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Felix
MENDELSSOHN
violin concerto in e minor
Max
BRUCH
violin concerto no. 1 in g minor
Pyotr
TCHAIKOVSKY
violin concerto in D major
Philharmonic Symphony Orchestra
of New York, Bruno Walter
(rec.16 May 1945, Carnegie Hall
Philharmonic Symphony
Orchestra of New York, John Barbirolli
rec.12 Apr 1942, Carnegie Hall
Chicago Symphony Orchestra,
Friedrich Stock
rec. Orchestra Hall, Chicago, 6 Mar 1940
respectively, all with Nathan
Milstein, violin |
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This amply
filled disc would appear to be a bargain by any
standards, and you certainly shouldn't pass up, at this price
especially, the chance to be better acquainted with one of the
violinists with the longest-lived careers of the twentieth century,
Nathan Milstein (1903-1992). But even the most perfect
violinists have their off-days, and while the Bruch and Tchaikovsky
catch Milstein on stunning form, the Mendelssohn, while
note-perfect, is rather uninvolved, Milstein in one of his dour
moods and unwilling, it seems, to take part in anything more than
the surface notes. Curiously, since the aforementioned recording was
the one recorded the latest (1945), the violin sound is wiry and
inflexible. Nathan Milstein was always compared to Heifetz, and not
surprisingly the latter always came off the cooler, more distant.
Comparing their two accounts of the Mendelssohn available on Naxos (Heifetz's
with no less than Toscanini), you might rethink your opinion.
 The Bruch is a totally
different matter. Milstein said it was his favourite concerto, and
one believes it, listening to this. There is a willingness to commit emotionally that I
didn't feel in the Mendelssohn, and a sensitivity and vulnerability
that comes through. The recorded violin sound is much more
listenable and sweeter, catching more nuances. Milstein also takes
the trouble to inflect more and play more with his tempi, so
everything seems that much more human. John Barbirolli (right), returning to
the orchestra that caused him so much pain years ago, leads them
admirably in roaring form and with characteristic sympathy for the
soloist in a performance full of colour.
Milstein's technique is at its formidable best in the Tchaikovsky,
where he is abetted by Friedrich Stock and his Chicago Symphony
Orchestra, the conductor in his last years as music director.
There's no secret as to who's boss in this concerto. Milstein's
performance is commanding and full of his own personal touches,
dramatic and impressive in the first movement (no "Auer cadenza"
here) and lyrical and beautiful in the second movement, missing none
of the dark undertones here. Milstein was quite free when he wanted
to be, and his tempi and fingerings were liable to change, as one
will notice. Milstein takes the last movement, performed with the
"standard" Auer cuts, at some points at such a tremendous clip that
you wonder when he's going to slip up -- he never does, of course.
The coda is really helter-skelter exciting, with the orchestra and
soloist challenging each other as to who can go faster, and the
run-up to the final chord is truly thrilling.
Two wonderful performances and one imperfect then, but I
think this disc will satisfy, otherwise. Mark Obert-Thorne's
transfers are vivid and full of body. The acoustic in the Bruch does
change markedly about 4'20" into the second movement, but I'm quite
sure there wasn't much Mr Obert-Thorne could have done about it.
Recommended, but you also shouldn't pass up the Mendelssohn/Bruch
coupling with the Philharmonia/Barzin on Classics for Pleasure, in
much better sound and a favourite of mine.
In Singapore, Naxos CDs may be bought most
cheaply from Sing Music at #02-75 Lucky Plaza . Call Doris for help
at (+65)62358960. They also take multiple orders and can supply
Hyperion and many other small labels. 10% discount if you mention
The Flying Inkpot.
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