The Art of Nathan Milstein
View record and artist detailsRecord and Artist Details
Composer or Director: Giuseppe Tartini, Ludwig van Beethoven, Antonio Vivaldi, Wolfgang Amadeus Mozart, Camille Saint-Saëns, Fritz Kreisler, Johann Sebastian Bach, Antonín Dvořák, Jules (Emile Frédéric) Massenet, Christoph Gluck, Arcangelo Corelli, Alexander Konstantinovich Glazunov, Sergey Prokofiev, Pyotr Ilyich Tchaikovsky, Manuel de Falla, George Frideric Handel, Sergey Rachmaninov, Nikolay Rimsky-Korsakov, Tomaso Antonio Vitali, Modest Mussorgsky, Johannes Brahms, Claude Debussy, Fryderyk Chopin, Henryk Wieniawski, Pablo (Martín Melatón) Sarasate (y Navascuéz)
Label: EMI
Magazine Review Date: 5/1994
Media Format: CD or Download
Media Runtime: 427
Mastering:
ADD
Catalogue Number: 764830-2
Tracks:
| Composition | Artist Credit |
|---|---|
| Concerto for Violin and Orchestra |
Alexander Konstantinovich Glazunov, Composer
Alexander Konstantinovich Glazunov, Composer Nathan Milstein, Violin Pittsburgh Symphony Orchestra William Steinberg, Conductor |
| Concerto for Violin and Orchestra No. 2 |
Sergey Prokofiev, Composer
Nathan Milstein, Violin New Philharmonia Orchestra Rafael Frühbeck de Burgos, Conductor Sergey Prokofiev, Composer |
| Concerto for Violin and Orchestra No. 3 |
Camille Saint-Saëns, Composer
Anatole Fistoulari, Conductor Camille Saint-Saëns, Composer Nathan Milstein, Violin Philharmonia Orchestra |
| (12) Concerti grossi, '(L')estro armonico', Movement: No. 11 in D minor, RV565 |
Antonio Vivaldi, Composer
Antonio Vivaldi, Composer Chamber Orchestra Erica Morini, Violin Harvey Shapiro, Cello Nathan Milstein, Violin |
| (12) Sonatas for Violin and Continuo, Movement: A, RV31 |
Antonio Vivaldi, Composer
Antonio Vivaldi, Composer Leon Pommers, Piano Nathan Milstein, Violin |
| Sonatas for Violin and Continuo, Movement: No. 7 in D, HWV371 (Sonata XIII) |
George Frideric Handel, Composer
Artur Balsam, Piano George Frideric Handel, Composer Nathan Milstein, Violin |
| Sonatas for Flute and Continuo, Movement: B minor, HWV367b (Op.1:9) |
George Frideric Handel, Composer
George Frideric Handel, Composer Leon Pommers, Piano Nathan Milstein, Violin |
| Ciacona |
Tomaso Antonio Vitali, Composer
Artur Balsam, Piano Nathan Milstein, Violin Tomaso Antonio Vitali, Composer |
| (12) Sonatas for Violin/Recorder and Continuo, Movement: No. 12 in D minor, "La follia" |
Arcangelo Corelli, Composer
Arcangelo Corelli, Composer Leon Pommers, Piano Nathan Milstein, Violin |
| Sonata for Violin and Continuo, 'Devil's Trill' |
Giuseppe Tartini, Composer
Giuseppe Tartini, Composer Leon Pommers, Piano Nathan Milstein, Violin |
| (4) Orchestral Suites, Movement: No. 3 in D, BWV1068 (2 oboes, 3 trumpets, strings |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Leon Pommers, Piano Nathan Milstein, Violin |
| Sonata for Keyboard and Violin No. 17 |
Wolfgang Amadeus Mozart, Composer
Leon Pommers, Piano Nathan Milstein, Violin Wolfgang Amadeus Mozart, Composer |
| Sonata for Keyboard and Violin No. 21 |
Wolfgang Amadeus Mozart, Composer
Leon Pommers, Piano Nathan Milstein, Violin Wolfgang Amadeus Mozart, Composer |
| Sonata for Violin and Piano No. 5, 'Spring' |
Ludwig van Beethoven, Composer
Ludwig van Beethoven, Composer Nathan Milstein, Violin Rudolf Firkusný, Piano |
| Sonata for Violin and Piano No. 2 |
Sergey Prokofiev, Composer
Artur Balsam, Piano Nathan Milstein, Violin Sergey Prokofiev, Composer |
| Vocalise |
Sergey Rachmaninov, Composer
(Anonymous) Orchestra Nathan Milstein, Violin Robert Irving, Conductor Sergey Rachmaninov, Composer |
| (The) Fair at Sorochintsï, 'Sorochinskaya yarmar, Movement: Introduction (A hot day in Little Russia) |
Modest Mussorgsky, Composer
(Anonymous) Orchestra Modest Mussorgsky, Composer Nathan Milstein, Violin Robert Irving, Conductor |
| Meditation |
Alexander Konstantinovich Glazunov, Composer
(Anonymous) Orchestra Alexander Konstantinovich Glazunov, Composer Nathan Milstein, Violin Robert Irving, Conductor |
| Valse-scherzo |
Pyotr Ilyich Tchaikovsky, Composer
(Anonymous) Orchestra Nathan Milstein, Violin Pyotr Ilyich Tchaikovsky, Composer Robert Irving, Conductor |
| Souvenir d'un lieu cher, Movement: No. 1, Méditation in D minor |
Pyotr Ilyich Tchaikovsky, Composer
(Anonymous) Orchestra Nathan Milstein, Violin Pyotr Ilyich Tchaikovsky, Composer Robert Irving, Conductor |
| Souvenir d'un lieu cher, Movement: No. 2, Scherzo in C minor |
Pyotr Ilyich Tchaikovsky, Composer
(Anonymous) Orchestra Nathan Milstein, Violin Pyotr Ilyich Tchaikovsky, Composer Robert Irving, Conductor |
| Fantasia on Two Russian Themes |
Nikolay Rimsky-Korsakov, Composer
(Anonymous) Orchestra Nathan Milstein, Violin Nikolay Rimsky-Korsakov, Composer Robert Irving, Conductor |
| (The) Tale of Tsar Saltan, Movement: Flight of the bumble-bee |
Nikolay Rimsky-Korsakov, Composer
Leon Pommers, Piano Nathan Milstein, Violin Nikolay Rimsky-Korsakov, Composer |
| (21) Hungarian Dances, Movement: D minor (orch Hallén) |
Johannes Brahms, Composer
Johannes Brahms, Composer Leon Pommers, Piano Nathan Milstein, Violin |
| Thaïs, Movement: Méditation |
Jules (Emile Frédéric) Massenet, Composer
Jules (Emile Frédéric) Massenet, Composer Leon Pommers, Piano Nathan Milstein, Violin |
| Orfeo ed Euridice, Movement: Ballet in D minor (Dance of the Blessed Spirits): (flute solo) |
Christoph Gluck, Composer
Christoph Gluck, Composer Leon Pommers, Piano Nathan Milstein, Violin |
| Nocturnes, Movement: No. 20 in C sharp minor, Op. posth |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Leon Pommers, Piano Nathan Milstein, Violin |
| (7) Canciones populares españolas, Movement: Jota |
Manuel de Falla, Composer
Leon Pommers, Piano Manuel de Falla, Composer Nathan Milstein, Violin |
| Scherzo-tarantelle |
Henryk Wieniawski, Composer
Henryk Wieniawski, Composer Leon Pommers, Piano Nathan Milstein, Violin |
| (24) Préludes, Movement: Minstrels |
Claude Debussy, Composer
Claude Debussy, Composer Leon Pommers, Piano Nathan Milstein, Violin |
| Introduction and Tarantella |
Pablo (Martín Melatón) Sarasate (y Navascuéz), Composer
Leon Pommers, Piano Nathan Milstein, Violin Pablo (Martín Melatón) Sarasate (y Navascuéz), Composer |
| Praeludium and Allegro in the style of Pugnani |
Fritz Kreisler, Composer
Fritz Kreisler, Composer Leon Pommers, Piano Nathan Milstein, Violin |
Author:
Nathan Milstein was an assured, craftsman-like player with a silken tone, a superb technique and a stylish turn-of-phrase. Milstein's recording career spanned six decades, from the 1930s (unissued) HMVs and Columbia 78s, through his Capitol recordings of the 1950s, his 1970s recordings for DG and Christopher Nupen's splendid film (1986), Nathan Milstein: Master of Invention (Teldec Video (VHS) 9031-76374-2) which documents the great violinist's last public recital.
Technically and musically, Milstein always remained the stylish aristocrat, and to witness his octogenarian traversal of Bach's mighty Chaconne is an inspiration virtually without equal. The two collections are drawn from what many consider to be Milstein's 'gramophone' prime, i.e. from the early 1950s to the mid-1960s. EMI subtitle ''The Art of Nathan Milstein'', ''Capitol Recordings 1955-1966'', although the latest item-Prokofiev's Second Concerto under Fruhbeck de Burgos-was taped in 1965, and neither that recording nor various others dating from the early 1960s were actually released on Capitol (which, as a label, ceased issuing classical material during the early 1960s). Selections are bound to prove controversial, some having been preceded by preferable older versions on the same label (the Beethoven Concerto, for example), others elbowing in where alternative titles would have been rather more desirable (the Goldmark Concerto being a fair case in point). But as an overview of Milstein's interpretative and violinistic skills, ''The Art of...'' is a definite 'must' for all violin buffs.
For my money, the really great recordings are the Saint-Saens Third Concerto under Fistoulari (1963), the Tchaikovsky Concerto under Steinberg (1959), the Spring Sonata with Rudolf Firkusny (1958) and the various Russian morceaux (Rachmaninov Vocalise, Glazunov and Tchaikovsky Meditations and so on) that formed the contents of a 1963 LP that was originally entitled ''Music of Old Russia''. The Saint-Saens is nourished by what seems to be a genuine rapport between soloist and conductor, Milstein revelling in the concerto's expressive though dapper solo line, Fistoulari-a superb ballet conductor-articulating a keen and buoyant accompaniment. The Tchaikovsky (one of at least four versions that Milstein recorded during the course of his career) is a model of poise and restrained lyricism, yet releases considerable reserves of virtuosity for the finale. The Spring Sonata is a perfect example of music in dialogue, with Milstein reducing his tone in appreciation of Beethoven's piano writing, and Firkusny responding likewise when Milstein takes the lead. What a pity that EMI didn't see fit to include the original LP's Kreutzer Sonata coupling. Thankfully, they have included the entire contents of ''Music of Old Russia'', where Robert Irving's anonymous orchestra produces solo playing that is almost on a par with Milstein's own (sample the ravishing opening bars of Tchaikovsky's Meditation) and where Milstein himself pays affectionate homage to his musical roots.
Of the remaining concertos, I most enjoyed the Brahms (again under Fistoulari), and although some might find Leinsdorf's conducting of the Beethoven somewhat severe and po-faced, I rather liked it. Both works find Milstein on fine form, although not as perceptive as, say, Szigeti or Kreisler. The Dvorak and Glazunov concertos enjoyed comparative catalogue longevity as an LP coupling, and for good reason: both are smoothly polished and attractively phrased, but the Dvorak lacks an element of rustic gaiety. The Prokofiev Second Concerto struck me as rather slick and uninvolving, although Fruhbeck traces a mass of detail in the orchestral part; however, I'd have been far happier with Milstein's mono recording of the First Concerto, under Golschmann (Decca Capitol). The Prokofiev Second Sonata has good middle movements but a rather abrupt first (with what sounds like a spliced-in repeat), while the various 'encores' range between the engaging (Bach's ''Air'' and Wieniawski'sScherzo-Tarantelle) and the suavely assured ''Meditation'' from Thais.
When the cards are down and a final reckoning to hand, the real bargain has to be the two-disc set of the Bach Partitas and Sonatas. Milstein also plays baroque works in the main collection (Corelli, Tartini, Handel, Vivaldi, souped-up, or otherwise), but his natural brilliance, intelligence, sensitivity to inflexion and feeling for structure mark these mid-1950s solo Bach recordings as truly exceptional-and rather more assured (though less obviously flexible) than his 1971 re-makes for DG (12/88). Perhaps the high points are the B minor Partita and C major Sonata, the former with its judiciously phrased dance movements, the latter with a dazzlingly resilient fugue and a Largo that represents Milstein's playing at its most deeply poetic. Here, as elsewhere, the transfers are excellent, and the annotation, both informative and well-written.
This is of course far from the whole range of Milstein's Capitol legacy. Japanese EMI have been particularly sensible in separating the concertos from the duo material (all of which is available on CD in Japan), and one wishes that EMI had followed their example-both in terms of layout and comprehensiveness. But taken on their own merits, these are highly enjoyable sets, and the Bach is a good deal more than that.'
Technically and musically, Milstein always remained the stylish aristocrat, and to witness his octogenarian traversal of Bach's mighty Chaconne is an inspiration virtually without equal. The two collections are drawn from what many consider to be Milstein's 'gramophone' prime, i.e. from the early 1950s to the mid-1960s. EMI subtitle ''The Art of Nathan Milstein'', ''Capitol Recordings 1955-1966'', although the latest item-Prokofiev's Second Concerto under Fruhbeck de Burgos-was taped in 1965, and neither that recording nor various others dating from the early 1960s were actually released on Capitol (which, as a label, ceased issuing classical material during the early 1960s). Selections are bound to prove controversial, some having been preceded by preferable older versions on the same label (the Beethoven Concerto, for example), others elbowing in where alternative titles would have been rather more desirable (the Goldmark Concerto being a fair case in point). But as an overview of Milstein's interpretative and violinistic skills, ''The Art of...'' is a definite 'must' for all violin buffs.
For my money, the really great recordings are the Saint-Saens Third Concerto under Fistoulari (1963), the Tchaikovsky Concerto under Steinberg (1959), the Spring Sonata with Rudolf Firkusny (1958) and the various Russian morceaux (Rachmaninov Vocalise, Glazunov and Tchaikovsky Meditations and so on) that formed the contents of a 1963 LP that was originally entitled ''Music of Old Russia''. The Saint-Saens is nourished by what seems to be a genuine rapport between soloist and conductor, Milstein revelling in the concerto's expressive though dapper solo line, Fistoulari-a superb ballet conductor-articulating a keen and buoyant accompaniment. The Tchaikovsky (one of at least four versions that Milstein recorded during the course of his career) is a model of poise and restrained lyricism, yet releases considerable reserves of virtuosity for the finale. The Spring Sonata is a perfect example of music in dialogue, with Milstein reducing his tone in appreciation of Beethoven's piano writing, and Firkusny responding likewise when Milstein takes the lead. What a pity that EMI didn't see fit to include the original LP's Kreutzer Sonata coupling. Thankfully, they have included the entire contents of ''Music of Old Russia'', where Robert Irving's anonymous orchestra produces solo playing that is almost on a par with Milstein's own (sample the ravishing opening bars of Tchaikovsky's Meditation) and where Milstein himself pays affectionate homage to his musical roots.
Of the remaining concertos, I most enjoyed the Brahms (again under Fistoulari), and although some might find Leinsdorf's conducting of the Beethoven somewhat severe and po-faced, I rather liked it. Both works find Milstein on fine form, although not as perceptive as, say, Szigeti or Kreisler. The Dvorak and Glazunov concertos enjoyed comparative catalogue longevity as an LP coupling, and for good reason: both are smoothly polished and attractively phrased, but the Dvorak lacks an element of rustic gaiety. The Prokofiev Second Concerto struck me as rather slick and uninvolving, although Fruhbeck traces a mass of detail in the orchestral part; however, I'd have been far happier with Milstein's mono recording of the First Concerto, under Golschmann (Decca Capitol). The Prokofiev Second Sonata has good middle movements but a rather abrupt first (with what sounds like a spliced-in repeat), while the various 'encores' range between the engaging (Bach's ''Air'' and Wieniawski's
When the cards are down and a final reckoning to hand, the real bargain has to be the two-disc set of the Bach Partitas and Sonatas. Milstein also plays baroque works in the main collection (Corelli, Tartini, Handel, Vivaldi, souped-up, or otherwise), but his natural brilliance, intelligence, sensitivity to inflexion and feeling for structure mark these mid-1950s solo Bach recordings as truly exceptional-and rather more assured (though less obviously flexible) than his 1971 re-makes for DG (12/88). Perhaps the high points are the B minor Partita and C major Sonata, the former with its judiciously phrased dance movements, the latter with a dazzlingly resilient fugue and a Largo that represents Milstein's playing at its most deeply poetic. Here, as elsewhere, the transfers are excellent, and the annotation, both informative and well-written.
This is of course far from the whole range of Milstein's Capitol legacy. Japanese EMI have been particularly sensible in separating the concertos from the duo material (all of which is available on CD in Japan), and one wishes that EMI had followed their example-both in terms of layout and comprehensiveness. But taken on their own merits, these are highly enjoyable sets, and the Bach is a good deal more than that.'
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