This performance of the Brahms Violin Concerto is one of unalloyed greatness. Vadim Repin feels no need to make ostentatious points in, say, the first movement's jagged cadence theme, or at the opening of the finale. Instead his perfect intonation and astonishing technique at good, swift tempos make the music sing and flow effortlessly. Listen to his exquisite tone in double-stops, his emphatic but still dance-like rhythm in the finale, or his imposing first-movement cadenza. The bottom line is that there is absolutely nothing here to criticize. Riccardo Chailly and the Gewandhaus Orchestra deliver equally impressive accompaniments: the wind band introduction to the adagio is gorgeous, the interplayRead more between soloist and orchestra the stuff of dreams.
The Double Concerto, that stepchild of Brahms pieces for soloists and orchestra, also ranks with the best available. It may be that the classic Szell/Oistrakh/Rostropovich performance launches the finale with a touch more zip, but you won't hear the opening cadenzas played with more lyrical passion, or the andante spun out more affectingly. The soloists are placed a touch forward against the orchestra, but they can more than withstand the scrutiny within the context of warm, vivid engineering. This disc offers 72 minutes of Brahmsian joy. Don't by any means miss it.
Violin Concerto in D, Op.77: 1. Allegro non troppo
Violin Concerto in D, Op.77: 2. Adagio
Violin Concerto in D, Op.77: 3. Allegro giocoso, ma non troppo vivace - Poco più presto
Concerto for Violin and Cello in A minor, Op.102: 1. Allegro
Concerto for Violin and Cello in A minor, Op.102: 2. Andante
Concerto for Violin and Cello in A minor, Op.102: 3. Vivace non troppo - Poco meno allegro - Tempo I
Average Customer Review: ( 1 Customer Review )
Another Russian playing Brahms!March 20, 2015By charles l. (evanston, IL)See All My Reviews"Brahms wrote rather long phrases for a good reason: he had something to say musically and long phrases - more than 32 measures - were typical of the style of composing of the time. They also mean something: connectedness of what has preceded and of what is to come. I wish that the Russians who want to play the works of the great Austrian-German Romantic Masters would take that aspect of relationship into account in interpreting this and other works - long-winded that they may be - for the benefit, well, of everyone concerned. Technique is one aspect of playing or making music; understanding that a composition is of another conception than one's own is another. Playing notes as almost anyone can guess is not making music. Compare Perlman. CSO/Giulini for another type of interpretation."Report Abuse
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