Search - Ludwig van Beethoven, Johannes Brahms, Derrick Inouye :: Beethoven: Violin Concerto in D / Brahms: Violin Concerto in D / Aaron Rosand

Rosand, Beethoven and Brahms-yes!

Gregory M. Zinkl | Chicago, IL | 08/07/2000

(5 out of 5 stars)

"Rosand's tone is enough to make your heart melt.But his musicality is just as impressive, and here, finally in excellent sound with an excellent orchestra, he gives us a wonderful set of Brahms and Beethoven violin concerti. For Brahms, I still like Milstein a lot (with Steinberg, on EMI). To me, Milstein and Rosand have similar tone qualities, but they are definitely different musicians. For Beethoven I appreciate Kremer with Haroncourt (Teldec) and for an almost downright raw approach with an "interesting" orchestral accompaniment, Tetzlaff with Gielen on a super-cheapie label (Point Classics; coupled with one of the most boring renditions of Beethoven's 2nd PC I've ever endured).Acquire this album. Enjoy it. Treasure it. I sure have."

I love this CD!

Gregory M. Zinkl | 04/12/1999

(5 out of 5 stars)

"Five stars for this extraordinary recording from legendary violinist Aaron Rosand. I love this CD; if it were an LP I would have worn it out already. In fact, it's my favorite thing to buy and give my friends right now. It has also had great reviews in Fanfare and Strad magazine: "that famed purity of tone and sparkling interpretative personality prove ideal in the Beethoven Concerto, played here with a wide-eyed freshness remarkable from a man who must have played the work hundreds of times." You can hear an excerpt of this CD and others on Mr. Rosand's website at aaronrosand.com. Enjoy!"

Two Greats!

Robert J. Sullivan Jr. | Chicago, IL USA | 11/05/2001

(5 out of 5 stars)

"Rosand is splendid in both masterpieces of the violin literate. First honors go to the Beethoven: fast and eloquent, it cuts through years of interpretive detritus that have slowed the "average" interpretation into treacly grandiloquence. In the late Heifetz mold, Rosand maintains a driving pace, but without the hyperactive edge. Inouye provides great support --- the Monte Carlo is not merely well-rehearsed, as has plagued Rosand in past productions. Very good rendition of the Heifetz cadenza.The Brahms is also blessed with quick tempi and the artist's deep appreciation for the work. I've heard him play it in rehearsal with the San Jose, and I must say that this was much more compelling. Things get a little ragged in the cadenza, but overall, this comes close to the immortal Milstein's Capitol recording. And that's high praise indeed."