Customer Reviews

Tchaikovsky: Violin Concerto in D / Sibelius: Violin Concerto in D

5 star:		(13)
4 star:		(3)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Leila Josefowicz clearly is a very good violinist. I was impressed by her rather brisk performance of the Tchaikovsky concerto but not moved by it. I prefer the more-balanced performance by Sarah Chang, of those currently available on CD.

The Sibelius concerto is another matter entirely. This is probably the finest performance of the Sibelius concerto I've ever heard. I can't think of anything that could improve on it.

In my opinion, the Tchaikovsky merits 4 stars, but the Sibelius merits 5. If you're looking for a great performance of Sibelius' passionate, darkly brooding masterpiece, buy this CD. You'll get a spirited performance of the Tchaikovsky concerto as a bonus.

About 10 years ago I stumbled on a live performance by Leila when she was a student at age 15 at the Curtis Institute of Music in Philadelphia. She played the Sibelius concerto with piano accompaniment. It absolutely blew me away.

If you think her music is full of emotion and passion, you should see her perform...especially at age 15. I wish someone had filmed it, because it was truly a most remarkable performance.

After that, I caught just about every free concert Leila gave at Curtis (always for free!). I heard her do the Bartok solo a few times and many of the pieces in "Bohemian Rhapsodies". I was always blown away. I will never forget those Leila concerts at Curtis.

I am disappointed that she is not considered a superstar now. I love her CDs.

I agree with another poster that Leila's playing can be a little bit harsh at times on this recording. It sounds to me like the microphone was really close to the violin, because at times the violin is disproportionately loud compared to the orchestra. I would imagine that if you heard these performances live, they would be better.

The Tchaikovsky is great, though I think sometimes the transitions between sections can be a little rough. Her technique, however, is flawless and very exciting to hear such a powerful performance. The last movement is quite aggressive, but that isn't necessary a bad thing.

The Sibelius is not one of the best I've heard, though it is certainly competent. Similar to what I mentioned on the Tchaikovsky, on many spots in this concerto (particularly the third movement), the violin just sounds too loud and the general balance doesn't sound natural to me. I think this is particularly problematic because so much of this concerto places the violin against the orchestra (as opposed to playing "together") and I think that the balance issues really distract fromt this effect. Also, the last movement in particularly just sounds a little too harsh for my tastes, compared to someone like Midori or Joshua Bell who plays this piece with a beautiful fluidity. I don't necessarily mind harsh on this piece (I enjoy Salerno-Sonnenberg's rendition which is quite aggressive as well), but I think that Leila's harshness is more of a distraction than a stylistic effect.

Overall this is a good CD for the Tchaikovsky. On both pieces, Josefowicz's technique is very clean and accurate and her playing is never boring or stagnant, though I would say there are much more mature and stylistically appropriate recordings available of these pieces. Thanks

Josefowicz rules ! A powerful performance of the Tchaikovsky and Sibelius Concertos, paired with solid orchestral back-up, what else is wanting ? I've listened to Kyung Wha Chung's Tchaikovsky version and I've found the Chung rendition too mushy compared to the hard-grinding Josefowicz. Mutteresque Josefowicz.....ooooh la la!!!

This CD, being her first one, is wonderful! The mood of the piece is placed deep into the heart of the young violinist and then is used to play the piece at it's best. Never had I heard such a way to play the piece. I lay awe struck. I've supported her from the beginning when this CD came out and still do today. If you ever have the chance to see her play this piece, or any other, it is like no other musical experience!

Leila Josefowicz's recordings of the Sibelius and Tchaikovsky violin concertos are nothing short of spectacular. Josefowicz shines especially bright in the first movement of the Tchaikovsky concerto. I have heard other violinist, such as Mutter and Perlman, play this concerto and they do not draw out its melodic charm. Mutter for one, is most at home with the Germanic concertos, notably Beethoven and Brahms. Perlman is a great violinist but his technical genius does not transfer fully to Tchaikovsky.

Leila Josefowicz is one the most underrated violinist (whatever did happen to her?). Even her recording of the Sibelius violin concerto is quite good, although her Tchaikovsky is even better. Sir Neville Marriner and the Academy of St. Martin in the Fields are a perfect compliment to her as they are up to task in both recordings. It's funny how Marriner is automatically associated with Mozart (thanks to the movie "Amadeus") and Haydn, and yet in these recordings he proves to be quite versatile.

I consider the Sibelius and the Tchaikovksy works to be the best in the violin repertoire. I have therefore heard various recordings of both concertos by many great violinists and I as a result conclude that Josefowicz's Tchaikovsky is the best! Furthermore as I said, Josefowicz's Sibelius is extremely good in its own rite. In fact, I believe that only Viktoria Mullova and Jascha Heifetz's recordings surpass it.

The great virtue of this recording is that we are served up the rare circumstance of a first rate solo performance as well as an incredibly tight orchestra. ASMF delivers the spot-on, powerful, strikingly accurate performance it is known for for both concertos, and for the Sibelius even greater force and expansiveness. Josefowicz demonstrates skilfully that she is sure to become the next "musicians' musician." Precise, consistent, and at times downright gritty and raw, but mostly rich, sensitive, expressive. She plays the Sibelius like most of us hear it in our own heads. On top of that, she and ASMF are as together as if it were just her and one other instrument, almost too together. This recording is different from Mutter or Kremer, or the Leinsdorf/Perlman, but in my opinion better in virtually every way.

At sixteen Leila Josefowicz made her Carnegie Hall debut in 1994 with the Tchaikovsky concerto; the conductor was Marriner leading the Academy. Her tweeny Joni Mitchell cover photo suggests that it was a polite affair, but the performance belies that image. Now grown into a formidable musician, Josefowicz was fiery and distinctive from the outset. She was unfortunate to be dropped by Philips, because we should have had a record of her growth as she matured instead of occasional glimpses. Last year she won a MacArthur Foundation "Young Genius" Award, so perhaps the powers that be will bring the now 32-year-old forward into the limelight. Her Tchaikovsky is blessedly free of "Look, I can be Oistrakh, too" mannerisms. Indeed, her reading has no mannerisms at all. Josefowicz boldly relies on nothing but the direct appeal of her phrasing and crystal-clear tone, her assured technique and complete avoidance of Schmaltz. When this CD appeared in 1996 the Gramophone reviewer initially felt a lack of poetry and mystery. I have to admit that I had the same reaction, which is hwy it has taken me so long o return to Josefowicz. But I have come around. If your attention can be held by sheer focus and musicality, this performance won't disappoint.

The Sibelius concerto is hampered by Marriner's harmless accompaniment, a major flaw in a work that is half symphony and half concerto. The Academy sounds too thin, and the lack of mystery can be traced to them and their conductor. On her own, Josefowicz aims at a big, assertive reading. As recorded here, her sound isn't as generous or colorful as Mullova's or Vengerov's. It was a bit unfortunate that tis Canadian born, American trained violinist had to come up against Russian powerhouses. Since tis early phase, I think Josefowicz's temperament has become edgier and more modern, rather in the style of Lydia Mordkovitch. (I'd love to hear her in Schnittke, given her uncompromising Shostakovich.)

In short, this CD is valuable mainly for where Josefowicz was going rather than where she's been. These two big romantic works aren't quite up her alley, impressive as she is in them.

There are quite a few young, legend-in-the-making violinists. I believe that when the dust settles in 20 or so years, Leila Josefowicz will be at the top of the heap. I see her as the heir apparent to Heifetz and Perlman.

This was her debut album, recorded when she was at the tender age of 17. We'll discuss the many musical reasons why you should own this CD, but there is another valid reason: historic significance. When Leila is mentioned in the top handful of violinists of all time, you'll be so glad to say that you have her first recording.

It is a wonderful recording of the Tchaikovsky and Sibelius concerti. To me, her acid test at this time was definitely the Canzonetta movement from the Tchaikovsky. Could this 17-year old have enough soul and insight to capture the passion and longing in one of the most beautiful slow movements in the violin literature? You bet she did. The duet passages with clarinet and flute were luxurious. The first and third movements were very well done. The first movement is beautifully lyrical, but with plenty of technical challenge thrown in. Leila has tremendous skill in shaping phrases, an almost poetic way of playing. The showpiece third movement was taken at a blistering tempo, allowing Leila to show off some fantastic technique. Her bow control, particularly her fast spiccato, is amazing.

All of this rock-solid technique and musical sensibility carried through to the Sibelius, which was fantastic as well. There may be some slight intonation issues in the difficult double stop runs, but the fingered octaves and harmonic passages are right on the money. She has beautiful trills. Once again, her tempo in the final movement will kick your heartbeat up.

Her cadenzas are standard, and brilliantly executed. She has no tension in her fingers or bow arm, and she breathes with the music. Pretty darn good for age 17! Sir Mariner and the Academy of St. Martin-in-the-Fields are sensitive collaborators.

Highly recommended.

I think this is the best interpretation of Sibeluis violin concerto. Josefowicz mooved me in the second movment as no other voilinist has ever done. Incredible at Sibeluis but not the best Tchaikovksy. Anyway Tchakovsky's concerto is very well displayed here, but there are better versions like Heifetz one.
I must also talk about Marrimer who makes a wonderful sound with the orchestra.
I highly recomend.