BRUCH Violin Concerto No 1
Two Bruch First Concertos from Berlin Phil’s concertmaster and Julia Fischer
View record and artist details
Record and Artist Details
Composer or Director: Antonín Dvořák, Max Bruch
Genre:
Orchestral
Label: Decca
Magazine Review Date: 06/2013
Media Format: CD or Download
Media Runtime: 56
Mastering:
DDD
Catalogue Number: 478 3544DH
Tracks:
Composition | Artist Credit |
---|---|
Concerto for Violin and Orchestra |
Antonín Dvořák, Composer
Antonín Dvořák, Composer David Zinman, Conductor Julia Fischer, Violin Zurich Tonhalle Orchestra |
Concerto for Violin and Orchestra No. 1 |
Max Bruch, Composer
David Zinman, Conductor Julia Fischer, Violin Max Bruch, Composer Zurich Tonhalle Orchestra |
Composer or Director: Max Bruch
Genre:
Orchestral
Label: Tudor
Magazine Review Date: 06/2013
Media Format: Super Audio CD
Media Runtime: 64
Mastering:
DDD
Catalogue Number: TUDOR7188
Tracks:
Composition | Artist Credit |
---|---|
Scottish Fantasy |
Max Bruch, Composer
Bamberger Symphoniker Guy Braunstein, Violin Ion Marin, Conductor Max Bruch, Composer |
Concerto for Violin and Orchestra No. 1 |
Max Bruch, Composer
Bamberger Symphoniker Guy Braunstein, Violin Ion Marin, Conductor Max Bruch, Composer |
Romance |
Max Bruch, Composer
Bamberger Symphoniker Guy Braunstein, Violin Ion Marin, Conductor Max Bruch, Composer |
Author:
The First Concerto is also well played, the Adagio full of feeling, and although Ion Marin conducts an imaginative orchestral accompaniment (with some unusual dynamic underlining), the soft-grained Bamberg Symphony occasionally wants for impact. So an enjoyable programme but, given the number of highly recommendable rivals in this repertoire (too many to list comprehensively), not a terribly competitive one.
Turn then to Julia Fischer and the difference is like switching from a shy chamber player reluctantly taking the limelight to a star act on a high. And by saying that I am not suggesting either that Braunstein is a reluctant soloist or that Fischer is in any way brash or ‘flashy’ (quite the reverse, in fact), just that her bright, attenuated sound, vibrantly expressive but never overbearing, makes more of an immediate impression. What I will say is that David Zinman’s Zurich accompaniment scores a notch or two higher than Marin’s, being both more keenly focused and more securely played.
Fischer and Zinman are equally effective in the Dvořák Concerto, a spirited, buoyant performance that for much of the work’s duration wears an irresistible smile. Braunstein adds a charming little Bruch Romance, originally for viola but played here in an arrangement by Braunstein himself. But it isn’t enough to sway the balance in his favour. Fischer’s Dvořák measures up to Isabelle Faust and Pamela Frank (to mention just two digital favourites), and you’d have to venture back as far as Suk, Stern, Ida Haendel (on Hänssler) and David Oistrakh to do even marginally better. And none of the ‘oldies’ holds a candle to the current issue in terms of sound.
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