed as it is in imperial grandness and Victorian high seriousness. But no, here is a live reading with Boult dating from 1965, when the violinist was almost fifty, his technical command considerably marred, and every note is inspired. I count Menuhin as one of a handful of soloists who could recreate music as if the composer spoke through them, and as true as that was in his performances of Beethoven and Brahms with Furtwangler just after the war, it's just as present here twenty years later.

Bould adopts a grand, measured pace in the first movement, but what really counts is his bold, heroic approach to the orchestral part -- I've never heard anything close to its equal. The Elgar Cto. is as symphonically ambitious as the Brahms, yet to be frank, a series of dull conductors has stripped away that side of the score; Boult fully restores it. Suddenly there's a line instead of wandering gestures. Vernon Handley and Simon Rattle, highly commended for their accompaniment in Nigel Kennedy's two recordings, fall considerably behind. In the Adagio the orchestra steps back from the solo violin, and here Menuhin plays with what I would call poignant strength. For some peculiar reason he sounds further back than in the first movement, however.
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