Beethoven Concerto Per Violino e Orchestra

While only the faithful are likely to try this 17-disc set of violinist David Oistrakh's complete recordings for EMI, they will no doubt fall all over themselves in their rush to get it. How could they not? It contains all the recordings the great Soviet violinist made for EMI: his 1958 and 1969 recordings of Beethoven's Triple Concerto, his 1954 and 1958 recordings of the same composer's violin concerto, his 1956 and 1969 recordings of Brahms' Double Concerto, his 1960 and 1969 recordings of the same composer's violin concerto plus recordings of concertos and sonatas by composers running the gamut from Mozart to Shostakovich.

A work for such forces as Casella's so-called Triple Concerto for Piano, Violin, Cello and Orchestra, composed in 1933, cannot but invite comparison with Beethoven's Triple Concerto, and Casella was quick to call attention to differences. "While Beethoven deliberately gave each of the three instruments…a specifically bravura and brilliant function, in my Concerto the three solo instruments form a little block of sound ….

Gianfrancesco Malipiero (1882-1973), harboured particular affection for his Concerto No. 1 for Violin, that he “finished composing” on 10th March 1932. Malipiero considered his solo concertos composed in the fertile years “prayers.” (We refer not only to the Concerto for Cello but also to the felicitous Concerto No. 1 for Violin composed in 1933, to the first two Concertos for Piano, respectively written in 1934 and 1937 and to the Concerto a tre – for violin, cello and piano – composed in 1938.)

Giovan Battista Viotti - Violin Concertos Nos. 22 & 24; Meditazione in Preghiera (2013) {Decca}
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© 2013 Decca Classics | 476 5048
Classical / Violin

Outre son talent d’instrumentiste, Viotti fut un compositeur prolifique, écrivant principalement pour le violon. Le chef d’orchestre et violoniste italien Guido Rimonda se propose aujourd’hui de nous faire découvrir, à travers une série de 15 disques, l’ensemble de ses Concertos pour violon. Ceux-ci eurent une influence majeure sur cette forme musicale au cours du XIXe siècle romantique.

Don't let the startling double-time opening of this Gloria put you off–listen with an open mind and you'll be surprised at how much sense it makes. Rinaldo Alessandrini's reading has many such surprises; some movements are taken very quickly, others surprisingly slowly, yet his choices seem fresh instead of perverse. The Magnificat is lesser known and thus less surprising, but it's every bit as lively. The soloists all sing nicely; the clear-voiced York and vigorous Mingardo provide imaginative ornaments. The excellent French chorus Akademia and Alessandrini's orchestra don't miss a single one of Alessandrini's beats.

Arturo Toscanini (March 25, 1867 – January 16, 1957) was an Italian conductor. One of the most acclaimed musicians of the late 19th and 20th century, he was renowned for his brilliant intensity, his restless perfectionism, his phenomenal ear for orchestral detail and sonority, and his photographic memory. As music director of the NBC Symphony Orchestra he became a household name through his radio and television broadcasts and many recordings of the operatic and symphonic repertoire. He is widely considered to have been one of the greatest conductors of the 20th century.