Customer Reviews

Midori - Live at Carnegie Hall

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

 

 

Four days before her nineteenth birthday, standing for the first time on the stage of a legendary building, in front of a sellout crowd (3000), Midori delivers an extraordinary 100-minute long program, from memory. Unfortunately, the CD version can only include 75 minutes of it, and thus excluded Mozart's sonata K.301 and a resplendent tour de force of Sarasate's Zapateado. Therefore, I sincerely exhort anyone who's interested in Midori to buy the LD or VHS version.

The second piece of the program is the magnificent, hyper-romantic, yet seldom recorded sonata by the young Richard Strauss. In contrast with the previous piece, this ultra-dramatic sonata is marvellously rich in content and expressive opportunities, and one can scarcely imagine it being played more effectively by someone else. Midori's technical finesse and enchanting tone, governed by a contemplative mind and a feverishly ardent heart, ready to pump out into the rapt audience at any moment, culminate in an immensely moving rendition. The listener must also credit the pianist Robert McDonald's spirited and sensitive playing. One can't help wondering why one so rarely hears this splendid piece.

This enigma is not so confounding after one listens to Heifetz's 1954 studio recording of the same piece. Seasoned critic Henry Roth declares that the Strauss Sonata "belongs" to Heifetz in the sense that few would dispute his supremacy. Indeed, Heifetz championed this work throughout his career, yet apparently to little avail; were Midori in Heifetz's position, she would positively have widely popularized the work.

Midori begins the second half with Beethoven's Sonata No. 8. She captures the gaiety and animation of the outer movements as well as anyone else, yet they are not fully gratifying. In the first movement, the exposition is repeated, later recapitulated, but unbelievably, her interpretations-though individually superb-of these three times are virtually the same, lacking in variety. In the third movement, her pursuit of wanton vivacity in a certain passage sacrifices the tone quality. Yet her slow movement is super-sensitive, particularly in transitional passages; it is the finest rendition of this movement I've ever heard--even superior to Szeryng's.

The following piece--Ernst's Variations on "The Last Rose of Summer"--I consider to be one of the three most technically demanding pieces ever written for the violin, together with Paganini's variations on Nel cor piu non mi sento and God Save the Queen.

The most horrendous part is about halfway through the middle, when the left hand plucks the celebrated theme, and the bow plays legato arpeggios across all four strings as an accompaniment at the same time. Don't forget that the left hand also has to press the swift arpeggio notes! Then the left-hand pizzicato is exchanged for artificial harmonics, singing the melody while the arpeggios still whirl around. The pizzicato returns to repeat the dumbfounding passage, and then she heads into the final variation, designed to exhibit the violin's kaleidoscopic tone colors: Harmonic staccatos-one of the ultimate tests in precision and coordination of both hands-juxtaposed alternately with a blizzard of double-harmonics, huge octave leaps, full-pelt runs up and down a single string, fingered octaves, pizzicato, etc.

Midori audaciously elected to play in her New York debut this terrifying piece which, as far as I know, only Ricci, Kremer and Vengerov to date have recorded in history; Heifetz and Perlman undoubtedly have never dared to take up its stratospheric challenge. Double-harmonics often make a good violinist sound like two bad ones, but Midori, with her exceptionally lengthy, slender, and agile fingers, effortlessly negotiates these intricacies and makes them sound as if they were played by two fine flutists. This will no doubt render multitudes of violinists, such as Heifetz, green with envy. The fiendishly difficult fireworks are all tossed off with lithe gracefulness and seeming ease; the left-hand pizzicatos are articulate, the harmonics pellucid, the octave shifts pure in intonation, and the tone quality immaculate. To be relentlessly critical, in this live concert, there were a paltry two or three fleeting notes that weren't of perfect pitch. See if you can find an edited studio recording closer to perfection.

Midori's prodigious prowess lies not only in her ability to make the most herculean pieces sound easy, but make them sound musical. We can try to forget about all the pyrotechnics; rather than marvel at her unprecedented instrumental mastery, we can immerse ourselves in the wonderfully beautiful music, and savour the bountiful nuances.

Anyone would badly need a respite after performing such a strenuous piece, and Midori gave her hands--but not her mind and heart--a brief relief in Chopin's Nocturne in C-sharp minor. Here's another meticulously thought out and superbly expressive rendition that, complemented with a most sympathetic tone, can hardly fail to melt the attentive listener's heart.

Ravel's Tzigane [gypsy] begins with a long oration of the solo violin, the first part of it entirely on the G string. In some other versions, e.g. by Francescatti, the solo part sounds inert, mundane, and monotonous; certainly that is not what I expect from Midori. Even solely on one string, Midori, by dint of divergent bow pressures, portamentos and vibrato, plus rubato, creates a most colorful, elastic, luscious, bewitching, yet doleful tone. Throughout the piece, she perpetually captivates the audience with her breathtaking technical wizardry, variegated and multi-dimensional tone, boundless array of expressive devices, stark dynamic contrasts, and subtle phrasing.

Due to the limited space here, I cannot pinpoint several startling details of Midori's innovative rendition. To sum up, one can only be awe-struck by her sophisticated mind, natural gypsy spirit, and dazzling virtuosity, which results in a performance that brought the house down.

It seems that the 19-year-old Midori has nearly reached the pinnacle of violin art. Every rational, experienced and impartial person who had the privilege to witness this unforgettable concert will have to concede that, at least in expressive and virtuosic music, Midori is already a nonpareil.

Let me add just a partial comment to the other reviewers' posts. I bought this disc in the context of a comparative survey of Strauss' Violin Sonata. Midori and McDonald turn out a superb reading, maybe the best I've heard so far. They have the perfect grasp of the work's sprawling and elusive architecture and they manage the transitions just right. Their first movement is overall significantly broader than Chung's and Zimmermann's (10:57 against 10:40, Strauss: Sonata For Violin and Piano/Respighi:Sonata For Violin and Piano) and close to the second to Oliveira's and Ponce's (Elmar Oliveira plays Brahms, Strauss, Sarasate and others), but that is somewhat deceptive: section by section, they are more intense in the introductory statement than these, avoiding the sense of swooning languidness that Chung elicits, and then, when the appassionato sets it (at 1:19, against Chung's and Oliveira's 1:24) they really let out all the lyrical juices. Yet, while she has some of the intensity of Heifetz, Midori avoids the curious jauntiness of his phrasings (in his two later recordings, 1954 Brahms: Trio, Op.8/Dohnányi: Serenade, Op.10/Strauss: Sonata, Op.18 and 1972 Heifetz Collection, Vol. 46: The Final Recital). She also has superb nuancing, and her control of dynamics is impressive. I might have found her initial tempo in the second movement "Improvisation" a tad too slow (it is written "Andante cantevole", not adagio), but (unlike Heifetz in his first recording from 1934, at a very similar tempo: Heifetz Plays Strauss (Violin Sonata op. 18), Sibelius (Violin Concerto), Prokofiev (Violin Concerto 2) or Heifetz Collection, Vol. 2 (1925-1934) (3 CDs)) her phrasing avoids any sense of wailing sentimentality and again her willingness and ability to play beautifully hushed pianissimos work to great effect. She and McDonald finely animate the middle section (3:00), lending it an appropriate dark color and a great dramatic character, and her final section (3:58) is, like Chung's and Zimmermann's, wonderfully subtle and watery. It is Ruggiero Ricci's historic recording from 1950 that their finale comes closest to - but with none of the harsh sonic that make that recording a none too pleasant listening experience (Decca Recordings, 1950-1960 (Limited Edition)). They are passionate, intensely lyrical and have a fine sense of the long singing line - and, fortunately, unlike Heifetz and Chung, they do not practice the 42 bar "Heifetz" cut. Only their coda "a tempo piu vivo" could have been oh so slightly more animated, I think, but that's really nitpicking.

Robert McDonald - a winner of the Gold Medal at the Busoni Piano Competition - is no mere accompanist - he is present as an equal partner, finely dialoguing and never overpowering, and always alert to Strauss' inner voicing.

Unlike some of the previous reviewers I'm not so enthusiastic with Midori's Ravel. In the introductory cadenza I find that she fusses too much over details and looses some of the music's snap along the way - trying to make the Big Statement isn't always amicable to music, and Ravel's Tzigane isn't Bach's Chaconne. She's not always precise rhythmically either, and conveying the Gipsy character doesn't necessarily require playing accordion with the tempo. But things do get better with the entrance of the piano, and she plays the second part with fine tone and a winning mixture of élan and schmaltz, even adding (at 9:02) a Rossinian "sul ponticello" effect not written by Ravel - it sounds great, and he should have written it.

The score to Ernst's "Last Rose of Summer" Variations is available on the net for free download, and, like some of the previous reviewers hinted, it is even more awesome to look at than to hear. Kremer (but, true, in studio) plays it with more elan and charm (Paganini: Virtuoso Violin Music), and his 8:15 to Midori's 9:23 has little to do with the fact that he cuts four bars. Still it is an impressive feat to have attempted it (and pulled it off) in concert.

There are audience and other extraneous noises (pages turning, pianist humming), but nothing that I find obtrusive, except for the coughs in the introductory cadenza of Ravel's Tzigane. On the contrary, it conveys the sense of the live concert sharing experience, rather than of the cold studio.

I'll preface this review by saying that I've been disappointed in the past with some of Midori's recordings. She was never lacking in technical skill, and RARELY does she have intonation problems. I did have issues with her musicalty. It is in technically difficult pieces (like the Paganini caprices) that her skills shine.

This recording is a dazzling display of technical ability and artistry. Midori has the audacity to attempt Ernst's 6th polyphonic etude (The Last Rose of Summer) in a LIVE recital. She pulls it off without error except intonation issues on a few notes (easily forgiven!). The CD is worth owning for this one piece alone.

The Beethoven and Strauss sonatas are played with wonderful clarity and.. dare I say... musicality. The sound quality is excellent save a few audible coughs from the audience which come with live recordings.

What can be said about Midori that a fan doesn't already know ? Again, her unique, beautiful style is on display.

I've listened to this Strauss Sonata many many times and I feel Midori has created a miracle on a CD. Such emotion, timbre, richness of tone... a violin can NOT sound better...

I luv Midori..... !!

This CD is ample evidence of Midori's virtuosity, coupled with first-rate musicality. However, I have to disagree with one reviewer's assertion that she is non-pareil. Indeed, her Ernst is not perfect, though it comes very close. Careful listening will pick up slight intonation errors.Ricci performed with more facility. It is utterly ridiculous to place her above Heifetz, or even Perlman. And it is even more ridiculous to suggest that those two violinists were afraid to record the Ernst. Midori is great, but not as great as Heifetz or Perlman or Ricci.

Not to toot my own horn; I play four instruments for over forty years. So what? Don't just listen to the music. Listen to the notes. Midori miss a note? I rather doubt it. The orchestra may be taking a day off for a walk in the park; but, Midori's persisting drive brings them back time and time again. All of the artists seem to be a bit stiff in their presentation. It's noticeable if you listen. One never knows if their review will be implemented. Mine will always deal with the worlds of difference between hearing the work and listening. This reviewer is not concerned with Midori's ability to equal or surpass another's work. I am interested in what her presentation does for me on it's own merit. Frankly, I am surprised that she doesn't catch her instrument on fire much like the rubing of sticks together until the heat brings forth fire. Midori is fire.