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Violin Concertos Import
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|1. Violin Concerto In D: 1. Toccata|
|2. Violin Concerto In D: 2. Aria I|
|3. Violin Concerto In D: 3. Aria II|
|4. Violin Concerto In D: 4. Capriccio|
|5. Violin Concerto No. 2: 1. Allegro non troppo|
|6. Violin Concerto No. 2: 2. Andante tranquillo|
|7. Violin Concerto No. 2: 3. Allegro molto|
It's handy to have two of the 20th century's greatest violin concertos together on one disc, especially in such fine performances. The somewhat astringent but dance-inspired Stravinsky, in his neo-classic mode, dates from 1931. Viktoria Mullova invests it with virtuoso flair, her lean tone perfectly fitting the brittle, skittish outer movements, broadening for the melodically rich Aria movements. The Bartók gets as committed a reading, Mullova playing with rhapsodic exuberance and the orchestra matching her for color and energy. Mullova sings the delicate lyrical theme that opens the Andante tranquillo movement with intense inwardness. Esa-Pekka Salonen's sympathetic conducting makes this a partnership to treasure. --Dan Davis
Top Customer Reviews
(That information would have saved me nineteen bucks!)
And though I am not a psychiatrist, I say that any violinist would have to be insane to want to omit that final cadenza.
Viktoria (sic), please seek professional help.
They and Ms. Mullova attack these 2 concertos with a vigor and zest that is all too often missing in America's "Big Five" orchestras of late. Don't let the slick cover design scare you off (it's kinda glamorous in a Anne-Sophie Mutteresque sort of way). This disc rocks.
Most Helpful Customer Reviews on Amazon.com (beta)
Viktoria Mullova is a perfect match for these works. Her technique is dazzling while being more concerned with the composer's ideas than her own. In the Violin Concerto in D major by Stravinsky she is as brisk and perky as any artist on record. Her control over the dynamics and the phrasing fit like a glove.
In the Violin Concerto No. 2 in B minor of Bela Bartok she sings the elegant opening movement with all the passion it demands, and yet in the second movement her technical virtuosity is cheeky and assured. In both of these works Mullova is partnered with the Los Angeles Philharmonic New Music Group as conducted by Esa-Pekka Salonen: finer collaboration would be difficult to imagine. The LA Phil New Music Ensemble is merely a reduced form of the LA Phil and sound is lushly resonant where called for and tightly attentive when the speed and accuracy of the collaborative portion are paramount. Salonen knows this repertoire well and molds the soloist and orchestra into a finely honed whole. Highly Recommended. Grady Harp, May 06
The Bartok Second Concerto is a considerably more significant masterpiece. This is a work where astringency applies, along with a touch of the barbaric. But Mullova goes her own way again--she is warm and lyrical throughout. In fact, the miraculous thing about her style in general, now that I know it fairly well--is how she can keep one's interest without much external show. She uses beauty of tone and sensitive phrasing in the best way possible, to bring across deeply felt musical instincts. I would rate her the most musical violinist now before the public, despite my high regard for Vengerov and Shaham, both of whom resemble Mullova in style. Excellent sound, by the way, and the LA Phil. plays with panache and bite in the Bartok, staying well on the side of refinement.