Search - Alexander Glazunov, Pyotr Il'yich Tchaikovsky, Berlin Philharmonic Orchestra :: Peter Tchaikovsky/Alexander Glazunov: Violin Concertos

Definitive

Daniel L Edelen | Mt. Orab, OH USA | 11/25/2002

(5 out of 5 stars)

"I grew up listening to the Op. 35 and even as a child I knew it was something special. At the time, the version I had was the old Heifetz (with the white bust of Tchaikovsky on the cover) and I wore it out. To this day, every time I hear the Op. 35 it captures my heart.So finding a version that mirrors how I actually hear the piece in my mind became almost a personal mission. In fact, over the years, I believe that I have listened to performances from all the top names. And despite hearing Perlman, Mutter, Midori and all their fiddling friends, no one matched up to the interpretation that I always carried with me.That was until Maxim Vengerov came along. I was not familiar with this performer at all when I purchased this CD. I quickly learned his name because, at last, here was a performer who heard this violin concerto as I did. It was a revelation for me.The phrasing is exquisite, the mood perfect, the technical artistry unmatched, and the passion simply exudes from Vengerov's performance. Best of all, there is a certain playfulness to his performance that so many other performers have so completely failed to capture in their own interpretations. Throughout, Vengerov is in command. He was born to play the Op. 35. Backed by the able and willing Berliner Philharmoniker under the baton of Claudio Abbado, soloist and orchestra have an almost psychic rapport.Sadly, I cannot comment on the quality of the Glazunov concerto included since I have no other reference. I can only assume that it, too, is definitive. The concerto itself is actually quite stirring, making it a good - albeit unique - pairing with the Tchaikovsky.As for the sound of the recording, I must confess it loses a bit of low end in the Allegro. To my ears Vengerov's Strad seems distant at points due to what must be mic placement. This might explain some of the weakness in the lower frequencies. Still, the orchestra also seems weak in the lower registers, so perhaps there are other reasons. But these are minor quibbles that in no way detract from the CD.As I look back at the criterion performance of my youth, the Heifetz, I must say as I move into my fifth decade that I have a new criterion: Vengerov. Give this one an accessible spot on the shelf because you'll reach for it again and again."

Why I Owe Maxim Vengerov an Apology. . .

Christopher R. Guin | Apex, NC United States | 10/01/2003

(5 out of 5 stars)

"For years, I'd somehow gotten the impression (from where, I'm not even sure any more) that he was all flash and no substance. What he *is*, is a genius.I've listened to his recording of the Tchaikovsky Violin Concerto with Claudio Abbado conducting the Berlin Philharmonic twice (again) tonight, and am now quite certain that the man's bow arm is not subject to the force of gravity *or* the laws of physics. It brings home, more than anything I've ever listened to, the difference between an accomplished amateur and one of the best in the world at what he does.Vengerov's bow arm is preternaturally agile, in ways that cause *my* right arm to hurt just from trying to *think* about them. His control over every muscle, from the big, gross-movement monsters of the shoulder and upper arm to the tiniest muscles in his fingers at the frog of the bow, shows in every note, every beautifully-executed phrase. Especially in the cadenza at the end of the first movement, but really, throughout the disc, he shows time and time again why it is the *right* hand that makes a master violinist, and not the flashier, seemingly more-dextrous left. All of which might be incidental, if this wasn't the Tchaikovsky. The Beethoven is a more completely perfect concerto for the violin, but *no one* orchestrates like Tchaikovsky. Every important phrase is given over at precisely the perfect moment, to *exactly* the instrument that ought to voice it. And even Claudio Abbado's occasionally plodding direction can't screw up the Berlin Philharmonic when they're playing with a musician of Vengerov's caliber.If you're a fan of the violin, of Tchaikovsky in general, or of Maxim Vengerov in particular, and *don't* own this CD, you should rush right out and buy it. Vengerov's performance runs the gamut from playful and humorous to dark and brooding, but his playing on this piece is always brilliant, always appropriate, and nearly flawless, a tour de force of virtuosity, musicianship, and thoughtful interpretation. This disc is the perfect illustration of why major labels and major orchestras continue to occasionally assay a new recording of one of the warhorses of the repertoire.The Glazunov is a pleasant, well-played, and occasionally moving "B" side (if perhaps a bit light), 'though here Vengerov is not quite as convincing as he is in Shostakovich's Violin
Concerto #1 on his disc with Rostropovich conducting the National Symphony Orchestra."

A superb performance

C Drummond | England | 05/24/2003

(5 out of 5 stars)

"In this recording, both the violinist and conductor excel to give real life to an overplayed "warhorse" of a concerto. The Tchaikovsky can often come across as a rather empty, unfulfilling work in less capable hands, with a wealth of opportunity for very ugly phrasing in the first movement. However, Vengerov once again produces a marvellous, very Slavic performance; out playing, in my opinion, David Oistrakh. Oistrakh's recording with Ormandy is similar to this one, but Verngerov plays with more youthful vigour, without sacrificing technical mastery. Also, Abbado's accompaniment is thrillingly compelling, with very alert playing from the BPO. Of course, it is a futile exercise in claiming that a certain recording is "definitive", everyone has different tastes. Thus, I, unlike others, am not going to join in the argument about whether this outranks Heifetz's olympic-style dash for the finishing post, but if one wants a performance that makes the best possible case for the Tchaikovsky (and the Glazunov, for that matter), with good digital sound, then look no further."