Beethoven Violin Concerto

[Gurn Blanston]

Totally PI.

If you have some recording of the London Fortepiano Trio (Mozart piano trios on Hyperion, maybe?), she plays there.

Kurosaki has been concertino of Les Arts Florissants, Clemencic Consort, London Baroque, Cappella Coloniensis y Orquesta Barroca de Sevilla. As far as I recall, I just have one monographic disk by him, some excellent Handel's violin sonatas with William Christie.

Ah yes, I thought her name was familiar, couldn't place it. I have both the Mozart and Haydn trios by them. I also have disks by all those groups excepet the last, so I must have things by him, too. I'm bad with names...

All of which gets us too far from the concerto in question. Although apparently only things recorded before the dawn of time will do anyway... 

[Que]

You make a compelling argument in the sense that his style appears to be quite unique. I can tolerate poor sound quality [what does one really expect from the 1930s?] if the performance is worth it. This one sounds interesting.

The plus of the Huberman Naxos disc is that it is cheap, widely available and combines two epic recordings,  since IMO the Tchaikovsky is equally desirable. 
The best transfers however, are to be found elsewhere. For the Beethoven this Appian disc, which is unfortunately OOP, but copies still float around.



Tchaikovsky is off topic here, but Opus Kura is the way to go:

[asin]B00B0LKO0O[/asin]
Q

[Wanderer]

As the concerto starts with timpani (and Beethoven had already pulled the timpani for the (end of the) cadenza in the 3rd piano concerto) they are admissible. But the piano is, as you say, a shock effect that makes no sense for me and gets on my nerves quickly. I admit that I have never heard the piano version of this concerto but I am not terribly fond of the cadenza even in the "normal" version, i.e. Schneiderhan's arrangement for violin (+ timps).

There's no rule for admissibility, but of course you're entitled to your personal preference. De gustibus and all that. Cadenzas have always been the performers' prerogative, so the occasional touch of originality is always welcome in my book.

[aligreto]

The plus of the Huberman Naxos disc is that it is cheap, widely available and combines two epic recordings,  since IMO the Tchaikovsky is equally desirable. 
The best transfers however, are to be found elsewhere. For the Beethoven this Appian disc, which is unfortunately OOP, but copies still float around.



Tchaikovsky is off topic here, but Opus Kura is the way to go:

[asin]B00B0LKO0O[/asin]
Q

Thank you for that. Agreed on the Tchaikovsky.

[aligreto]

My first purchase as a direct result of this thread....





The Mullova / Gardiner definitely seems to be held in high regard. I eagerly await it.


Edit: During my first listen to this CD the term silky smooth came to mind. This sounded like a completely effortless performance from both soloist and orchestra and yet one had the tension and the drama there as well. I thought that it was assertive where it should be and thoughtful and restrained in the relevant areas. Mullova certainly brings a lot to this work with her performance and she is sensitively accompanied by the orchestra. It is a performance of refinement and elegance and a powerful interpretation which has very quickly shot up the hierarchy of my preferences in this work.

[aligreto]

I have bought Kyung-Wha Chung / Klaus Tennsteadt version....





Edit: To my ear this is a somewhat measured performance of the Beethoven violin concerto. Tempi are on the slow side but it is well paced and the music and phrasing has plenty of time to breath in the first two movements. The tempo picks up in the final movement which ultimately drives on to a grand finale. Someone commented to me recently that Chung's playing has a very feminine vulnerability that is very touching in this recording and I certainly see that in the slow movement; her playing is very fine throughout.


The  Bruch VC No. 1 is another strong performance from both soloist and orchestra. Chung's playing is both tender and powerful in the appropriate places. This is certainly no filler and is a great coupling for me with two of my favourite violin concertos getting very good performances.

[Dancing Divertimentian]

I have bought Kyung-Wha Chung / Klaus Tennsteadt version....

I have that one, too (along with Mullova). Tennstedt's vision is stately, pulsing, reflective, along those lines. It's good but it radiates pure romanticism. 

[Wanderer]

I have bought Kyung-Wha Chung / Klaus Tennsteadt version....

Well-played, but rather lethargic (especially in the first movement).

[aligreto]

I have that one, too (along with Mullova). Tennstedt's vision is stately, pulsing, reflective, along those lines. It's good but it radiates pure romanticism.

Thank you for that; it should make for a good contrasting version to the Mullova so.

[aligreto]

Well-played, but rather lethargic (especially in the first movement).

I will listen attentively to the first movement tempo based on your comment.

[aligreto]

My next purchase....





Edit: I attended a recital featuring Monica Huggett this evening so it seemed very appropriate to play this tonight. I really liked everything about it. Huggett's playing and interpretation I really like; there is a somewhat different "feel" to this performance. I also love Mackerras' direction of the Orchestra of the Age of Enlightenment; a great combination that I have not heard before. So, I am very satisfied with this purchase and it is one that I would readily recommend.

[aukhawk]

I have that one [Chung], too (along with Mullova). Tennstedt's vision is stately, pulsing, reflective, along those lines. It's good but it radiates pure romanticism.

As was said on BBC Building a Library - "a lot has changed since then".  They plumped for Faust/Belohlavek but that was back in 2011 and maybe "a lot has changed since then" too.

[aligreto]

As was said on BBC Building a Library - "a lot has changed since then".  They plumped for Faust/Belohlavek but that was back in 2011 and maybe "a lot has changed since then" too.

Tastes and fashions can and do indeed change over time and it would be interesting to see who would get the recommendation today. Anyway, these things are totally subjective and a different presenter on the day would have picked a different version.

I have just played the Chung/Tennstedt version and I have edited my post above.

[aukhawk]

Tastes and fashions can and do indeed change over time and it would be interesting to see who would get the recommendation today. Anyway, these things are totally subjective and a different presenter on the day would have picked a different version.
I have just played the Chung/Tennstedt version and I have edited my post above.

It was a top recommendation when it was first issued, I can remember that.  (Chung, and Faust/Abbado, are the only two versions I've got - the Faust partly for the strong coupling of the Berg concerto which I don't otherwise have.)

[aligreto]

It was a top recommendation when it was first issued, I can remember that.  (Chung, and Faust/Abbado, are the only two versions I've got - the Faust partly for the strong coupling of the Berg concerto which I don't otherwise have.)

As a result of this thread and a subsequent purchase I can now wholeheartedly recommend the Mullova/Gardiner version if and when you are ever in the market for another version.

[aligreto]

My latest purchase....





I like Tate in Mozart so I am curious to see how he does in Beethoven.

[jlaurson]

If we are going to have a straight "I show you mine if you show me yours" thread, could we enhance it by also including who plays which cadenza (if it isn't the standard Kreisler)? That might be interesting.

Mullova, for example, plays Ottavio Dantone's cadenzas. Kremer I plays Schnittke, I believe. Zehetmaier, Tetzlaff, Kopachinskaja et al. play Beethoven-Schneiderhan a.k.a. "61a"... and so forth. Ricci includes a whole bunch of them on his Biddulph recording.

My favorites:


L.v. Beethoven,  Violin Concerto (61a)
Thomas Zehetmair, Frans Brüggen, Orchestra of the 18th Century
Philips/Decca
German link - UK link
My favorite. Like a new set of ears for the work.


L.v. Beethoven,  Violin Concerto (61a)
Christian Tetzlaff / David Zinman / Tonhalle Orchestra Zurich
Arte Nova
German link - UK link


L.v. Beethoven,  Violin Concerto + Berg!
Arabella Steinbacher / Andris Nelsons / WDR SO Cologne
Orfeo
German link - UK link
Nelsons's conducting is notably amazing, here!


L.v. Beethoven,  Violin Concerto  (61a*) + Berg!
Isabelle Faust II / Claudio Abbado / Orchestra Mozart
Harmonia Mundi
German link - UK link


L.v. Beethoven,  Violin Concerto
Christian Ferras / Herbert von Karajan / BPh
DG
German link - UK link

Kremer (I, Marriner, Philips) nearly made the cut, but I did want to include one 'golden-age' performance when I'm already not including mercurial Milstein. (An adjective purely chosen for its alliterative value, btw.) OK, let him:


L.v. Beethoven,  Violin Concerto (Schnittke)
Gidon Kremer I, Neville Marriner, Orchestra of St.Martin in the Fields
Philips/Decca
German link - UK link

[trung224]

 My favorite versions are:
     Rohn with Furtwängler (1944). Trust to say, Rohn is not a great fiedler, his tone is not really distinctive, and uncomfort in high notes. But his tempo, phrasing seems near perfect for me. And Furtwängler IMO is the best partner in this concerto, supportive but also highlight drama by his efficient use of rubato, even in relative fast tempo. Conversation passages between violin and orchestra is so effective, balanced.
     Zeheitmair with Brüggen (1980s). Technicianly, Zeheitmair is better than Rohn, his tone is purer. Zeheitmair, Brüggen handle their part nearly perfect, especially in the conversation passages. But for me, the orchestra part is still little too straight, not expressive as Furtwängler version.
    Huberman with Szell (1934). As a violinist, I prefer Huberman to both Rohn and Zeheitmar. His technique is on par with Zeheitmair, and his phrasing is more distinctive. In this concerto, he play great and Szell did good job in this part, but it seems that VPO and Huberman do not have great synergy.

  Among the follow up, there are
         Oistrakh with Cluytens (great romantic approach but it suites more with Brahms than Beethoven),
         Kogan, Heifetz, Milstein (the only problems for three of them is that their performance become a showcase of violin part, the orchestra part is only a support, not a true partner),
         Menuhin with Furtwängler (the better is on Lucerne 28.09.1947 on Audite, not EMI or Testament, his playing is great but Furtwängler somewhat lacks the dynamic and explosive quality of his wartime performances),
         Faust (great playing with many effective personal details, Abbado conducts his part great)

[Wanderer]

I have not heard that version but I know that I would also find that strange.

You might be surprised. Even a "strange" cadenza (which I don't think this one is) is a small price to pay for such a good performance.

[aligreto]

My favorite versions are:
     Rohn with Furtwängler (1944). Trust to say, Rohn is not a great fiedler, his tone is not really distinctive, and uncomfort in high notes. But his tempo, phrasing seems near perfect for me. And Furtwängler IMO is the best partner in this concerto, supportive but also highlight drama by his efficient use of rubato, even in relative fast tempo. Conversation passages between violin and orchestra is so effective, balanced.
     Zeheitmair with Brüggen (1980s). Technicianly, Zeheitmair is better than Rohn, his tone is purer. Zeheitmair, Brüggen handle their part nearly perfect, especially in the conversation passages. But for me, the orchestra part is still little too straight, not expressive as Furtwängler version.
    Huberman with Szell (1934). As a violinist, I prefer Huberman to both Rohn and Zeheitmar. His technique is on par with Zeheitmair, and his phrasing is more distinctive. In this concerto, he play great and Szell did good job in this part, but it seems that VPO and Huberman do not have great synergy.

  Among the follow up, there are
         Oistrakh with Cluytens (great romantic approach but it suites more with Brahms than Beethoven),
         Kogan, Heifetz, Milstein (the only problems for three of them is that their performance become a showcase of violin part, the orchestra part is only a support, not a true partner),
         Menuhin with Furtwängler (the better is on Lucerne 28.09.1947 on Audite, not EMI or Testament, his playing is great but Furtwängler somewhat lacks the dynamic and explosive quality of his wartime performances),
         Faust (great playing with many effective personal details, Abbado conducts his part great)

Thank you for that contribution. I have not heard of Rohn or Kogan.