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Violin & Cello Concertos
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- Is Discontinued By Manufacturer : No
- Product Dimensions : 14.27 x 12.5 x 0.84 cm; 108.86 Grams
- Manufacturer : Sme
- Item model number : 2011950
- Label : Sme
- ASIN : B000007QCK
- Number of discs : 1
- Customer Reviews:
|1. "Concerto No. 1 in A minor for Violin and Orchestra, Op. 99"|
|2. "Concerto No. 1 in E-flat Major for Cello and Orchestra , Op. 107"|
|3. I. Nocturne. Adagio|
|4. II. Scherzo. Allegro non troppo|
|5. III. Passacaglia. Andante|
|6. IV. Burlesca. Allegro con brio|
|7. I. Allegretto|
|8. II. Moderato|
|9. III. Cadenza|
|10. IV. Allegro con moto|
Sony has brought together Shostakovitch's greatest concertos in first recordings made soon after their American premieres by the artists most closely identified with them. Neither performance has been bettered, though some, such as Vengerov's Teldec Violin Concerto, come close. The Violin Concerto is in solid, detailed mono; the Cello Concerto in fine stereo. Oistrakh goes to the heart of the violin work, playing with extraordinary tonal magnificence and emotional power. He's matched by Mitropoulos, whose identification with the score is apparent. Rostropovitch is as good in the Cello Concerto, getting excellent support from Ormandy's Philadelphians. Both performances share the white heat of fresh discovery and have stood the test of time to become classic recordings. --Dan Davis
Top reviews from Canada
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concertoes. If I could award it 6 or 7 stars I would!
These are the "premiere" recordings of these works in the West,
and nothing has quite equalled them in their brilliance of conception and execution since. We are presented with the marvelous gifts of hearing these pieces played by the soloists
for whom the composer wrote them, and the rewards are thrilling
and unsurpassed. As noted elsewhere, David Oistrakh was one of the half dozen or so greatest violinists of the 20th Century, and besides his flawless technique he exhibits the warmth of tone, the sensitivity, the flexiblity and the overall musicality
which set him apart as a performer. For his part, Dimitri Mitropoulos accompanies his soloist with the type of genius too few conductors bring to this piece. Very few conductors were as gifted as Mitropoulos in looking at an unfamiliar score, imagining it whole and realizing that conception with brilliance.
Despite the monoural sound, the New York Philharmonic has seldom sounded better.
Likewise, Mstislav Rostropovich was one of the half dozen or so
greatest cellists of the last century. Only Casals, DuPre and
Yo-Yo Ma deserve to have their names mentioned along with his.
Rostropovich brings similar musical gifts to his reading of the cello concerto as Oistrakh brings to the violin concerto, together with a personality which expresses both the humor and the fatalism of Shostakovich with such subtlety, it takes a while for the listener to appreciate it all. Yet the real revelation here is the conducting of Eugene Ormandy. This is Ormandy before he began to play it safe, and concentrated more on lushness of orchestral tone than in challenging his listeners.
While that glorious "Philadelphia sound" is present throughout the cello concerto, it is well contained and well directed, and always at the service of both the soloist and the music.
If you can find any recording of either of these concertoes that comes up to these, please let me know.
Top reviews from other countries
The violin concerto was originally recorded in mono, though it's hard to tell - it's been beautifully re-mastered. Oistrakh's playing is authoritative and delicate, and he and the orchestra (the New York Phil) under Mitropolous make a good team.
The cello concerto is fantastic, very well served by Rostropovich's warm tone and technical ability, and the Philadelphia Orchestra conducted by Eugene Ormandy. The opening, with its solo cello introduction, is ridiculously catchy - almost playful - though there are undercurrents of antagonism and hints of something darker, as is usual for Shostakovich.
This disc is thoroughly recommended.
Das Cellokonzert ist jetzt vielleicht weniger Bekenntnismusik, denn ein "klassisches" Konzert, welches durch rhythmische Prägnanz und Melodik besticht und nicht umsonst "beliebter" als das düstere Violinkonzert sein dürfte. Und doch liegen auch hier im Verborgenen die sarkastischen Kommentare und Phrasierungen.
Musiziert wird von den Widmungsträgern dieser Werke (Oistrach und Rostropowitsch) auf höchstem Niveau, den Dirigenten sind die Werke hörbar Herzenssache. Und auch wenn der Ton nicht optimal ist (Monoaufnahmen), sind des mustergültige Aufnahme, die v.a. im Falle des Violinkonzertes unübertroffen geblieben sind.