Brahms VC

[hornteacher]

I bought on your recommendation recently - not a doubt on beautiful violin playing but tempi-wise seemed sluggish to me relatively to Milstein-Fistoulari. A lack of tension and fire in my opinion.

When it comes to Hilary, I like to go slow. 

Seriously though, are you refering to the Brahms CD being sluggish or some other recording?  Hahn is usually known for taking things a bit on the fast side (i.e. her Bach CDs and the Beethoven).  I have to admit though I've heard fewer recordings of the Brahms than I have say, the Mendelssohn or Beethoven, and my musical attraction to Hahn comes from her gorgeous tone and clean technique rather than tempi, but that's just me.  I know of several people who just can't listen to her Bach CD because they think she goes way too fast.  I guess one just has to find the artist who "does it" the way one wants it done.  Fortunately, there is no shortage of recordings out there.

[Steve]

When it comes to Hilary, I like to go slow. 

Seriously though, are you refering to the Brahms CD being sluggish or some other recording?  Hahn is usually known for taking things a bit on the fast side (i.e. her Bach CDs and the Beethoven).  I have to admit though I've heard fewer recordings of the Brahms than I have say, the Mendelssohn or Beethoven, and my musical attraction to Hahn comes from her gorgeous tone and clean technique rather than tempi, but that's just me.  I know of several people who just can't listen to her Bach CD because they think she goes way too fast.  I guess one just has to find the artist who "does it" the way one wants it done.  Fortunately, there is no shortage of recordings out there.

I generally enjoyed Hahn's rendition of this piece, with the notable exception of the final movement. For me, it sounds restrained, conservative, and utterly anticlimatic. I've always preferred the Perlman in this concerto anyway.

[Rabin_Fan]

When it comes to Hilary, I like to go slow.    Seriously though, are you referring to the Brahms CD being sluggish or some other recording?  Hahn is usually known for taking things a bit on the fast side (i.e. her Bach CDs and the Beethoven).  I have to admit though I've heard fewer recordings of the Brahms than I have say, the Mendelssohn or Beethoven, and my musical attraction to Hahn comes from her gorgeous tone and clean technique rather than tempi, but that's just me. 

The Stravinsky VC is very fast as she takes the composer's marking at face value. Other players seem sluggish in Igor's VC. However, if you place Hahn's Brahms against Milstein-Fistoulari or any Heifetz - it is sluggish and lacks drama. Just beautiful tones and violin playing. Sorry guys & girls.

[MishaK]

When it comes to Hilary, I like to go slow. 

Seriously though, are you refering to the Brahms CD being sluggish or some other recording?  Hahn is usually known for taking things a bit on the fast side (i.e. her Bach CDs and the Beethoven).  I have to admit though I've heard fewer recordings of the Brahms than I have say, the Mendelssohn or Beethoven, and my musical attraction to Hahn comes from her gorgeous tone and clean technique rather than tempi, but that's just me.  I know of several people who just can't listen to her Bach CD because they think she goes way too fast.  I guess one just has to find the artist who "does it" the way one wants it done.  Fortunately, there is no shortage of recordings out there.

Hahn certainly isn't slow (for slow check out Mutter/Masur). Hahn is unfussy and not over-emotional, some might say a bit too careful. But it's still amazing fiddle work and a perfectly valid interpretation in its own right. Marriner certainly isn't the most exciting of accompanists, but the orchestra is aglow just from Hilary's presence. I have observed that in performance as well, actually. Even the most jaded and bored orchestra somehow catches fire when she's playing. I heard Marriner/ASMIF with Hahn in the Stravinsky live. Marriner/ASMIF produced the most pedestrian and uninvolved Beethoven 2 in the first half. But when they were playing the concerto with Hahn, suddenly everyone was energized and enjoying themselves. Same with Sawallisch/Philly which I heard with Hahn live in the Brahms (and which was possibly a notch better still than the recording with Marriner, mostly on account of the superlative orchestra, but also for Hahn live). Speaking of which, the Hahn Brahms CD is worth the price of admission for the Stravinsky alone. Easily top choice.

[Rabin_Fan]

H Hahn's Paganini VC 1 & Spohr's VC 8 CD seems a bit slow for me - relative to other players like M Rabin in No.1 and Heifetz & Hoelscher in No.8. She emphasizes the lyrical aspects of both pieces. I heard the CD but did not buy the disc.

[MishaK]

H Hahn's Paganini VC 1 & Spohr's VC 8 CD seems a bit slow for me - relative to other players like M Rabin in No.1 and Heifetz & Hoelscher in No.8. She emphasizes the lyrical aspects of both pieces. I heard the CD but did not buy the disc.

According to Hahn, she wanted to emphasize the operatic qualities of Paganini's writing. So "lyrical" is a good way of describing it. I think she was trying to make more of it than it really is. Ultimately the Paganini breaks down once you start paying too much attention to the painfully pedestrian and bombastic handling of the orchestral part. Focus on just sheer violin virtuosity and you're fine. But Hahn eschews that sort of approach generally - for which I greatly commend her in other repertoire, but with Paganini, really what's left?

[Rabin_Fan]

Hahn certainly isn't slow (for slow check out Mutter/Masur). Hahn is unfussy and not over-emotional, some might say a bit too careful. But it's still amazing fiddle work and a perfectly valid interpretation in its own right. Marriner certainly isn't the most exciting of accompanists, but the orchestra is aglow just from Hilary's presence. I have observed that in performance as well, actually. Even the most jaded and bored orchestra somehow catches fire when she's playing.  Speaking of which, the Hahn Brahms CD is worth the price of admission for the Stravinsky alone. Easily top choice.

GBP6.23 was the price I paid for Hahn's Brahms VC. International price was GBP9.79. A great deal in Singapore. Also bought Tch VC (Bell, BPO, MTT), Mozart VC 1 to 3 (D Oistrakh, BPO, EMI) and J Jansen (Mend & Bruch VC1, LGO, Chailly). Now the last item that I got on holiday is a great gem. I am comparing with my top versions on Bruch VC 1 & Mend VC.

[MishaK]

I am comparing with my top versions on Bruch VC 1 & Mend VC.

Let me throw in a suggestion: for the Bruch check out Chloe Hanslip. Seriously. A Bruch of unusual maturity and accomplishment. Gripping performance.

[Holden]

Well I'm going to go against the flow and suggest

Heifetz/Reiner

[Daverz]

It is on a Kogan EMI two-fer (*), which I have. By far, this is the best Kogan compilation I have seen from EMI. There was a 4 box set from French EMI but I passed on this one - Testament have released some of this stuff on their label.

Thanks.  I just ordered the French set -- and also the "Introuvables" sets of Oistrakh, Milstein, and Tortelier -- from amazon.fr.  The Testament release looks like it has a different recording of the Brahms?

http://www.testament.co.uk/shop/product.aspx?id=41

It (*) also contains the most stupendous Tchaikovsky VC (Silvestri) that I know off.

I also picked up the Tchaikovsky in the same vinyl hunting trip.

[op.110]

You have to get Oistrakh (EMI with Szell and also includes the D minor Sonata) and, no matter what, stay away from Anne-Sophie Mutter.

[Rabin_Fan]

You have to get Oistrakh (EMI with Szell and also includes the D minor Sonata) and, no matter what, stay away from Anne-Sophie Mutter.

Oistrakh-Szell is very nice and good. But his triple stopping leaves something to be desired in Mvt 1. May prefer Oistrakh-Klemperer here. But the 2nd mvt with Szell is gorgeous.

[Rabin_Fan]

Let me throw in a suggestion: for the Bruch check out Chloe Hanslip. Seriously. A Bruch of unusual maturity and accomplishment. Gripping performance.

Chloe came to Malaysia but did not play a very good Mendelssohn VC. It was rhythmically poor - she rushed and the Guarneri seemed too big for her small frame and hands. So, I may pass on Chloe's Bruch. Sorry!

[Rabin_Fan]

Thanks.  I just ordered the French set -- and also the "Introuvables" sets of Oistrakh, Milstein, and Tortelier -- from amazon.fr.  The Testament release looks like it has a different recording of the Brahms?
http://www.testament.co.uk/shop/product.aspx?id=41
I also picked up the Tchaikovsky in the same vinyl hunting trip.

The 4-CD set did not have very good sound. So, the Kogan-Silvestri is vital in a collection. Did you enjoy your LP of the Tch VC?

[Rabin_Fan]

According to Hahn, she wanted to emphasize the operatic qualities of Paganini's writing. So "lyrical" is a good way of describing it. I think she was trying to make more of it than it really is. Ultimately the Paganini breaks down once you start paying too much attention to the painfully pedestrian and bombastic handling of the orchestral part. Focus on just sheer violin virtuosity and you're fine. But Hahn eschews that sort of approach generally - for which I greatly commend her in other repertoire, but with Paganini, really what's left?

Well, good for Hahn and her lyrical approach. But I love M Rabin's manner with the Paganini VC 1 - great singing tone, immaculate technique, daredevil playing and crystal clear double harmonics - my top version for this piece.

[Daverz]

The 4-CD set did not have very good sound. So, the Kogan-Silvestri is vital in a collection. Did you enjoy your LP of the Tch VC?

The Kogan/Kondrashin Brahms sounds quite good on Lp (except for surface noise).  Is that the version in the Introuvables set?  Not sure I want yet another Brahms concerto at Testament prices.

[val]

My favorites:

David Oistrakh with Szell

Milstein with Jochum

Heifetz with Reiner

Stern with Ormandy

and I am waiting to hear the recent version of Julia Fischer

[hornteacher]

and I am waiting to hear the recent version of Julia Fischer

Yes, I'm interested in that one too.

[Steve]

I've dampled with many, and found really only one that suited me. The Stern/Ormandy really stands out for me. I fancy his approach to the final movement. I have yet to try Oistrakh, though.

[Hector]

I love that recording of the violin concerto, but the double concerto is not as well done, imo.

I suspected as much.

As is usual, the BBC plays the recording chosen that weekend, now, on the following Monday morning.

It was mightily impressive. He doesn't mess around with the tempo and receives strong support from Abbado.

Truly inspired, imo, on first hearing.