Beethoven Violin Concerto & Bruch Violin Concerto No. 1 & Mozart Violin Concerto No. 3 / Yehudi Menuhin

Starring:Yehudi Menuhin, Colin Davis, Adrian Boult
Studio: Angel Records
Product Type: DVD

A Piano Evening with Martha Argerich [DVD Video]

Average customer rating:

Let's be honest
Another Outstanding Argerich Performance
Why she is the greatest of the age, and perhaps of all time...

A Piano Evening with Martha Argerich [DVD Video]

Manufacturer: Tdk DVD Video
ProductGroup: DVD
Binding: DVD

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Schumann & Martha Argerich
Barenboim on Beethoven - The Complete Piano Sonatas Live from Berlin
Kissin in Tokyo - Yevgeny Kissin
Volodos Plays Liszt
Haydn: Piano Works [DVD Video]

ASIN: B000NOIWV2
Release Date: 2007-04-24

Customer Reviews:

Let's be honest.......2007-05-24

I'll get right to the point. The orchestra is so atrocious as to make this DVD almost unlistenable. If you want to see a performance of the Schumann sonata, perhaps this is for you. But be warned. If you can get through the Triple Concerto without cringing, you are a better man than I. The Prokofiev? A student work by a second-rate composer, performed by a third-rate orchestra. Gee, does it get any better than that? Even the redoubtable Argerich can't rescue this disaster.

Another Outstanding Argerich Performance.......2007-05-22

While I agree with the previous reviewer (M.G.) that this is a marvelous DVD, I had some trouble getting past all his hagiographic gushing about Martha Argerich, larded as it is with superlatives. Admittedly she is an amazingly talented pianist, certainly among the greatest of our age, but his claims for her abilities -- 'perhaps (the greatest) of all time' -- seems over the top. Has he ever heard Liszt, Alkan, Thalberg, Busoni, or Godowsky, or whoever play? One notices also that in his review he doesn't mention either the conductor, Argerich's long-time collaborator both as conductor and duo-pianist, Alexandre Rabinovitch (or Rabinovitch-Barakovsky as he's called here), or the young and enthusiastic Flanders Sympnony Orchestra. He is so focused on Argerich that he doesn't mention the one piece not involving the piano, the concert's opening work, the invigorating Classical Symphony of Prokofiev. Nor does he mention that this is an outdoor concert, although it must be said that from an audio point of view, one would never have known it; the audio is just fine, as is the camera work.

But he is right in saying this is clearly Argerich's show. Following the Prokofiev symphony is his all-too-rarely-played First Piano Concerto in D Flat which, when I hear it, always makes me feel all's right with the world. That long vaulting first melody in the first movement is a creation of genius. Argerich plays the whole thing with panache and grace as well as surpassing virtuosity.

And since this is a 'Piano Night with Martha Argerich' the pattern of most orchestral concerts is broken by the appearance next on the bill of Schumann's First Violin Sonata with Renaud Capuçon and Argerich. Schumann wrote reams of chamber music and most of it gets played a lot, but one rarely hears the violin sonatas for some reason. It's certainly not because the First Sonata is a weak work; indeed, it is a quintessentially Romantic piece which, if one allows it, can sweep one away in a storm of emotion. I particularly liked Capuçon's tender approach to the delectable middle movement and his scampering lightness in the finale. Capuçon is a rising violinist star in the international music world and his playing here makes it clear why. But he is as much as anything else a chamber music player, often with his equally talented brother Gautier, a cellist. So this is not a virtuoso violinist star turn, but a truly collaborative effort and it is not surprising that Argerich is no shrinking violet as an accompanist; this is as it should be. Indeed, the piano is an equal partner to the violin in this sonata.

The concert concludes with Beethoven's Triple Concerto with Argerich, Capuçon and the latter's brother, Gautier, cello. It is often said that the triple concerto has an 'easy' piano part, especially when it is compared with the violin and cello parts. I've never quite understood this notion, as there are some pianistic fireworks that only very good pianists can bring off. Further, the pianist provides much of musical glue for the work just as the piano often does in piano trios. This is fairly typical mid-period Beethoven (1804) coming as it did just before the Fourth Piano Concerto. The performance here is exalted. The frères Capuçon are marvelously matched tonally and musically and Argerich is clearly of one mind with them; her experience as a chamber music player is, of course, well known and that comes in particularly helpful here. The orchestra, for all its enthusiasm, is perhaps a notch or two below world-class. This didn't bother me particularly but it does bear mentioning. Rabinovitch conducts with sensitivity and a freedom of pulse that allows the soloists to breathe.

One notes that Argerich plays from score in the Triple Concerto and I say huzzah to that. I've never quite understood while soloists must play from memory. But a discussion of that is, I suppose, for another day.

A hearty recommendation, and especially for Argerich's legion of fans.

Scott Morrison

Why she is the greatest of the age, and perhaps of all time..........2007-05-04

This is a remarkable DVD, featuring Martha Argerich--arguably the greatest pianist of all time--and two rising musical names: Renaud Capucon, violin, and Gautier Capucon, cello. While the brothers Capucon deliver beautiful and nuanced playing, this is really Argerich's show (as usual). I am constantly amazed at how she manages to elevate the playing of those around her to new heights. She simply has such technical and musical command of her instrument which is really unlike any other pianist, even to the point of paling brilliant contemporary virtuosos like Pollini and Zimerman and past masters like Arrau, Michelangeli, and Richter. Her performances on this DVD exhibit simply jaw-dropping virtuosity (inhuman, really) and incredibly nuanced music-making, intuitive to the core but always fully realized. Watching her hands and arms work, you can't help but think this woman was born to play the piano; and listening to her music making, you realize you are witnessing a truly legendary musician. Her technique is so transcendental that she simply can do anything she likes at the piano, eliciting a million different musical colors and shades, and such rhythmic drive and intensity as to phrase a musical line in infinitely different ways.

The program includes Prokofiev's Piano Concerto No. 1 with Argerich as soloist, Schumann's Sonata for Piano and Violin in a minor with Renaud Capucon and Argerich, and the Beethoven Triple Concerto with all three performers. I want to stress how amazing the camera work is in this DVD: you get shots of the keyboard and Argerich's hands and arms as if you were standing right next to her turning the pages, really giving you an inside look into a staggering technical mechanism. You also get a variety of different shots around the outdoor auditorium, from an audience perspective and orchestral position.

First, the Prokofiev: as you might expect, this performance begins with all-out pyrotechnics, with Argerich tossing off arm-blurring octaves and chords, thirds and sixths, as if she were having her morning coffee. Her scales--in both hands--are tossed-off at light speed and shimmer with a thousand different tones. She really plays this piece as a true chamber musician, always paying strict attention to the orchestral part and solos from the winds and brass. She also looks like she's having the time of her life, smiling before launching into another mind-numbing display of virtuosity. The middle movement is beautifully executed with slow and mysterious phrasing, shades of texture, and remarkable syncopation. The final movement really illustrates Argerich's rhythmic drive, as she simply explodes into one phrase after the next. The camera work is really amazing in this piece (and throughout), showing the rippling scales and propulsive octaves that bring this piece to a triumphant close.

The Schumann sonata introduces Renaud Capucon, who really seems to be a promising violinist. Here Argerich assumes her chamber music role, with such sensitive and musical--yet free-- playing that it seems she's improvising the sonata here on the spot. Capucon really seems on top of this piece, and the two of them seem like they have been playing chamber music for life. The first movement is played in a sweeping, probing, Romantic style (as is appropriate), with a gorgeous second movement that probes meditatively. The final movement is taken at a great clip, with really fleeting passage work by both artists. Argerich's playing again looks completely effortless, but full of musical coloring and rhythmic articulation.

The final piece of the program is the Beethoven Triple concerto, played by Renaud Capucon and Gautier Capucon--violin and cello, respectively--and Argerich on piano. This is a really grand and noble interpretation of this piece. I've always thought that--somewhat paradoxically--Beethoven and Mozart reveal more of Argerich's inhuman technique than the big Romantics and early twentieth-century composers. Scales in her left and right hands just fly away in dazzling arrays; arpeggios fly with mind blowing clarity and scale; and trills, double and in thirds, are tossed with brilliant ease. Here, Argerich can do whatever she wants and with such spontaneity that it's like listening to this work for the first time. This is not to say that her interpretation is somehow not in the Classical style--to the contrary, it is how Beethoven and Mozart would have dreamed to hear it played. All three musicians really deserve credit for a beautiful performance, as they all three are in tune with chamber-music-like exchanges of passages. The orchestra does an admirable job, as well.

In short, anyone who loves great music making, great chamber music playing, and especially the piano should buy this DVD. I've followed Argerich's career and performances for many years now, and each time I am astounded with what I'm witnessing. She really is in a league by herself, and this DVD is yet another documentation--perhaps the best commercially available recording--of her artistic genius. This DVD really makes you agree that calling Argerich the greatest living pianist--and the greatest of all time--is not mere hyperbole; that Mstislav Rostropovich's characterization of her as "A pianist with no limits at all: none whatsoever" is entirely apt; and that surely her only rivals--though from her recordings of both this is even questionable-- could possibly be Liszt and Chopin themselves, for she is more than a great technician: she is an artist, creator, and musician of the highest possible caliber. She redefines the art of piano playing, taking it to a new plane of music-making and virtuosity. You simply must buy this DVD and prepare to be astounded.

Beethoven - Choral Fantasy and Triple Concerto for Violin, Cello & Piano / Barenboim, Ma, Perlman

Average customer rating:

Superb music and recording.
Barenboim in excelsis
Breathtaking
Freude, freude!
Great music, performers

Beethoven - Choral Fantasy and Triple Concerto for Violin, Cello & Piano / Barenboim, Ma, Perlman
Starring: Yo-Yo Ma , and Itzhak Perlman
Manufacturer: EMI Classics
ProductGroup: DVD
Binding: DVD

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Similar Items:

Itzhak Perlman: Beethoven/Brahms Violin Concertos
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Beethoven Cello Sonatas Nos. 1-5 / Rostropovich, Richter
The Yo-Yo Ma: Complete Cello Suites - Inspired By Bach

ASIN: B000087F5C
Release Date: 2003-02-11

Amazon.com

It would be difficult, perhaps impossible, to assemble a better group of musicians to perform Beethoven's Triple Concerto and Choral Fantasy. Daniel Barenboim has been so busy conducting the world's top orchestras and opera companies that there is a danger of forgetting what an excellent pianist he is. He conducts both of these works from the keyboard, as Beethoven would have expected, engaging in chamber music-like dialogue in the concerto and creating a sense of impromptu in the Fantasy's long piano solo, which Beethoven wrote for himself and partly improvised at the first performance. Itzhak Perlman and Yo-Yo Ma are sensitive, alert, and technically superb partners.

The music is not Beethoven's most familiar, but it is absolutely charming. The concerto is appealing in its melodic material and the intricate interactions among the soloists and orchestra. The Choral Fantasy features a long piano solo that Beethoven wrote for himself, plus a choral melody that sounds like a preliminary sketch for the last movement of his Ninth Symphony. Both works pose unusual balance challenges, to which Barenboim and the recording engineers rise impressively. --Joe McLellan

Customer Reviews:

Superb music and recording........2007-06-06

I am familiar with both pieces of music and own them. With talent like Itzhak Perlman, Yo-Yo Ma and Daniel Barenboim as pianist and conductor you can't fail to have a superb performance. I watched the video on my second time listening and even in that they shine. I listened both of those two times with headphones and now I can't wait for my pair of AKG K-701 headphones to arrive today or tomorrow. They will be followed in about 10 days by my Headroom DAC headphone amp and power supply. It will be almost like sex. My stereo is now warmed up and so I am off to listen and I am especially looking forward to the beautiful vocal performances in Beethoven's Choral Fantasy.

Barenboim in excelsis.......2007-05-16

I first heard Daniel Barenboim when I was a teenager. The performance was of Mozart's d minor piano concerto, with the Orchestre National de Paris. I had heard other versions of the d minor concerto previously -- Uchida's, probably -- but this one was different. The words that come to mind are "virile," "masculine", almost "clangorous" or "metallic", like the sounds of an army invading, shields and armor rattling. Then I went through a major Glenn Gould phase in college, and kind of forgot about Barenboim.

This DVD, however, was all I needed to remind me. While the disc, as a whole, is masterful -- tremendous program played by tremendous players -- there is one moment, later in the "Choral Fantasia" which made it worth the price of purchase. It is the variation where Beethoven has the piano converse with the wind choir.

Barenboim, conducting as well as playing, suddenly begins lifting his hands really high from the keyboard, in between beats. At first, I am puzzled by what looks like some over-acting at the keyboard. Then it hits me; he's showing the wind-players his hands to let them see where his rhythmic accents are falling.

When I think about the difficulty implicit in this -- playing a Beethoven solo piano passage, and simultaneously cueing players on the other side of the auditorium to lock into the parts of the rhythm not played by the piano -- my mind boggles.

Barenboim is a genius on the order of the old nineteenth century virtuosi like Rubinstein, Liszt, or Henselt.

Breathtaking.......2007-05-15

This is the best version of Beethoven's Triple Concerto I have seen and heard. The soloists are virtuosos and masters of their instruments. Magnificent.

Freude, freude!.......2007-02-07

A beautifully performed and exquisitely videoed performance of the Triple and Choral Fantasy. Orchestral and choral fans alike will be awed by the sheer beauty of this music. And what better orchestra to perform these masterpieces than the Berlin Philharmonic?

Great music, performers.......2006-04-02

This is a wonderful, high-energy performance of two of Beethoven's rarer compositions. Barenboim, Ma and Perleman are superb as soloists. The vocalists and chorus are really fine. Thanks to previous reviewers who convinced me to buy this.

Beethoven: Violin Concerto in D major; Vaughan Williams: Symphony No. 8 [DVD Video]

Average customer rating:

Sir Adrian, seen as well as heard

Beethoven: Violin Concerto in D major; Vaughan Williams: Symphony No. 8 [DVD Video]

Manufacturer: EMI Classics
ProductGroup: DVD
Binding: DVD

General | Symphonies | Classical | Styles | Music

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Ivry Gitlis [DVD Video]
Nathan Milstein - In Portrait
Brahms: Ein Deutsches Requiem [DVD Video]
Legendary British Performers [DVD Video]
Gidon Kremer - Back to Bach

ASIN: B000N0W9JM
Release Date: 2007-04-24

Customer Reviews:

Sir Adrian, seen as well as heard.......2007-05-23

Most purchasers will want this for the Vaugan Williams. They will not be disappointed as both sound and performance are faultless. A substantial bonus is the Beethoven Concerto. In the hands of Milstein, it is to be savored.

Beethoven Piano Concerto No. 4 & Mendelssohn Violin Concerto & Walton Cello Concerto / Rubinstein, Heifetz, Piatigorsky (EMI Classic Archive 4)

Average customer rating:

A lesson from the old (and dead) masters
Almost the worst DVD in the world
Three Titans--Athletic, Authoritative, Incomparable
Poor quality of picture and sound
Heifetz's Fans may well be disappointed, but...

Beethoven Piano Concerto No. 4 & Mendelssohn Violin Concerto & Walton Cello Concerto / Rubinstein, Heifetz, Piatigorsky (EMI Classic Archive 4)
Starring: Jascha Heifetz , Artur Rubinstein , and Gregor Piatigorsky
Manufacturer: EMI Classics
ProductGroup: DVD
Binding: DVD

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Mozart Violin Concerto / Brahms Violin Concerto etc. / Nathan Milstein (EMI Classic Archive 13)
Henryk Szeryng Plays Brahms Violin Concerto, Bartok & Ravel (EMI Classic Archive 20)

ASIN: B000092T5I
Release Date: 2003-05-06

Customer Reviews:

A lesson from the old (and dead) masters.......2006-12-03

These are outstanding performances of classics. I bought this DVD for the Walton concerto, a piece I have played myself and feel deeply about. However, the other performances were an excellent surprise. Piatagorsky interprets the piece commissioned for him with authenticity, passion, and the appropriate grace. Heifetz's Mendelssohn is always a joy to hear.

One must note that these are HISTORICAL performances and should not be judged by their age and picture quality. You are getting performances that may be older than yourself, in my case certainly. (For more of that rant, see my review on the page for Rostropovich's performance of Shostakovich and Prokofiev, also on EMI.) In any case, these are easily ignored by those seeking authentic interpretations and an opportunity for a lesson from masters.

Almost the worst DVD in the world.......2006-06-08

Amazon did a number on its advertising. The picture of this album on the internet leaves off the note that Heifetz plays only the 1st movement of the Mendelssohn. Which may have been a blessing, though I was mad as hell. The sound of the Heifetz was shrill and piercing and unnatural and unpleasant and ugly. This was recorded in 1949. Studios were making deluxe motion pictures at that time (even The Wizard of Oz made in 1937 sounded good). So what's their excuse? Only the Rubinstein (and it was my reason for the star)was worth listening to. It was beautiful and Rubinstein must be the most perfect loveable little man I've ever seen. I wish I had his numbers on a different, good DVD. I'm going to throw this one away. I can't return it because I bought it from a seller, not from Amazon. Instead of saving $6 I lost what was it, $20. Finally the Walton. I'd never heard of Walton before (and hope to god I never do again). It's modern. That means it's all disonance and tuneless crap. I didn't finish it. Oh. And the photography in the Walton (in case you're interested in this drivel) stinks. Made in 1957. Movies were in their infancy then, don't you know, so what more can you expect. A piece of garbage and a rip-off.

Three Titans--Athletic, Authoritative, Incomparable.......2004-08-10

These three superstars performed and recorded together in various combinations and permutations from the 1930s into the 1960s, and it was during their joint appearances at the Ravinia Festival in the fifties that some whizzbang reporter headlined them as "The Million Dollar Trio." Their performances here, however, are solo turns. Decked out in a white dinner jacket, Heifetz recorded his three contributions in 1949 before a studio audience on the Bell Telephone Hour. At times the picture is smudged and grainy, and you'll hear a fair amount of strident, wavery sound (plus some rough, tough low notes that are Heifetz's own doing). But don't ask questions -- this is one of comparatively few videos by this undisputed 20th century phenomenon, and all of his trademark virtues are here in force: bright, firm tone, athletic bowing, dashing fingerwork. The result is a rousing, high-octane chase through the Mendelssohn first movement plus two choice encores -- though, in a hokey popularizing touch during Debussy's "Girl with the Flaxen Hair," the camera overlays shots of an actual hairbrushing cutie. Did it play well in Peoria?

Piatigorsky's outing is more soberly conceived, being a straightforward document of the 1957 London premiere of Walton's cello concerto -- which the performer himself had commissioned. Despite some edge blurring, the picture is improved over the Heifetz entries, ditto the recorded sound, though there are occasional fadings, burbles, and split-second lacunae -- but Piatigorsky's authority and the video's historical value are incontestable. (All the same, admirers of both this great cellist and this haunting concerto will automatically want to acquire the official studio recording of the piece, recorded just a fortnight earlier with Munch and the Boston Symphony and still available as RCA 61498. The CD features tidier intonation from Piatigorsky in the middle movement plus pioneering stereophonic sound that is startlingly vibrant, spacious, and airy throughout.)

Finally we get Rubinstein, arguably the ultimate performer -- for his astonishing stamina, huge sound, technical durability, and magical ability to deliver the goods year in and year out, he was the greatest big-hall pianist of them all. He's in his 80th year here, yet the mechanism is still in miraculous shape: fleet tempos, note-perfect running passages, incomparable mezza voce playing, and his unique use of the una corda pedal not merely to soften the tone but to alter its timbre -- cantabile passages gleam like sudden shafts of moonlight. Finally, thanks to his matchless command of natural weight principles, we not only hear a robust, sweeping line throughout (just right for middle-period Beethoven), but there are marvelous special effects -- such as the comic surprise of Rubinstein's deep, reverberent octaves at the outset of the 3rd movement cadenza. No living pianist comes close to approximating this kind of mastery. In short, you'll never hear a more engrossing Beethoven 4th, and both the picture and the monaural sound (class of '67) have clarity and range. Which is also true of Rubinstein's signature encore, the Chopin A-flat Polonaise: its performance here has the most majesty, technical control, and legato detailing of the four different versions (!) currently available by this performer on DVD.

Poor quality of picture and sound.......2004-07-08

I had previously purchased 4 EMI classics DVD's and was satisfied with all. Thus I was very disappointed by the poor sound and picture quality on this DVD and have returned it. The Heifetz Mendelssohn is the worst. The Rubinstein Beethoven is better, but the muted sound of the orchestra in the Beethoven is not good. The Piatigorsky Walton has some bad picture problems near the beginning, but overall the picture is OK (not great, however), while the sound varies. There is no point in buying any of these DVD's just for the sound, in my opinion. If the picture is bad, don't buy. And if the sound is bad, too, then definitely don't buy.

Heifetz's Fans may well be disappointed, but..........2003-06-11

I was attracted by Heifetz and also by Piatigorsky: I have a Rubinstein DVD conducted by Andre Previn which was dull and one just doesn't feel like going back to it.

To my surprise, my rating is almost the other way round. Runbinstein played this concerto rather beautifully, even poetically albeit the culmination of the climax is not quite forceful: it's more like blank verse than anything else. His touches are well depicted by the photographer and the sound is nice. His Beethoven Concertos were the ones which I used to listen most often after all.

Piatigorsky is very musical. He was so involved when he played, totally inspired by the music that he was playing. I prefer him to Rostropovich.

The recorded sound of Heifetz here is totally distorted particularly his Mendelssohn and Debussy: worse than most historical recordings and simply far from appealing. The vision is much better though and at one point there is even an aeriel view which shows exactly his fingering/vibrato. His Hora Staccato made up quite a bit. Here we see a palette of colours and Heifetz certainly played with a lot of emotions.

Customer Reviews:

no sound.......2006-07-09

i ordered 2 CD's - one to replace the other. Neither had sound on either my Bose accoustical wave, or my Bose radio/CD player.

Could both have been faulty? not trying a 3rd time. amazon was very good on crediting me, an excellent process and easy for the customer.

Too dated.......2005-10-24

Although I love all 3 concertos the quality of DVD is old, of course this could not be helped as it was copied from the early 1960s concerts. Menuhin performance is spectactular. If you don't object to dated black & white film then by all means add it to your collection!

A Stately Menuhin, wonderful footage of 3 concertos.......2004-01-25

This set of Black and White recordings were made in the 1960's. Menuhin is around 50 years old and appears very stately, and composed. He plays wonderful Beethoven, it's almost as if he is immersed in it and communing with Beethoven himself. The expressiveness and the way he closes his eyes and feels the music shows his understanding and grasp of Beethoven. For the Mozart concerto, Menuhin conducts and plays the violin part, much like Mozart would probably have done. Bruch is very emotional and Menuhin is best at really getting into the pathos of the piece. Later in life, Menuhin would concentrate more and more on conducting, and as seen in the Mozart, he really feels the music, whether playing or conducting. This is one DVD to add to your collection of 20th century violin superstars.

He Plays like an Angel.......2003-05-16

Menuhin plays like an angel. He invites you to communicate with him heart and soul the whole time he plays. Here, or in fact anytime at all, he played the Mozart Concerto somewhat like Hassid: not just every note talks like a human, they're cries and weeps and moans from the deepest of one's soul.

The way Menuhin played his Beethoven is probaby the most difficult one, especially the cadenza. It's more than 3 dimensional: so full of colours and emotions, even more condensed than Thibaud. Few violinists would even dare to try it this way. So it's a different orientation altogether. The standard of demonic, with respect, is the least applicable to Menuhin. To Menuhin, most Russian ways of playing simply lacked a whole dimension. Menuhun's Bruch is most wonderful too, in a way it is even more marvelous than his Mozart.

We have three concertos here and Menuhin was supported by different orchestras in each piece. In the first concerto, it was an orchestra from London, the second one from Paris and the third one from Germany. It's interesting to compare these orchestras from different part of Europe. Probably the standard in these countries are not much different now. The first one, the London Symphony was conducted by Sir Colin Davis, who was so young then and his gestures are enormous yet the collaboration was very good indeed. How come a clarinetist could make a good conductor? Amazaing. The second one was conducted by Menuhin himself and the third one by Fricsay. All of them are miles better than the conductor we see from Szeryng's 2003 DVD.

All were filmed in the 60's, all are in B/W. The photogragphy is, as usual of most BBC productions, very good. We can see exactly how he played almost throughout: his fingering, his vibrato, bowing everything. The sound is very good too. Those who are baffled by other DVDs which tell only his stories with little violin playing won't be disappointed this time. The running time is only 108 minutes though.

More black and white footage from the vaults!.......2003-05-09

The Mozart and Bruch are among the most romantic concertos in the entire repitoire and I like Menuhin for the mushy stuff and not so much for the virtuoso stuff. He has the elegance of Kreisler but not so much the demonic technique of Heifetz, Rabin, or Kogan. I do consider this video worthwhile.

DVD includes:

Beethoven Concerto with Colin Davis (1962)
Mozart 3 directed by Menuhin (1967)
Bruch 1 with Fricsay (1961)
Beethoven Romance in F with Adrian Boult (1966)

Customer Reviews:

On the DVD with Karajan and Mutter.......2005-09-09

There is no doubt on the supremacy of Beethoven's violin concerto in D, and there is also no doubt in the performance again from the orchestra conducted by Karajan where the deep beauty and feeling of the composer has fully and inspirationally expressed through Karajan always. However, my disappointment on this performance is not on the outside expression of Mutter as the other viewer commented. I have bought several Mutter's performances, it led me to believe that Mutter is not qualified as a top violinist because her performances have only skills and have no understanding and expression in the right mode as the music should be

(a few examples will clear that:
(1) Compare the performance of Mutter to Heifitz in the performance of Sarasate's op. 20.
(2) Compare Mutter and Itzhak Perlman in the performances of the Beethoven violin concerto in D,
the quality of a violinist will be clear).

It is also clear to me that Viviane Hagner is much better than Mutter (who is quite talented in making the music alive as it should be)

It is unfortunate that, for those wonderful pieces, there was no joint performances between Krajan and Itzhak Perlman, etc. However, the DVD is worthwhile solely because the great performance and historical record of Karajan and his orchestra, it has nothing to do with Mutter at all.

I thought Heaven was open........2005-03-15

I played my new DVD-copy in as soon as I got it. After a few minutes of listening, I though Heaven was open and the flood-gate had been demolished. I have never heard anything like that and it moved me so deep. I feel that my whole being has been transformed to the next unknown dimension. Even though I have listened Beethoven's Violin Concerto since 1981; that was 24 years ago. It is averaged about 6 times per week. Still Anne-Sophi's version is a completely new experience. Each note has touched me deep down; and there is no word to describe how I feel. It is as if Beethovan, Anne-Sophi and myself are "one." Anne-Sophi has introduced me to a new level - a born-again Classical lover. One thing that I am sure is: It will be a while before I can listen to another violinist, live or recording - for how long, I just don't know. It seems like I have been hynotised. Her performance has revived my wounded soul. During the playback recital, all I can say was, "Oh, my God." ......

My favorite Annie, like angels singing.......2003-04-25

The Beethoven Concerto is intensely lyrical with an emphasis on melody instead of a display of technique. I find the work to be a vehicle of expression that is full of romance and intricate dynamics. I remember when I recieved this in the mail, I could not stop playing it for weeks, to see a woman that beautiful pouring her heart out is not unlike watching an angel sing.

Of all the recordings in general that Anne Sophie Mutter has made, this is my favorite. Ms Mutter delivers an inspired and emotional performance, and really shows astonishing virtuosity playing the Kreisler cadenzas. She has the ability to vary different forms of vibrato to meet her needs of expression and her intonation is completely flawless. I tend to think she over does it a little with how much vibrato she uses most of the time but she is the artist not me and Im sure she is getting exactly the sound she wants, it is clear to me she is in complete control of the instrument especially with respect to bowing and dynamics in volume and tone. The video was recorded in 1984, (when she was 20) right around the time she bought her second Stradivarious the Lord Dunraven. I tend to think this is her old Stradivarious known as the Emiliani. I heard her sound change when she started playing the new violin but this is a good example of her style before she changed her sound.

Even though the emphasis seems to be on Karajan's conducting, I still loved this video immensely. My only complaint would be showing the soloist from the front instead of placing her behind the conductor as a result of the camera angle during most of the video.

Of course there are videos out there of the Beethoven by Perlman, Kogan, Szeryng, and Francescatti that may be considered better in some way, but they dont look as good as her. If you are a serious violin student I would suggest getting the Kogan DVD but that is black and white and has a dated sounding recording. (The Perlman and Francescatti videos are terribly hard to get and the Szeryng was recorded too late in his career)

If are looking for a nice modern recording and if you like Ms Mutter's style and are looking for a video of violin music full of emotion, or just want to see a stunningly bautiful woman pour her heart out, you must get this, a very worthwhile purchase.

4 & 1/2 stars: thanks again Annie!

Great audio but video leaves something to be desired.......2003-01-09

I was somewhat disappointed in the DVD

This is a 1984 recording on the Sony label by H. Von Karajan and Anne-Sophie Mutter: It is part of Karajan`s Legacy recordings.

I've always considered Beethoven's Concerto in D major for Violin and Orchestra, Op. 61, one of the greatest pieces of music of all time. The opening orchestral bars have a grandeur to them that is emotionally stirring and uplifting, and the solo violin builds on this theme throughout the first movement. The second movement is slow and deliberate and continues non-stop into the rondo finale, which is simply breathtaking.

I had previously purchased the CD version (recorded in 1980) of this recording and was struck with the beauty of the playing. I thought that the DVD version would give a visual enhancement to the superb audio that I had come to know and enjoy. Sadly, such is not the case. While the music remains spectacular and there is nothing technically wrong with the video, I have several concerns: for instance, I found that camera placements and film editing were less that ideal. Most shots of Anne-Sophie Mutter (at least in the first movement) were from her left side with Von Karajan to her immediate front: this one view became rather monotonous after a while and it was hard to see her finger work from this position. Also, the camera work on the orchestra tended to be tight close-ups of several sets of violins, cellos, clarinets etc.: there where virtually no panoramic views of the orchestra, which I feel, would have been preferred for some of the magnificent orchestral passages: which instead featured mostly Von Karajan.

But, I think my biggest disappointment was the stage presence of Anne-Sophie Mutter, or lack thereof. She appeared to be tense (I suppose who could blame her, given the circumstances): eyes almost never looked up from her instrument. Little or no personality shone through during this performance to go along with the extraordinary music that was coming from her instrument. [In comparison, try to see Gil Shahan's performance of Pablo De Sarasate's Carmen Fantasy, opus 25 on the New Year's Gala 97 (ARTHAUS label) and you'll see what I mean about playing with emotion and what an effect it has on the overall presentation.]

All in all, not what I had expected or had hoped for when I purchase this DVD. A 5 star audio recording but the video portion does not do justice to the beauty and grace of Beethoven's Violin Concerto.

Maybe i've been listening to too much Heifetz.......2002-02-06

Sure, this lacks the excitement ,flair and accuracy of the Heifetz recording, and upon the first listening i was kinda bored actually. However i got more out of this upon repeated listenings. Mutter and Karajan create a certain kind of steadiness and assurance in the music which is really surprising for Mutter's young age. The phrasing is also a very clever aspect. Mutter's phrasing is "felt" while Karajan is "thought-out" and instead of clashing they actually complement each other quite well, forming a solid balance. Overall, a rock-solid performance. Bravo!

Joseph Szigeti - Beethoven Violin Concerto, Beethoven Violin Concerto, Tartini Concerto in E, Prokofiev Violin Sonata No. 2

Average customer rating:

Painful Prokofiev
He is Visually Enthralling too

Joseph Szigeti - Beethoven Violin Concerto, Beethoven Violin Concerto, Tartini Concerto in E, Prokofiev Violin Sonata No. 2
Starring: Joseph Szigeti , and Beethoven
Manufacturer: Video Artists International
ProductGroup: DVD
Binding: DVD

General | Classical | Styles | Music

General | Musicals & Performing Arts | Genres | DVD | Video

General | Music Video & Concerts | Genres | DVD | Video

( J ) | Titles | Features | DVD | Video

Chicago Symphony Orchestra Historic Telecasts: Nathan Milstein/Walter Hendl
Mozart Violin Concerto / Brahms Violin Concerto etc. / Nathan Milstein (EMI Classic Archive 13)
Heifetz in Performance [includes DVD]
The Art of Henryk Szeryng
Henryk Szeryng Plays Brahms Violin Concerto, Bartok & Ravel (EMI Classic Archive 20)

ASIN: B0001US7IG
Release Date: 2004-03-30

Customer Reviews:

Painful Prokofiev.......2005-01-17

I was very disappointed by this DVD. The Prokofiev Sonata op. 94 is probably my favorite classical piece ever, and this rendition is painful to watch at times. The first movment's phrasing and playing in general feels awkward and labored. The 2nd and 3rd movements are decent, though not the best I've heard. The last movement is probably the worst. At many times, the technique seems strained and there are multiple mistake (at one point, he even stops playing for a moment). I realize this was probably recorded live without editing, but I expected more from a supposed master (I can listen to myself play the piece with mistakes for free!).

In all honesty, many recordings contain a mistake or two, but I usually can over look them (or don't really even notice them) in light of the performer's excellent musicality. I could have overlooked a few of the mistakes if Szigeti had played the piece with easy and grace. Instead, it sounds (and looks) like he was working really hard just to make the notes. For me, the ultimate test of whether a performance is good is whether it is captivating or not. On many other violin DVDs I own, I watch them perform and it's hypnotic. On Szigeti's Prokofiev, I was too busy worrying that he would mess up to be entranced...

I have focused my review on the Prokofiev because I bought the DVD exclusively for that piece. The other pieces seem good enough to me. I'm not particularly familiar with the other pieces, so if there are similarly problems, I'm not as aware of them as on the Prokofiev.

I wouldn't really recommend this DVD (at least for the Prokofiev). This was more expensive than most other violin DVDs, and the quality of playing seems to be the lowest of any I've heard.

He is Visually Enthralling too.......2004-11-07

Rightly or wrongly, people call him as the scholar of the violinists partly perhaps because of his association with Bartok and Schnabel. Well, the fact remains, people particularly the violinists like Milstein, but they love Szigeti.

Why? Just take for instance how considerate he was, when on one occasion Martha Argerich was to accompany him the world famous violinist when she was hardly known in the musical world at all...

Alternatively, you just have to watch this video and you can readily tell Szigeti is the musician of the topmost rank: the strong emotive import of the music has almost turned the form and structure of music to the boiling point and his devotion to music and involvement in the performance is absolute so that labelling him "scholastic" is hardly satisfacory.

Another selling point would be the intriguing repertoire. It's difficult to find a better Tartini, and almost impossible to get a better Hubay Czardas even from the CDs and one doesn't come across such beautiful music very often. His Beethoven is blended with sensibility and nobility and beauty all at the same time. And one is apt to find himself shattered by the second and third movements of his Prokofiev. And it's also a delight to be able to see Arther Balsam in action after listening so many of his CDs...

Furthermore, the Canadian radio Orchestra here is doing a great job for the recorded sound as a whole is so much better Chicago Symphony Orchestra which accompanied Milstein at about the same time and the intriguing tone of the soloist violin is distinctly (head and shoulder) better, so warm and tender. It's such a joy even after one turns back to it a second in a breath.

Beethoven Violin Concerto & Handel Violin Sonata & Shostakovich Four Preludes / Leonid Kogan

Average customer rating:

Leonid the Great
Great Beethoven violin concerto recording
The art of Leonid
Disappointing, but it's still Kogan.
It is Not Shattering, But...

Beethoven Violin Concerto & Handel Violin Sonata & Shostakovich Four Preludes / Leonid Kogan
Starring: Leonid Kogan , and Elizaveta Gilels-Kogan
Manufacturer: EMI Classics
ProductGroup: DVD
Binding: DVD

General | Classical | Styles | Music

General | Music Video & Concerts | Genres | DVD | Video

( B ) | Titles | Features | DVD | Video

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Similar Items:

Henryk Szeryng Plays Brahms Violin Concerto, Bartok & Ravel (EMI Classic Archive 20)
Oistrakh, Menuhin & Rostropovich Play Bach, Brahms & Mozart (EMI Classic Archive 18)
David Oistrakh: Brahms/Sibelius/Tchaikovsky
Mozart Violin Concerto / Brahms Violin Concerto etc. / Nathan Milstein (EMI Classic Archive 13)
Christian Ferras Plays Sibelius, Stravinsky & Franck (EMI Classic Archive)

ASIN: B000092T5O
Release Date: 2003-05-06

Customer Reviews:

Leonid the Great.......2005-11-28

To my knowledge, this is the only video presentation (other than "Kogan Interpretations", available only on VHS) of Kogan's playing, out there. Kogan couldn't stand bright lights or cameras, although he was a big fan of mechanical gadgets.
Thankfully, EMI has released this. Kogan, sadly, left us way too early and as a result, his name is seldom mentioned when discussing the great violinists of the past. Plain and simple, this guy knew how to play - it was often said that his playing lacked individuality, but that is completely untrue for those who know his (all too few) recordings well.

This DVD features the Beethoven Concerto, performed live in Paris in 1962. A scant 7 or 8 years before, Kogan had concertized extensively there for the first time, and really knocked the public's socks off. This performance is phenomenal, with all of Kogan's trademarks - the gigantic tone, aided by a surprisingly taut vibrato, with quicksilver fingerwork and intonation. The first movement cadenza is particularly electrifying (I'm not sure who wrote it...but it's not one of the standard ones). Unfortunately, the camerawork is terrible and there is a fair amount of bleeding and strobing of Kogan's violin and bow. You can actually see the camera equipment set up in the first few rows of the auditorium. The film wasn't edited well, either. When we see a live performance, we want to see the whole thing from start to finish; it woulda been nice to see Kogan coming onstage after acclaimed conductor Louis de Froment.

The rest of the program is on a par with any of Kogan's other recordings. Particularly nice are the E major Handel Sonata, Debussy's Beau Soir, and Shostakovich preludes.
The Leclair duo sonata (or one of them), with his wife Elizaveta Gilels, is a tremendously welcome inclusion. I wish they'd gotten their son, Pavel Kogan (today a great conductor as well as violinist) into the act, too.

This disc is highly recommended - and especially to aspiring soloists.

Great Beethoven violin concerto recording.......2005-03-15

This interpretation of the Beethoven concerto is austere, ethereal, and perfectly balanced. Absolutely beautiful.
About the dvd: the picture quality is not good, but this is of no consequence for the enjoyment of the music in this dvd.

The art of Leonid.......2004-10-19

At the first time I saw this DVD, the cadenza in Beethoven concerto had made me shock, even I've heard Kogan play this concerto so many time. He played with an impressing technique and emotion. The pity is that EMI hasn't emitted other Kogan's performances like Paganini concerto No. 1 (with the outstanding interpretation of Sauret Cadenza that gave Kogan the first prize in Queen Elizabeth Competition, 1951), Brahms concerto, Tchaikovsky concerto, or Prokofiev concerto No. 1 (which now very rare in old issues of Melodya, one played by Kogan, other by Tretyakov). There is also an interesting comparision with Bach's Sarabande if you've ever heard N. Milstein in Sonatas and Partitas. In this DVD, Kogan also played 4 preludes by Shostakovich, this is really nice part. The Handel's sonata is great with the accompany of Mytnik.

Strongly recommend !!!

Disappointing, but it's still Kogan........2004-05-28

I am generally speaking a big fan of this Classical Archive Series, and am quite pleased with the compilations (though occasionally wish there were more pieces on these DVD's). Thus, it was without hesitation that I decided to purchase the Kogan DVD. After all, he's one of my favourite violinists, and a chance to see him in action is a treat not to be missed.
However, I have to admit I'm quite disappointed with this particular collection of his pieces. The selection is perplexing in its lack of pyrotechnics and finger gymnastics in which Kogan is virtually a nonpareil, and the footage has moments of what appears to be a bleaching of film (in the Beethoven Concerto). It is downright confusing as to why EMI didn't choose to include Paganini Concerto No.1 (in which Kogan excels, especially with the might Sauret Cadenza), or perhaps the Khachaturian concerto (which was briefly seen in "Art of the Violin").
The production still warrants three stars, however, if only because of the quality of playing, which really is quite fantastic. A collection of uninspired programming choices does not diminish the grandeur of Kogan's playing, and although I would recommend this DVD to die-hard Kogan fans only, there is still something noble in his contribution to the violin art.

It is Not Shattering, But..........2003-07-28

Those who come with a mind for Kogan's devilish edge comparing him with Heifetz, they may well be diappointed: they may have to look for it somewhere else.

Here Kogan plays a number of short pieces, with composers spanning all over Europe playing some German, French, Italian and even Spanish music. The longest piece is Beethoven. It's amazing that after having heard dozens of renditions of the same piece, one stil finds his Beethoven fresh and new and that is despite the fact that the French orchestra doesn't quite give him due support.

Needless to say his Shostokovich is unrivalled. It's so amazing that he managed to play Handel nearly as good as Adolf Busch; and his Debussy almost as good as Thibaud and that was despite the fact that Thibaud himself was a Frenchman with the widest imaginable exposure. No wonder Thibaud handpicked him from among his fellow Russian violin pupils.

His Bach is not the best one available on DVD, but the French audience seemed exceedingly delighted by it. Hopefully, viewers would find the same. The last three pieces i.e., Brahms, Pagaini, Falla are instead the most intriquing of them all, fully demonstrating Kogan's musicianship. The bonus shows us what an excellent chamber musician Kogan was. Emil Gilels's sister, Kogan's wife though not equally as impressing as either her brother or her husband, does help to bring out Kogan's finest qualities as a musician.

There is one thing that is quite extraordinary. We don't always have an appetite for Heifetz, nor Menuhin. One may even get tired of hearing Oistrakh. This may not be the case of Kogan. I have watched this DVD 3 TIMES in a go and still left with an urge to go back to it, and that is despite of the fact that Kogan doesn't have any outstanding accompanist like Emil Gilels or Richter or the like! Marvelous, isn't it? I suppose that is the very essence of musicianship.

Customer Reviews:

Good, but not as good as other Oistrakh anthologies.......2004-06-05

One can't help but feel somewhat tricked with this DVD. Why? Simply because there are far more clips of Oistrakh that were worthy of inclusion, including the entire Brahms concerto, Locatelli Labyrinth, Sibelius Concerto, Khachaturian Concerto, numerous Kreisler pieces, etc... Those clips were, to my mind, a good deal more interesting than most of the offerings on this well-photographed, well-restored, and all-round decent DVD. Nonetheless, it is always a pleasure to see Oistrakh, as his artistry is truly wonderful. Not just for die-hard Oistrakh fans, but also not my first choice for videos of him.

spelling.......2004-05-03

"David Oistrkh [IMPORT]" The correct last name is Oistrakh. A rare glimpse at one of the greatest violinist of all times.

Oistrakh a legend.......2004-02-12

We are talking about David Oistrakh here who is one of the very best violinist ever.
In this DVD you can still enjoy the warmth of his sound.
It's a must buy for any violinists out there!!!
And check out Rudolf Schwarz (He conducts the Brahms concerto).
He has the funniest baton works ever...

75 Minutes is Not Too Short.......2003-05-27

75 minutes is too short?

Well, yes and no. Yes, who wouldn't like more? And no, because we are almost given everything we could possibly expect from any DVD.

The photography of this DVD is most excellent, even better than the Menuhin issued in the same year. The crews here obviously knew a lot about music: how we play a violin and the piano. It's filmed from an angle that is most natural. The studios in Paris were so homely. In Spring Sonata, the room was well furnished, decorated with one or two portraits of Beethoven, and there was even a vase full of blooming flowers in the background!

There are also reasons to believe that this was filmed not only for amusement but also as a teaching aid. Very often , we can see Oistrakh's fingerings, phrasings, vibratos, bowings sometimes at the same time and occasionally from a most illuminating angle!

The photographer obviously understood that it's a Sonata for both the violin and piano. There are also close-ups of the pianist ( sometime including and sometimes just his hands and fingers like doing the staccatos, legatos and legatos on repeated notes etc) wherever appropriate. The pianist was Lev Oborin, the first Chopin Competition gold medalist and teacher of Ashkenazy. Both played beautifully and poetically. Every minute is enjoyable, no matter it was the painist or the violinist or both. It's so close to Rachmaninoff/Kreisler, and any difference is really marginal (I mean both parts, and the latter was recorded in 1930's and we only have audio CD.) To those who have been listening to Oistrakh's Beethoven Sonatas for years, it would certainly be a joy to see him playing it. Spring Sonata alone is worth every cent of the money, the rest is gratuitous!

Their Schubert is likewise superb. I am enchanted by Busch/Serkin's Schubert and also by Cortot/Thibaud. This one is no less enjoyable, particularly so when we can see exactly how they're playing it. And Oistrakh's Clair de lune and Prokofiev's Melodies are all wonderful stuff: they are each a jem in their own right. The latters were accompanied by Bauer instead where we scarcely have any close-ups of the accompanist: quite right. For his Bach and Brahms Concerto, he was supported by different English Orchestras, under different conductors, the first one under Sir Colin Davis.

I don't exactly like his son's playing: the difference is just too obvious even though his son also became a professor in violin in a renowned Russian Conservatory. Fortunately, it's very short, only a few minutes. The rest of the repertiore is very enjoyable too.

My real complaint about this DVD being it's sound. It's exactly like Oistrakh's audio (EMI) Beethoven Sonatas: nothing less and nothing more. Why aren't they redigitalised? The result, we hear a voilin sound that is so opulent that almost borders upon the sound of a viola. But look, the balance between the violin and the piano is so perfect, so much so that we wonder if that is, as a whole, part of the later Russian style. It's quite different from Busch, Szeryng, Milstein or Heifetz. But I do remember Heifetz's sound wasn't so lean in the LPs. It was rather different from the CDs.

Oistrakh on DVD.......2003-05-23

Like some other BBC early-TV classical music presentations, this one is earnest and dull. Beethoven's "Spring" Sonata especially lacks vitality. Be warned that (1) the very detailed mono sound is recorded on the left channel only--the right channel is soundless--and (2) the Brahms Concerto bonus consists of the third movement alone. Oistrakh is more commanding in the shorter pieces on this disc.

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