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  • Vln Ctos/Sons/Andante/Vars For
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Vln Ctos/Sons/Andante/Vars For

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Product Details

Disc: 1
1. Violin Con in D, Op. 77: I. Allegro non troppo (Cadence : Kreisler)
2. Violin Con in D, Op. 77: II. Adagio
3. Violin Con in D, Op. 77: III. Allegro giocoso, ma non troppo vivace
4. Violin Con in d, Op. 47: I. Allegro moderato
5. Violin Con in d, Op. 47: II. Adagio di molto
6. Violin Con in d, Op. 47: III. Allegro ma non tanto
Disc: 2
1. Violin Con in d, Op. posth: I. In Kraftigem, nicht zu schnellem tempo
2. Violin Con in d, Op. posth: II. Langsam - III. Lebhaft, doch nicht schnell
3. Grand Duo Con, Op. 48: I. Allegro con fuoco
4. Grand Duo Con, Op. 48: II. Andante con moto
5. Grand Duo Con, Op. 48: III. Rondo (Allegro)
6. Violin Son in E-flat, Op. 11: I. Frisch
7. Violin Son in E-flat, Op. 11: II. Im Zeitmaß eines langsamen, feierlichen Tanzes
8. Violin Son No. 2: I. Quasi una sonata

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Most Helpful Customer Reviews on (beta) 2 reviews
7 of 7 people found the following review helpful
Kremer triumphs in the Brahms, Sibelius, and Schumann concertos July 2 2006
By Santa Fe Listener - Published on
Format: Audio CD
Gidon Kremer has been the dominant European violinist for so long that one may take for granted his large output extending over four decades. This is an EMI two-fer bursting with his huge talent. Three works will immediately attract attention: the concertos by Brahms, Sibelius, and Schumann. The Brahms with Karajan was his first recording of the work; there's a more romantically swelling account with Bernstein on DG. I like that one better, but we are comparing greatness with greatness. DG's recording wasn't the best in terms of sound, and hear EMI makes the Berlin Phil. sound gorgeous. Karajan glosses over things a bit in the accompaniment, but Kremer's playing is soaring and searching while remaining firmly on the modern side of the romantic divide.

Likewise in the Sibelius, a work he recorded only once. Other violinists tend to romanticize a work alreayd over-infused with gestures borrowed from Tchaikovsky, but Kremer plays with great integrity and imaginaiton, thinking every bar afresh. Muti's accompaniment is symphonic and dramatic, which makes just the right contrast to the soloist's haunting solitude in the far North.

The Schumann concerto is a wandering imperfect work that Kremer believes in and has recorded twice (the second time with Harnoncourt on Teldec). This first outing for EMI under Muti is less fierce and eccentric. I remain unconvinced by the work's quality, but it never got a better champion than Kremer, who is inward, intense, an lyrical.

The two CDs are generously filled out with a recital of sonatas by Weber, Hindemith, and Schnittke, where Kremer shares the spotlight with a galvanized Andrei Gavrilov--they share a common vision of impassioned, often edgy readings that try to sound as spontaneous as possible. The major work is also the toughest, the jagged, free-form Quasi una Sonata of Schnittke, a 20-min. work that is brilliant but very taxing for both performer and listener. I'd never call the two sonatas by Himdemith and Weber works of genius, but over time we may find that this is.
0 of 1 people found the following review helpful
Five Stars Nov. 19 2014
By Jim Dillon - Published on
Format: Audio CD Verified Purchase
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