Subject: I have found a CD that I think you would enjoy
|Brahms, Tchaikovsky, Morini|
Brahms, Tchaikovsky: Violin Concertos
Revisiting legendary, greatly admired artists we last heard long ago induces a kind of suspenseful anticipation: will they seem as wonderful now as they did then? Will our memories stand up to the test of time? In the case... more »
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Revisiting legendary, greatly admired artists we last heard long ago induces a kind of suspenseful anticipation: will they seem as wonderful now as they did then? Will our memories stand up to the test of time? In the case of violinist Erica Morini, the answer is a resounding "yes." Born in Vienna in 1904, she started her career as a sensational prodigy and went on to become the first woman violinist who attained world fame. In 1938, she emigrated from Vienna to New York. Though widely admired and beloved among cognoscenti, she hardly gained the recognition she deserved in the New World. Her recorded legacy is sparse, partly derived from tapes of live concerts; this reissue of a studio recording made in 1956 is a valuable addition. It fully captures the warm, silken tone; the brilliant but music-oriented technique; the charm, nobility, and delicacy for which she was famous. Her Brahms is austere, with rock-steady yet flexible rhythm and strongly delineated contrast and character, but it is also unusually lyrical, inward, singing, and warm. She brings out the wistful yearning of the slow movement, the gypsy flavor of the Finale. Her expressiveness is direct, dignified, and restrained; contrary to the custom of her time, she hardly slides. Her Tchaikovsky, too, is lyrical, leisurely, and natural, with spicy mischievous accents; emotionally free and romantic, it's never sentimental or exaggerated. Her playing is technically immaculate, crystal clear at any speed, without fuss or show. These are truly legendary performances. --Edith Eisler
BUY THIS, even if you own another recording!
(5 out of 5 stars)
"This recording will challenge any previous favorite recordings you may have of the same piece. It is amongst my top 20 of all times. Morini's performance of the Caikovskij Concerto (or as the west says "Tchaikovsky") is as definitive a recording as the Casals rendition of the Bach Violoncello Suites. Technically, only the Heifiz recording comes close, but Morini offers so much more in her graceful, exciting and truly "Romantic" handling. Artistic support from Rodzinski is first rate. The recording quality is superior to many recordings of its day. More importantly, recent recordings have taken on a shallow "purest" approach that technically places the home listener in a seat, far from the subtleties of the solo instrument. Morini has been reborn in this release. Capture one for your collection."
A Great Artist In Every Sense
BLee | HK | 04/11/2005
(5 out of 5 stars)
I can't agree more with what Music Fan wrote on 23.7.03. Morini has remained one of my top 3 violinists for years. Among the Viennese school, I definitely prefer Morini to Schneiderhan, the Concert Master of VPO. There are at least 2 DVDs available showing what great shape Morini was in even in her late age!
Suffice to say that even Heifetz-- after he had created the "Heifetz disease" which virtually floored every violinists of his time, including Elman and Kriesler, inducing the latter an urge to crush his own violin etc -- took his violin to Morini humbly asking for advice! It is a bit far-fetched for audience nowadays to appreciate what brought Furtwangler ( the predecessor of Karajan) to tears when he saw Morini again after WWII... Was the appeal purely personal? And with musicians, can music be severed from the musician?
If you are looking for things that would raise your hair, or if you expect to see something that woos, then Morini isn't for you. Her sense of drama, however romantic she was, is well within the bound gracefulness.
The recording of this record is indeed better than average. Here we have two of the most famous violin concerti by one of the greatest artist ever. If you have a change from the lushness of the Russian violinists, or indeed the French, and if you also want to have a taste of the style of the Viennese school, or if you like to see what appealed to Heifetz so much for yourself, you can't afford to miss this."