- Audio CD (Mar 6 1995)
- Format: Import
- Label: Universal Poland
- ASIN: B00000DG1L
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Product Details |
Track Listings
| 1. Scottish Fantasia - Violin And Orchestra, Op. 46: Introduction - Grave Adagio Cantabile |
| 2. Scottish Fantasia - Violin And Orchestra, Op. 46: Allegro |
| 3. Scottish Fantasia - Violin And Orchestra, Op. 46: Andante - Sostenuto |
| 4. Scottish Fantasia - Violin And Orchestra, Op. 46: Finale - Allegro guerriero |
| 5. Concerto For Violin And Orchestra In D, Op. 61: Allegro ma non troppo |
| 6. Concerto For Violin And Orchestra In D, Op. 61: Larghetto |
| 7. Concerto For Violin And Orchestra In D, Op. 61: Rondo (Allegro) |
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2 reviews
7 of 8 people found the following review helpful
Campoli the charmer
Dec 9 1999
It is great to have Campoli's dashing performance of "Scottish Fantasy." He is not as aggressive as Heifetz, but still dazzling in his own way, and the way he plays more lyrical sections are charming and heartwarming. His Beethoven, on the other hand is not memorable. Campoli was essentialy a charmer of the violin, and was wonderful in romantic repertore whether a concerto or short pieces (Decca should reissue his Kreisler album! ). But when it comes to the mighty Beethoven concerto, he sounds somewhat underpowered and lacking the backbone. It is all sweet and lyrical, not unlike Kreisler, but Kreisler had a firmer grasp of the concerto than Campoli. As far as the orchestra and conductor, Boult provides a distinguished accompaniment for Bruch, and Krips provides a rather lame one. I would have given 5 stars if Bruch was coupled with Campoli's excellent Mendelssohn concerto, but with the current coupling, 4 stars is about right (since I think the Beethoven performance is only worth about 3 stars). But I would still recommend this disc because Bruch ranks with one of the very best.
3 of 3 people found the following review helpful
I disagree
Mar 7 2001
I guess one cannot argue tastes, because I love Campoli's version of the Beethoven. Of Huberman's, Kreisler's and Campoli's, I prefer the latter. He alone seems to get to the heart of the piece, and I guess this means providing a tempo flexible enough (and slow enough) to catch the beauty of the concerto, since this is not a bravura piece but poetry. Campoli's tone is so beautiful as to be unique. I guess a quibble is that I would have preferred it in stereo. And I prefer the Bruch because Campoli's tone really lends it something to elevate it above the fluff that it is.
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