What recording of Brahms' violin concerto to buy?
Taylor
What recording of Brahms' violin concerto to buy?
A violinist once said that she felt this concerto
was composed by God himself. And since
I was so moved by it when listening to a performance
by Isaac Stern, I was just wondering if someone could
recommend a recording.
Sounds ridculous, huh? You'd probably tell me to
buy Isaac Stern! Truth of the matter is . . . I don't
know which violin concerto it was? Is there only
one? Has Stern recorded it? What label does Stern
record for?
OK, I'm inquisitive . . . so sue me!
Jay
JDT
chandr...@linknet.net (Taylor) wrote:
>Jay
Stern is actually a good choice. He has recorded it twice in the
stereo era (post 1958) and I believe once earlier. The two modern
ones are widely available, the first with Philly and Ormandy (the
first recording I ever bought - I have Stern's autograph on it), the
second is from the late 70s or thereabouts and generally was not
received as well. Other favorites (as a violinist myself, I have a
zillion performances of it): either modern Oistrach recording.
Oistrach/Klemperer is widely available on CD. I really don't remember
seeing Oistrach/Szell. An earlier Oistrach/Konnowitchky(sp) was just
reissued on DGG Originals - I have not heard it. A favorite of mine -
at a budget price in Herman Krebbers (who?) and Concertgebouw/Haitink.
Krebbers was concertmaster of Concertgebouw until he was injured in a
boating accident. He still teaches. He is a violinists' violinist
and his recording now on a budget Philips was highly regarded for
years in the Penguin Books guides. For violinists: check out Krebbers
in the cadenza, you will hear pedal points about halfway through the
cadenza which are written in the Joachim Cadenza you never heard
before. If you are capable of playing the concerto -- try playing
those pedal points!! Awesome. (I can't do it even though I can play
the concerto and the cadenza). Other classics: Szeryng/Monteux,
Perlman (I think that got a Rosette from Penguin Guides). I have
always liked the young Anne-Sophie Mutter/Karajan. Heifetz, newly
coupled with the Tschaikowsky/Reiner/Chicago. Ancient classics:
Ginette Neveu from just after the war. I have not heard older
classics but Huberman and Kreisler have had staying power. No lack of
good recordings on this piece and surprizingly few really bad ones.
My least favorite-
of those I have heard - Nadia Salerno-Sonnenberg - she just comes
across better on the platform than on recordings.
Jon Teske
H. Krehbiel
chandr...@linknet.net (Taylor) wrote:
>What recording of Brahms' violin concerto to buy?
>
>A violinist once said that she felt this concerto
>was composed by God himself. And since
>I was so moved by it when listening to a performance
>by Isaac Stern, I was just wondering if someone could
>recommend a recording.
>
>Sounds ridculous, huh? You'd probably tell me to
>buy Isaac Stern!
I recommend Nigel Kennedy. While his Four seasons and some Jazz are highly popular, it seems
from watching this newsgroup that his recordings of classical concertos are less well known.
To wit: He recorded Brahms with Klaus Tennstedt and the Royal Philharmonics (?) London,
Also: Beethoven with the same and the orchestra of the North-German Radio (a live recording
with tuning and initial applause on track 1, plus the encores.) Cadenza in 3rd mov by N.K.
Any comparisons of Kennedy's recordings with those of others are invited.
Neil Tingley
In article <4ojpmp$9...@dscomsa.desy.de>, "H. Krehbiel"
<kreh...@desy.de> writes
>I recommend Nigel Kennedy. While his Four seasons and some Jazz are highly
>popular, it seems
>from watching this newsgroup that his recordings of classical concertos are less
>well known.
They are known but not raved about. Not to say his Mendelsohn is poor by
any means for example.
>To wit: He recorded Brahms with Klaus Tennstedt and the Royal Philharmonics (?)
>London,
>
LPO. It's an appalling recording IMHO. Tempi are painfully slow and
mauled.
>Also: Beethoven with the same and the orchestra of the North-German Radio (a
>live recording
>with tuning and initial applause on track 1, plus the encores.) Cadenza in 3rd
>mov by N.K.
>
>Any comparisons of Kennedy's recordings with those of others are invited.
He is a most original player, there's no doubt. But his last concerto
recordings, of the Brahms and Beethoven are very self-indulgent to put
it mildly; and I don't think he has the essential genius to acheive
something revelatory. Yet I'll always remember the 1st movement of the
Bach 3rd partita he played once as an encore, which was inspirational
and very distinctive.
Hrm..an odd nut to crack.
--------------------------------------------------------------------------------
Neil Tingley Furtwaengler FAQ from r.m.c.r contributers at:
ne...@music.demon.co.uk http://www.netlink.co.uk/users/music/ & links to
London, UK G.H Gould and others "more about me" menu.
--------------------------------------------------------------------------------
S. LaBonne
To John Teske's excellent list I would just like to add that the
absurdly cheap EMI Seraphim reissue of the superb Milstein/Fistoulari,
coupled with the astounding Milstein/Steinberg Tchaikovsky, is too
much of a steal for any violin-lover who doesn't already have these
performances to even _think_ of passing up.
--
Opinions are mine alone; I never met a university with opinions!
Steve LaBonne ********************* (labo...@cnsunix.albany.edu)
"It can never be satisfied, the mind, never." - Wallace Stevens
david braitberg
Oistrach's recording is the most sensitive and humane-Heifetz's the
most superhuman
JDT
st...@atl.mindspring.com (david braitberg) wrote:
>Oistrach's recording is the most sensitive and humane-Heifetz's the
>most superhuman
No argument from me on that. Again, if you play the piece-try doing
it at Heifetz' tempo and you will realize just how super human he was.
I was priviledged to hear Oistrach live twice - In the Beethoven and
Mozart's Fourth. In his recording of Mozart's 4th, He used the David
cadenza. What a piece. Long out of print, I got a copy of it at the
Library of Congress last winter. My kind of piece. It lays perfectly
under the hand and sounds much harder than it actually is. I prefer
it to the much more common Joachim cadenza.
Jon Teske
Jose Marques
On Wed, 29 May 1996 18:37:00 GMT chandr...@linknet.net (Taylor)
wrote:
>What recording of Brahms' violin concerto to buy?
>
>A violinist once said that she felt this concerto
>was composed by God himself.
Not exactly - God only gave the technical advices.
> And since
>I was so moved by it when listening to a performance
>by Isaac Stern, I was just wondering if someone could
>recommend a recording.
>
>Sounds ridculous, huh? You'd probably tell me to
>buy Isaac Stern! Truth of the matter is . . . I don't
>know which violin concerto it was? Is there only
>one? Has Stern recorded it? What label does Stern
>record for?
There's only one God and only one Brahms Violin Concerto.
You may find Stern/Ormandy/Philadelphia O in Sony 37262
--
Jose Marques
jmar...@super.zippo.com
Terence T. Lung
In article <4ojpmp$9...@dscomsa.desy.de> "H. Krehbiel" <kreh...@desy.de> writes:
>chandr...@linknet.net (Taylor) wrote:
>>What recording of Brahms' violin concerto to buy?
>I recommend Nigel Kennedy...
>To wit: He recorded Brahms with Klaus Tennstedt and the Royal Philharmonics (?) London,
>Any comparisons of Kennedy's recordings with those of others are invited.
I recommend Gina Niveu in a 194? recording. It's not a DDD recording,
but her performance and interpretation is outstanding. The recording
is hard to find but well worth it.
Laurence Dang
Well, Ok,
I'll be partial:
I vouch for Oistrakh/Klemperer. This version is likely to give
you the same "heavenly" feeling you may be looking for plus, technical
mastery and precision without forfeiting emotion. The 2nd Movement
is to be played while looking up in the sky, dreaming of angels and
Supreme Beings in the clouds.
Laurence
--
_____________________________________________________________________
Laurence Dang
Schlumberger Technologies Phone: 408-437-5068
1601 Technology Drive Fax: 408-437-5246
San Jose, CA 95110-1397
_____________________________________________________________________
Neil Tingley
In article <4olsnq$d...@news2.cais.com>, JDT <chac...@idsonline.com>
writes
I think there are two very obviously different ways to approach this
concerto. On one hand it works very well at brisk tempi, highlighting
the dramatic and tragic nature of the work, but short on the portentous,
gemutlich side. Then the expanisve, grand manner interpretation which
brings out the big-boned, symphonic nature of the concerto ( al la
Klemperer). JH would always take the former approach in most music he
played; the drama and tension suited his performing style perfectly, and
of course he had the supreme technical command required to articulate
and phrase at such speeds. (Not to say that other fiddlers couldn't play
as fast as he could, it endemic to JH's nature to push tempi and press
ahead - he has not a lingerer in the sense that Menuhin could be.)
Ps. Menuhin's 1958 recording with Kempe and the BPO is one of his
finest. A very warm, sweet and rounded interpretation.
Brian Duchinsky / Jim Kohn
Jim Kohn
frank forman
Get the 1928 recording of Joseph Szigeti (not the two later ones) and
take all other recordings, grind 'em up, and use them for road surfacing!
I say, even though my other three favorite violinists, Busch, Thibaud,
and Spalding, have left recordings. YOu can get the Szigeti on Pearl and
I think Music and Arts.
Frank
Seongwook Kwon
Neil Tingley (ne...@music.demon.co.uk) wrote:
: Ps. Menuhin's 1958 recording with Kempe and the BPO is one of his
: finest. A very warm, sweet and rounded interpretation.
Well, unfortunately, I don't like this recording and am trying to find a
better one. I did like Brahms's Concerto before. And this only
recording in my possession doesn't give me the full impact of the
concerto that I used to get from other recordings whose soloists I don't
remember now. Just my personal opinion :)
Seongwook Kwon
swk...@email.unc.edu
http://www.unc.edu/~swkwon/
Try some Korean music at my homepage.
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
% %
% In the beginning, God said, Let there be music: %
% and there was music. %
% And God saw the music, that it was good. %
% %
% From 'The Creation' by F. J. Haydn :) %
% %
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
Gene Gaudette
Jon Teske wrote:
>David Braitberg wrote:
>
>>Oistrach's recording is the most sensitive and humane-Heifetz's the
>>most superhuman
>
>No argument from me on that. Again, if you play the piece-try doing
>
Point well taken. To the Heifetz/Reiner and Oistrakh/Klemperer pile I'd
add Ginette Neveu (EMI) and Tasmin Little (Classics for Pleasure), the
former a longtime favorite of mine, the latter a recent acquisition played
with bravura and elegance (the Sibelius coupling is also breathtaking, far
grittier and cathartic than Mutter's highly hyped but far too soft-edged
version).
Gene
Cheniston K Roland
for...@netcom.com (frank forman) wrote:
>Frank
I must admit that I am dazzled by these recommendations, one
presumes that an enquiry of this sort would warrant a reply
recommending more recent performances that were easily
obtainable.
While you are not necessarily recommending them. It would be
wonderful to be in a position to do so.
As all three artists you list as you favourites did not make
commercial recordings of this concerto, all three versions are off
the air:-
Busch Adolph
------------------------
Brahms Violin Concerto in D op 77 Basel Orch / Munch 18/12/51
Brahms Violin Concerto in D op 77 Concert Hall USA / Black 1942
Spaulding Albert
-----------------------------
Brahms Violin Concerto in D op 77 Vienna Symp/Loibner 1952
Thibaud Jacques
----------------------------
Brahms Violin Concerto in D op 77 Orch Pasdeloupe/Fournet 18/1/53
They may of course be available on CD, each version is wonderful to
hear. In this vain you missed the two Huberman "Off the Air"
recordings 1937 and 1944.
But I suppose there will not be many bad commercial performances
on record. If the originator of this enquiry manages to hear any of
above recordings in whatever form he will I am sure be very pleased.
In a long conversation I had many years ago with Joseph Szigeti he
also liked the 1928 recording of the Brahms Violin Concerto you
mention.
========================================================
Cheniston K Roland
(Violin Historian)
Liverpool
Violin History Violin Players Violin Recordings
========================================================
Matthew B. Tepper
While Szigeti's first recording (and to a lesser extent his second) are among my
favorite recordings, I have to put in a word for Kreisler (the earlier one with
Blech, please, not the remake with Barbirolli), Neveu (studio recording and live
one), and a live performance with Efrem Zimbalist Sr. and Koussevitzky/BSO. And
since I've recently heard that the Heifetz/Toscanini/NYPSO does exist complete
(the finale finally turned up?), I'd add that to the list having heard only the
first two movements.
More recent recordings? Oh, Milstein did a nice one for DGG about 20 years
ago....
--
Matthew B. Tepper * Management and IS Consultant
Positive Support Review Inc. * tep...@psrinc.com
World Wide Web site: http://www.psrinc.com/psr.htm
PSR's 1996 IS Compensation Study is now available!
Neil Tingley
In article <4otjba$j...@newz.oit.unc.edu>, Seongwook Kwon
<swk...@email.unc.edu> writes
>Neil Tingley (ne...@music.demon.co.uk) wrote:
>
>: Ps. Menuhin's 1958 recording with Kempe and the BPO is one of his
>: finest. A very warm, sweet and rounded interpretation.
>
>Well, unfortunately, I don't like this recording and am trying to find a
>better one. I did like Brahms's Concerto before. And this only
>recording in my possession doesn't give me the full impact of the
>concerto that I used to get from other recordings whose soloists I don't
>remember now. Just my personal opinion :)
I haven't heard it for ages, but I enjoyed it at school.
weiyi zhou
Cheniston K Roland wrote:
>
> for...@netcom.com (frank forman) wrote:
>
> >Get the 1928 recording of Joseph Szigeti (not the two later ones) and
> >take all other recordings, grind 'em up, and use them for road surfacing!
> >I say, even though my other three favorite violinists, Busch, Thibaud,
> >and Spalding, have left recordings. YOu can get the Szigeti on Pearl and
> >I think Music and Arts.
>
> >Frank
>
>
> ------------------------
> Brahms Violin Concerto in D op 77 Basel Orch / Munch 18/12/51
> Brahms Violin Concerto in D op 77 Concert Hall USA / Black 1942
>
> Spaulding Albert
> -----------------------------
> Brahms Violin Concerto in D op 77 Vienna Symp/Loibner 1952
>
> Thibaud Jacques
> ----------------------------
> Brahms Violin Concerto in D op 77 Orch Pasdeloupe/Fournet 18/1/53
>
>
Did I missed something? Nobody gave a word on Heifeitz/Reiner. Why?
I can't believe it that you all missed it! How about Zukerman/Mehta?
Well, personally I rank it as the best DDD records. Any doubt?
Just try it.
nick
S. LaBonne
In article <31B366...@psrinc.com>,
Matthew B. Tepper <du...@deltanet.com> wrote:
>More recent recordings? Oh, Milstein did a nice one for DGG about 20 years
>ago....
But he did an even better one 20 years before that, which is now
available for next to nothing on the EMI Seraphim label.
Terence T. Lung
In article <4otjba$j...@newz.oit.unc.edu> swk...@email.unc.edu (Seongwook Kwon) writes:
>Well, unfortunately, I don't like this recording and am trying to find a
>better one. I did like Brahms's Concerto before. And this only
Try Ginette Neveu. I mispelled her name last time.
She has an excellent performance on the EMI label.
Unfortunately, she died in an accident in 1949.
This also means that there is no DDD recording of her.
John
Jose Marques (jmar...@super.zippo.com) wrote:
: wrote:
: >What recording of Brahms' violin concerto to buy?
: >
: >A violinist once said that she felt this concerto
: >was composed by God himself.
You may be thinking of an interview on 60 Minutes with Nadja
Solenro Sonnenberg where she said there are passages she thinks
God himself must have approved.
(I agree!)
John
Dan Koren
In article <31B46B...@vtcc1.cc.vt.edu> weiyi zhou <zh...@vtcc1.cc.vt.edu> writes:
>Cheniston K Roland wrote:
>>
>> for...@netcom.com (frank forman) wrote:
>>
>> >Get the 1928 recording of Joseph Szigeti (not the two later ones) and
>> >take all other recordings, grind 'em up, and use them for road surfacing!
Even Kreisler and Bronislav Huberman? You must surely be joking.
>> >I say, even though my other three favorite violinists, Busch, Thibaud,
>> >and Spalding, have left recordings. YOu can get the Szigeti on Pearl and
>> >I think Music and Arts.
>>
>> >Frank
>>
>> Busch Adolph
>> ------------------------
>> Brahms Violin Concerto in D op 77 Basel Orch / Munch 18/12/51
>> Brahms Violin Concerto in D op 77 Concert Hall USA / Black 1942
>>
>> Spaulding Albert
>> -----------------------------
>> Brahms Violin Concerto in D op 77 Vienna Symp/Loibner 1952
>>
>> Thibaud Jacques
>> ----------------------------
>> Brahms Violin Concerto in D op 77 Orch Pasdeloupe/Fournet 18/1/53
>>
>Did I missed something? Nobody gave a word on Heifeitz/Reiner. Why?
>I can't believe it that you all missed it! How about Zukerman/Mehta?
>Well, personally I rank it as the best DDD records. Any doubt?
>Just try it.
Anyone who recommends Busch, Spaulding and Thibaud as their top
choices in the Brahms concerto must have problems with their ears
and everything in between.
:-)
dk
Yoel Lax
The best DDD recording I have heard to date is the Spivakov/Termikanov.
It comes with the double concerto (Kniazev) on RCA. This recording is
truly fiery and Spivakov's lyricism is unmatched (IMHO).
Dan Koren (d...@netcom.com) wrote:
: :-)
: dk
--
Yoel :)
______________________________________________________
Yoel Lax
The Wharton School of the University of Pennsylvania
e-mail: La...@wharton.upenn.edu
phone : 215-382-5212
______________________________________________________
Naun Chew
for...@netcom.com (frank forman) wrote:
>
>Get the 1928 recording of Joseph Szigeti (not the two later ones) and
>take all other recordings, grind 'em up, and use them for road surfacing!
>and Spalding, have left recordings. YOu can get the Szigeti on Pearl and
>I think Music and Arts.
>
>Frank
I must say the 1928 Szigeti has probably spoiled me for any other
performance. I was quite bowled over recently by Leonid Kogan's EMI
recording though.
Naun.
Laurence Dang
> >
> > Busch Adolph
> > ------------------------
> > Brahms Violin Concerto in D op 77 Basel Orch / Munch 18/12/51
> > Brahms Violin Concerto in D op 77 Concert Hall USA / Black 1942
> >
> > Spaulding Albert
> > -----------------------------
> > Brahms Violin Concerto in D op 77 Vienna Symp/Loibner 1952
> >
> > Thibaud Jacques
> > ----------------------------
> > Brahms Violin Concerto in D op 77 Orch Pasdeloupe/Fournet 18/1/53
> >
> >
I thinks it's Pasdeloup. I did not hear Busch's interpretation but
judging from his other recordings I am sure it must be beautiful.
Which labels for these recordings?
NirvJam
Since the original poster seemed like a beginner in the Violin Concerto
repertoire in general, I'd give the highest recommendation to:
HEIFETZ!! / Reiner on RCA
...coupled with Beethoven's Violin Concerto! (cond. Munch)
Forget AAD, ADD, and DDD --- This one's WOW!
72 minutes and 12 seconds of pure heaven!
Kenneth Ho
NirvJam (nir...@aol.com) wrote:
: Since the original poster seemed like a beginner in the Violin Concerto
: repertoire in general, I'd give the highest recommendation to:
: HEIFETZ!! / Reiner on RCA
: ...coupled with Beethoven's Violin Concerto! (cond. Munch)
: Forget AAD, ADD, and DDD --- This one's WOW!
I agree!!!
: 72 minutes and 12 seconds of pure heaven!
Mine is living stereo coupled with Tch;
For *perfect* playing and perfect artistic presentation one must try
Heifetz; for 'less perfect' playing and 'may be even more sublime'
artistic presentation you may try Kreisler; Milstein (EMI); Neveu;
Oistrakh (Staakappelle Dresden, mono); Ferras etc.
All are great playings!!
Kenneth.
S. LaBonne
And I would argue that the EMI Milstein (now available on the Seraphim
label, coupled with Milstein's equally wonderful Tchaikovsky), IS
every bit as immaculate as Heifetz's even in purely violinistic terms.
Maybe moreso, since Milstein never engaged in the unlovely hacking and
slashing that, for me, tends to disfigure Heifetz's playing of chordal
passages (I find his unaccompanied Bach unpleasant to listen to for
this reason.)
JDT
labo...@csc.albany.edu (S. LaBonne) wrote:
I have just about all of the above recordings plus many more of the
Beethoven and Brahms. I also play both concertos myself. At this
level best performance cannot be an operative word. Different, yes.
Preferable to some tastes, of course. But best, almost impossible. I
am not the biggest fan of Heifetz/Munch with much of the fault falling
on Munch. I do like Heifetz Reiner in the Brahms, but I have some
quibbles about the speed. Heifetz/Reiner in Tschaikowsky is also
truly one of the half dozen meritorious recordings of the work, but I
don't like the Auer edition Heifetz uses (most noticible in the
Cadenza - Liela Josefowicz used the same edition) I also do not like
the Tschaikowsky with all the cuts restored especially the ostinato in
the third movement which many younger players use. In that case, less
is more.
I will second the views of the new Milstein reissue. What a bargain.
I remember the Tschaikowsky from its first iteration.
FWIW here are my likes
Beethoven - Kreisler Cadenza
Oistrach - if only his last recording could have been with someone
other that the French Orchestra/Cluytens
Perlman
Beethoven - Joachim Cadenza
Szeryng
Beethoven, last 20 years
A-S Mutter
Also like Schniederhan with his transcription of Beethoven's cadenza
originally written for the Piano version of the Op61 concerto
Brahms - Joachim Cadenza
Krebbers/Haitink the sleeper
Perlman
Oistrach/Klemperer or Szell (I have not heard the 1955 DGG reissue)
Heifetz
Brahms Kriesler Cadenza
Not much to choose from Salerno Sonnerberg just doesn;t cut it on
records for me. Maybe she is too much of a visual phenomonon so that
leaves Ulf Hoelscher on an old EMI and the Old Kremer/von Karajan
Have not heard Ricci doing everybodies cadenza .
I regret I cannot get beyond a ancient acoustics of the older
recordings. I do have Ginette Neveu and wish she had lived into the
modern recording era.
Stern/Ormandy - the first LP I ever bought
Tschaikowsky
Oistrach/Ormandy
Heifetz Reiner
Milstein either EMI and DGG (Milstein was remarkably consistant
throughout his career. The only time I saw him live he did the Brahms
when he was about 77 (He died at 88 or 89) What a phenom- He conceded
nothing to his age.
Jon Teske
Kevin Tsai
labo...@csc.albany.edu (S. LaBonne) writes:
>And I would argue that the EMI Milstein (now available on the Seraphim
>label, coupled with Milstein's equally wonderful Tchaikovsky), IS
>every bit as immaculate as Heifetz's even in purely violinistic terms.
I heard Milstein's recording of Goldmark's violin concerto, and I've
been wondering if he is every bit as good as he is in Goldmark. In
Beavis and Butt-Head's immortal words, "He rocks!" I like his early
recording of Bach's Solo Sonatas and Partitias, too, although
unfortunately The Last Recital seems somewhat disappointing. Does
anyone have more suggestions for a fellow Milstein enthusiast?
Thank you.
Kevin Tsai
.
S. LaBonne
In article <4qajjl$s...@decaxp.HARVARD.EDU>,
I am even a little disappointed by his second recordings of the Brahms
and the Mendelssohn- while it's remarkable how well he still played at
an advanced age, still he wasn't _quite_ the old Milstein.
But for all earlier recordings, grab ANYTHING you see- in his prime I
don't think he ever made a less-than-wonderful recording. I have two
of his old Angel LP's which I think have never been reissued (somebody
please correct me if they're available)- one with the Dvorak and
Glazunov concerti, the other with Saint-Saens #3 and the Chausson
Poeme. All four performances can only be described as heavenly.
JDT
labo...@csc.albany.edu (S. LaBonne) wrote:
I collected LPs quite extensively during Milstein's prime and have or
had just about every thing he put out in the late 50's and 60's on
what is now EMI. I concur with your choices and his Dvorak and Saint
Saens Third, Chausson Poeme, and quite a number of small pieces were
the touchstones at the time. I also had a Kreutzer and Spring sonata
- he really didn't record too many sonate. He did a Szymanowksi
Variations second to none. He also had one of the earlier couplings
of the 2 Prokoviev concertos. He had stiff competition during those
years from Stern and Oistrach. (Time Magazine went out on a limb in
the sixties and said the five best violinists were Heifetz, Stern,
Oistrach, Milstein and Francescatti). Milstein often got an asterisk
in the Big Pieces because he always used his own cadenzas.
Capitol/Angel, the American predecessor to EMI, but not nearly as
influential, did not have the marketing power of CBS (now Sony) or RCA
(now BMG). They also had quite a few Oistrach recordings, some from
the West others from Soviet sources. Great a musician as he was,
Milstein did not have the stage charisma of a Stern or Oistrach (or
later a Perlman) so I suspect he was a little harder to market. I only
saw him live in the later years. He often recorded with inferior
orchestras and conductors. When Stern could get Bernstein and
Ormandy; Oistrach, the pick of the Russians: Heifetz, Chicago/Reiner:
Milstein got Pittsburg/Steinberg (with whom he had a major falling out
- made front page news when he walked out of a rehersal), Frubeck de
Burgos and other lessor luminaries. Artists very rarely switched
labels in those days and virtually every orchestra/conductor was under
contract to a particular label. CBS could market and Stern could sell
records - so could Bernstein and Ormandy. It wasn't until later in
the sixties, about the time Ormandy went to RCA, the U.S. Orchestras
often priced themselves out of the market, and jet travel allowed
anyone to be anywhere in a day's time that this house roster paradigm
was broken. During this time, between the EMI days and the DGG years,
Milstein was seldom heard from on recordings.
I truly think he is more appreciated now than during his recording
prime.
Jon Teske
William J. Karzas
In article <4qer86$b...@rebecca.albany.edu>, labo...@csc.albany.edu (S.
LaBonne) wrote:
> But for all earlier recordings, grab ANYTHING you see- in his prime I
> don't think he ever made a less-than-wonderful recording. I have two
> of his old Angel LP's which I think have never been reissued (somebody
> please correct me if they're available)- one with the Dvorak and
> Glazunov concerti, the other with Saint-Saens #3 and the Chausson
> Poeme. All four performances can only be described as heavenly.
The 6 CD EMI set - 64830 - "The Art of Nathan Milstein" contains all but
the Chausson of the four you list, along with, of course, many other
concerti and shorter works. The recordings all date from 1955 to 1966.
--
Bill Karzas wjk...@pacificnet.net
Owen Hartnett
>In article <4qajjl$s...@decaxp.HARVARD.EDU>,
>Kevin Tsai <st...@husc.harvard.edu> wrote:
>>labo...@csc.albany.edu (S. LaBonne) writes:
>>
>>>And I would argue that the EMI Milstein (now available on the Seraphim
>>>label, coupled with Milstein's equally wonderful Tchaikovsky), IS
>>>every bit as immaculate as Heifetz's even in purely violinistic terms.
>>
I spotted this disk for $3.99 in a record store (apparently all the
Seraphim were marked $3.99) and picked it up. Be on the lookout. (I think
the store's name was Record Town, but I'm not sure. It was just a regular
CD-Video store in a mall.)
-Owen
Neil Tingley
In article <4qer86$b...@rebecca.albany.edu>, "S. LaBonne"
<labo...@csc.albany.edu> writes
>one with the Dvorak and
>Glazunov concerti, the other with Saint-Saens #3 and the Chausson
>Poeme. All four performances can only be described as heavenly.
The latter is indeed heavenly.
Anonymous IU Student
most of the major concertos. He has much different interpretatations
the his fellow Auer students, Heifetz and Elman.
JDT
Milstein also had some important earlier influences, notably Piotr
Stolyarski of Odessa who was also the teacher of Oistrach. Heifetz,
who by todays geography was technically a Lithuanian (from Vilna)
started out closer to St. Petersburg, and studied longer with Auer.
As I remember the story, some special dispensation was given to his
father to move the family to St. Petersburg (or maybe it was Petrograd
then) so young Jacha could study there. Normally, St. Petersburg was
off limits to Jews, unless their was some compelling reason for them
to be there such as being a top rank musician. IA professional
colleague of mine in my real life job, albeit one generation older
than I - he also was a violinist - was born in Vladivostok right after
the Russian Revolution. His father was a Russian Jew and an officer
in the Czarist army. He was permitted to live in St. Petersburg
according to my friend because he was an officer. At the time of my
friend's birth they were fleeing the Bolsheviks, not because they were
Jewish, but because of his father;s officer status. I don't know
enough about Elman. Elman's career was essentially over when I became
interested in the subject. The recordings made late in his career
were quite inferior to both Milstein and Heifetz, both of whom were in
their mid to late fifties when I started collecting records and
seriously playing myself. (Oh my gosh! I'M in my mid-fifties now!!!).
Jon Teske