Dvorák & Bruch Violin Concertos
View record and artist detailsRecord and Artist Details
Composer or Director: Antonín Dvořák, Max Bruch
Label: Classics for Pleasure
Magazine Review Date: 7/1990
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: TC-CFP4566
Tracks:
| Composition | Artist Credit |
|---|---|
| Concerto for Violin and Orchestra |
Antonín Dvořák, Composer
Antonín Dvořák, Composer Royal Liverpool Philharmonic Orchestra Tasmin Little, Violin Vernon Handley, Conductor |
| Concerto for Violin and Orchestra No. 1 |
Max Bruch, Composer
Max Bruch, Composer Royal Liverpool Philharmonic Orchestra Tasmin Little, Violin Vernon Handley, Conductor |
Composer or Director: Antonín Dvořák, Max Bruch
Label: Classics for Pleasure
Magazine Review Date: 7/1990
Media Format: CD or Download
Media Runtime: 60
Mastering:
DDD
Catalogue Number: CD-CFP4566
Tracks:
| Composition | Artist Credit |
|---|---|
| Concerto for Violin and Orchestra |
Antonín Dvořák, Composer
Antonín Dvořák, Composer Royal Liverpool Philharmonic Orchestra Tasmin Little, Violin Vernon Handley, Conductor |
| Concerto for Violin and Orchestra No. 1 |
Max Bruch, Composer
Max Bruch, Composer Royal Liverpool Philharmonic Orchestra Tasmin Little, Violin Vernon Handley, Conductor |
Author: Edward Greenfield
It was Classics for Pleasure on their Eminence label that in 1984 first promoted a major recording by Nigel Kennedy. That timely issue of the Elgar Violin Concerto made such an impact, winning many prizes, not least the Gramophone Record of the Year Award in 1985, that it led directly to an explosion of success in Kennedy's career. Now with the same conductor, Vernon Handley—a key figure in the success of the earlier record—Classics for Pleasure again promote a young violinist, Tasmin Little, who similarly in this unique coupling of Dvorak and Bruch delivers performances of a positive assurance to stand comparison with any. It is worth noting that for my comparisons I have chosen predominantly premium-price, not bargain, versions of the two concertos, since in quality of recording as well as in performance this is in every way a match for them, with on balance the best sound of all.
It is remarkable that within months, three fine new versions of the Dvorak should have appeared from female violinists. If Chung (on EMI) finds more fantasy in this concerto, and Midori (for CBS) is more fierily volatile, Little brings to it an open freshness and sweetness, very apt for this composer, that is equally winning. The firm richness of her sound, totally secure on intonation up to the topmost register, goes with an unflustered ease of manner, and unlike the American recordings for Chung and Midori this one brings little or no spotlighting of the soloist. She establishes her place firmly with sound that co-ordinates the soloist along with the orchestra. She is particularly successful in the finale, where at a speed between Midori's and Chung's she plays the syncopations of the dance-like main theme with a happy lilt.
In the Bruch the movement where Little's individuality comes out most clearly is the central Adagio, raptly done, with a deceptive simplicity of phrasing; totally unselfconscious, matching the purity of her sound. Her speeds in the outer movements are broader than those of Kennedy (EMI) and Lin (now reissued by CBS at mid price coupled with the Mendelssohn Concerto). The finale may not have quite the thrusting excitement of Lin's in particular, but the clarity and precision of her playing are fair compensation, along with the fuller, more faithful sound. At full price this would be highly recommended but at £5·99 it is an outstanding bargain, a disc which I hope will be followed up by many others.'
It is remarkable that within months, three fine new versions of the Dvorak should have appeared from female violinists. If Chung (on EMI) finds more fantasy in this concerto, and Midori (for CBS) is more fierily volatile, Little brings to it an open freshness and sweetness, very apt for this composer, that is equally winning. The firm richness of her sound, totally secure on intonation up to the topmost register, goes with an unflustered ease of manner, and unlike the American recordings for Chung and Midori this one brings little or no spotlighting of the soloist. She establishes her place firmly with sound that co-ordinates the soloist along with the orchestra. She is particularly successful in the finale, where at a speed between Midori's and Chung's she plays the syncopations of the dance-like main theme with a happy lilt.
In the Bruch the movement where Little's individuality comes out most clearly is the central Adagio, raptly done, with a deceptive simplicity of phrasing; totally unselfconscious, matching the purity of her sound. Her speeds in the outer movements are broader than those of Kennedy (EMI) and Lin (now reissued by CBS at mid price coupled with the Mendelssohn Concerto). The finale may not have quite the thrusting excitement of Lin's in particular, but the clarity and precision of her playing are fair compensation, along with the fuller, more faithful sound. At full price this would be highly recommended but at £5·99 it is an outstanding bargain, a disc which I hope will be followed up by many others.'
Dvorák & Bruch Violin Concertos
Dvorák & Bruch Violin Concertos
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