I was recommended this 3-CD set very highly, but I did not find it appealing. Nonetheless, I can comment on the wide character variation and expressivity that Hotter adds to the Winterreise.
This is a fantastic CD from Deutsche Grammophon. Great virtuosismo and expressiveness. The orchestra is soft and full in the 2nd concerto. Supreme combination of Claudio Abbado and Maurizio Pollini.
Then I listened to the Tragic Ouverture, which was new to me. Energetic and melodic, delightful.
Lastly I would comment on the beauty of the first and third movements of the 1st concerto.
All directed by Karl Böhm and the Wiener Philharmoniker, except 2nd concerto directed by Claudio Abbado, pianist Maurizio Pollini
| Name | Key | Catalogue | Musicians | Observations |
|---|---|---|---|---|
| Concerto for Piano and Orchestra #1 | Dm | op.15 | Maurizio Pollini | CD 1 |
| Variations on a theme by Joseph Haydn | op.56a | CD 1 | ||
| Concerto for Piano and Orchestra #2 | Bb | op.83 | violoncello solo:Robert Scheiwein | CD 2 |
| Tragic Overture | op.81 | CD 2 |
This Centurion CD is to listen to Wilhelm Backhaus interpreting Brahms, and to listen to Rubinstein's interpretation of Chopin. If you rather expect a bright sounding version of these works, you should look for a more recent recording, as Backhaus' sound is quite dull. The Recordings are from 1936 and 1946.
Beautiful and unique interpretations each.
Brahms' walzes are quite lively and folk, which was a surprise to me, as I had associated with him a more severe mood.
| Name | Key | Catalogue | Musicians | Observations |
|---|---|---|---|---|
| Brahms: 16 Walzer for solo piano | No.1-16 | Wilhelm Backhaus | 1936 | |
| Chopin: 24 Préludes | op.28, 1-24 | Arthur Rubinstein | 1946 |
Beautiful 1991 Sony Classical recording of Yo-Yo Ma (cello) and Emanuel Ax (piano). This CD is full with so many emotions and states. From competing lines, to quiet listening of the other instrument, to merging melody and support, all three sonatas are beautiful and interesting.
I particularly enjoy the Allegro vivace of the Sonata in F, and the ending of its last movement (allegro molto)
Noteworthy about this CD is that it holds Yo-yo- Ma's early recordings, which are known to be of more sensibility than later recordings.
| Name | Key | Catalogue | Musicians | Observations |
|---|---|---|---|---|
| Sonata for Cello and Piano | Em | Op.38 | ||
| Sonata for Cello and Piano | F | Op.99 | ||
| Sonata for Violin and Piano | Dm | Op.108 | originally for violin, here for the Cello |
This is Jascha Heifetz soloist interpretation of 2 beautiful works:
Beethoven's op. 61 and Brahms Op. 77 concerts for violin and orchestra.
Beethoven's concert just leaves us begging life he had written more of these. With his usual mix of bass strings and high pitched themes of flute and violin. With rhythmic patterns in the strings giving way to sweet melodies.
Heifetz is not shy when trying to give his interpretation a sublime intent. He is playful whilst being sober, which as far as I can imagine is the way Beethoven might have wished this to be.
As for Brahms', Heifetz does a powerful first movement, with so sweet spots and a forceful cadenza. The second movement has also a very tender violin interpretation. And the third, with the timbral weaving of the presentation of the theme, turns it from pleasurable to beautiful.
I have to confess that it took me some active listening of Brahms' concert, to find the beauty beyond just following the tune. But that is what this endeavor is about.
A RCA Victor, Red Seal CD.
Beethoven, Concerto Op. 61, in D
Boston Symphony Orchestra, Chales Munch
recorded Nov. 27 & 28, 1955, Symphony Hall, Boston, USA
Cadenza 1st movement: Auer - Heifetz
Cadenza 3rd movement: Joachim - Heifetz
Brahms, Concerto Op. 61, in D
Chicago Symphony Orchestra, Fritz Reiner
recorded Nov. 21 & 21, 1955, Orchestra Hall, Chicago, USA
Cadenza 1st movement: Heifetz
