Success was assured for Leila Josefowicz in her 1994 recording debut, for the 17-year-old violinist had performed these works several times before and had perfected her interpretations through constant preparation and presentation. Along with her boundless energy and self-confidence, Josefowicz's skills have placed her at the forefront of violin virtuosi, and this recording is a fascinating record of her precocity. Tchaikovsky's Classically oriented violin concerto is as bright a showpiece as exists in the repertoire. However, Josefowicz's mastery of the brilliant scales and arpeggios is almost secondary to her soulful shaping of the purely melodic material that is at the heart of this intensely lyrical piece.
In her third release for EMI Classics the energetic young Norwegian violinist continues the idea of Nordic and Russian concerto pairings established with Sibelius and Prokofiev Concertos on her first album. Here the famous romance of Tchaikovsky’s well-loved violin concerto and Scandinavian poise and unique colouring of Nielsen’s concerto are presented in a rare coupling together on disc.
This release arguably features the two greatest concertos ever written for the violin: performed by one of the most brilliant violinists of her generation, together with one of the finest orchestras, and under the baton of one of the world’s foremost conductors. This recording of Tchaikovsky/Mendelssohn violin concertos bears witness to the eminence of the collaboration between violinist Arabella Steinbacher, conductor Charles Dutoit and PENTATONE’s Orchestra of the Season January-June 2015, Orchestre de la Suisse Romande, and the result thereof.
Russian-born Viktoria Mullova is a violinist primarily known for her great virtuosity and a wide-ranging repertory that includes many crossover pieces.
The two-time Grammy winning violinist releases the world-premiere recording of Jennifer Higdon's 2010 Pulitzer Prize winning concerto, paired with the popular Tchaikovsky concerto (Op.35).
This well recorded disc from 1985 delivers impressive readings of both of these works. Mullova takes a very individual view of these concertos and has the technical assurance to communicate her view with compelling certainty.
The Tchaikovsky concerto is played in the full uncut version that was written by the composer. This is now becoming more common but in 1985 was still unusual enough to warrant comment. By playing the notes as Tchaikovsky had intended Mullova signals a very serious intent which she carries out throughout these two concertos.