Legendary violinist David Oistrakh delivers a profoundly thrilling rendition of Beethoven’s Concerto for Violin & Orchestra in D Major Op.61. Arguably, 1 of the best violin concertos ever composed, the esteemed violinist delivers with his flawless virtuosity & skillful execution. Remastered by 4 historic engineers, the sound is spacious & warm.
One of Kremer's most commanding performances, both polished and full of flair, magnetically spontaneous from first to last. The rule now seems that all the finest versions of the Beethoven Violin Concerto are being recorded live… Here is another, for Gidon Kremer's Teldec recording offers one of his most commanding performances, both polished and full of flair, magnetically spontaneous from first to last. Rarely have I heard such consistently pure tone in this work as from Kremer, and his achievement is set in place the more clearly, when my other new version offers the first recording of this work using period instruments. Harnoncourt may have expanded his sights beyond the period performance movement, but the lessons he learnt then are most imaginatively applied in his work with COE, earlier in his Beethoven symphony cycle, later in the Missa solemnis, and now in this Concerto. If Kremer regularly has you registering new detail in the solo part, the orchestral writing too is superbly realized, with magical sounds in the slow movement in particular.
The catalog doesn't need a new version of Mendelssohn's Midsummer Night's Dream, but this one is sung and spoken in German (hence the use of Sommernachtstraum on the cover), which is rare. It's reminder that Mendelssohn was setting a German translation of Shakespeare. Harnoncourt's performance is very fine. His speakers and singers are first-rate, and he evokes both the dreamy relaxation of the play and its mercurial swiftness. Tempos are on the fast side, phrasing is crips without being terse, and the execution by the Chamber Orchestra of Europe could be mistaken for the Concertgebouw.
Recording of the ballet "Lady-Soubrette" is the last page of the unprecedented work — "Anthology of Russian Symphony Music", conductor Evgeni Svetlanov has been carrying out since the very beginning of his artistic career. At first all symphonic works by P. Tchaikovsky were recorded, the anthology was concluded with the recording of all works of the same genre by A. Glazunov. Ardent promoter of Russian and Soviet music Evgeni Svetlanov performed "a creative deed", the USSR Symphony Orchestra being his true ally. Evgeni Svetlanov has been the orchestra's chief conductor and artistic director since 1965.
Drawing on the Chopin model of alternating major and minor keys, as well as on Russian folk melodies, Kabalevsky’s 24 Preludes (1943–4) find the composer’s writing at its most distinctive. They are coupled with the early 4 Preludes (1927), in which the influence of Prokofiev is seldom far away, and the Preludes and Fugues (1958–9), six widely contrasting and expressive preludes yoked to their traditional fugal partners. This is the second recording of Kabalevsky’s piano music by Alexandre Dossin, First Prize and Special Prize winner at the 2003 Martha Argerich International Piano Competition. The three Piano Sonatas can be heard on Naxos.
Mutter's Beethoven Concerto was recorded live at the final subscription concerts of Karl Masur's long tenure as the New York Philharmonic's music director, and the beautifully played orchestral part is a tribute to his leadership. Mutter plays with a silken tone and astonishing technical command of her instrument–absolute ease in the stratospheric tessitura of the solo part, and an amazing array of microdynamic adjustments that display the infinite variety of pianissimos at her command.