Beethoven reputedly wasn't Beecham's favorite composer, but you wouldn't know it from this performance; it's exceedingly well conceived, highly energetic, and has that unique Beecham sparkle to it. The fillers also are delightful. All recorded in Ascona, Switzerland in 1957.
The Violin Concerto is the reason you want to buy this album, but the "filler" is quite intriguing. Christian Tetzlaff plays the Concerto (Opus 47) with great intensity. If Thomas Dausgard with the Danish National Symphony Orchestra doesnt' quite match him, they don't pull him down either. The recording is wide ranging and well detailed.
‘Finland has Sibelius, Norway has Grieg and Denmark Nielsen – so what about Sweden?’ This question, often put to Swedish musicians and music-lovers, is one that has no simple answer. Wilhelm Stenhammar (1871-1927), a personal friend of both Sibelius and Nielsen, would seem to be the obvious candidate – but when his name is suggested the usual reaction is ‘Stenhammar who?’
A generous and unusual pairing of two romantic concertos in the best recordings by "King David", playing his Stradivarius Comte de Fontana, fully animated by Gennady Rozhdestvensky, a modern conductor knowing perfectly the deep Baltic souls.
Finland's Jean Sibelius is perhaps the most important composer associated with nationalism in music and one of the most influential in the development of the symphony and symphonic poem. Sibelius was born in southern Finland, the second of three children. His physician father left the family bankrupt, owing to his financial extravagance, a trait that, along with heavy drinking, he would pass on to Jean. Jean showed talent on the violin and at age nine composed his first work for it, Rain Drops. In 1885 Sibelius entered the University of Helsinki to study law, but after only a year found himself drawn back to music. He took up composition studies with Martin Wegelius and violin with Mitrofan Wasiliev, then Hermann Csillag…
Recorded in the mid-1970s with the Boston Symphony Orchestra, this classic cycle of symphonies and tone poems firmly established Sir Colin Davis's reputation as one the greatest Sibelius interpreters. Nearly forty years on and the cycle remains as grand and dynamic as ever.
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.