Gidon Kremer

These pieces are remembrances of some Gidon Kremer’s passings in Prague, during Soviet time… Kremer was then at the dawn of his career, one among the most brilliant for a violinist in our time! As an ‘ambassador’ of the Soviet Ministry for Culture in the ‘brother countries’, he owed to his mentor, David Oistrakh, a sort of freedom, demonstrated here in this recording. His absolutely perfect touch and his freedom of expression were the delight of his patrons in the welcoming communist countries… The short piece by Alfred Schnittke, then still hand written only, was an example of his wish to play scores out of the ‘classics’ from Bach to Stravinsky and to help other musicians through chamber music sessions. This record allows to hear the faked G.B. Guadagnini inherited from his grandfather.

Violinist Gidon Kremer and pianist Martha Argerich are two of the greatest living virtuosos on their instruments and, though they are wholly individualistic players, they get along extremely well together. German Romantic Robert Schumann and Hungarian modernist Béla Bartók don't have much in common at first blush: one is dreamy and poetic, the other brutal and cerebral.

Beethoven’s ten violin sonatas span the period from 1797-1812, and the G major work ending the series (which he evidently revised prior to its publication in 1816) came as long after the Kreutzer as the difference in opus numbers suggests – the nine intervening years saw the appearance of Symphonies Nos. 4-8 and much else. Stylistically, this last sonata looks forward to his third period and its lyricism differs markedly from the fire of its predecessor, while the other eight are youthfully confident; it is perhaps significant that only two of the whole series are in a minor key.

The 24 Preludes for Cello solo by Mieczysław Weinberg have a particular history. He composed them in the late sixties for Mstislav Rostropovich, who never played them. Their musical language is aphoristic, often brutal, provocative and marked by an inner conflict. The Preludes reveal many different and very strong gestures. Their performance may have been problematic in Soviet times.

Filmed in Vienna's Grosser Musikvereinssaal in the early 1980s, this fabled rendering of Mozart's complete violin concertos appears on DVD for the first time. Premier violinist Gidon Kremer unites with Nikolaus Harnoncourt and the Wiener Philharmoniker in a tribute to the musical genius Harnoncourt deems "the most Romantic composer of all".

Kent Nagano and the Hallé continue to commit to CD less celebrated portions of the Britten canon. Last year there was the four-act Billy Budd; before that the premiere recording of a concert version of the radio drama The Rescue. Now come two more firsts, recordings of the Double Concerto - prepared from Britten's almost complete sketches by Colin Matthews and presented by Nagano at Aldeburgh in 1997 - and the Two Portraits from 1930. The second of these is a portrait of Britten himself, a surprisingly plaintive and reflective meditation for viola and strings in E minor. The image is belied by the rest of the music on the disc, which is buoyant, energetic, young man's music all written before Britten was 26. Big guns Kremer and Bashmet are brought in for the Double Concerto and give of their impassioned best. Nagano and the Hallé are appropriately spirited and vigorous throughout the disc. It's not mature Britten, but clearly points the way forward and is worth getting to know.

Following the success of the Weinberg Symphonies 2 & 21 with conductor Mirga Grazinyte-Tyla, Deutsche Grammophon now features chamber music by Mieczysław Weinberg under the direction of Gidon Kremer.
Included among others are his “Three Pieces for Violin and Piano”, which Weinberg completed in the winter of 1934/35 when he was only 15 years old and had not yet received any compositional training. What connects Weinberg’s works is not only their compositional perfection, but above all their constant commitment to beauty. It is a confession that in Weinberg’s music is above all pain and suffering.

For collectors of recordings by Latvian violinist Gidon Kremer, this 10-disc set called Historical Russian Archives will be just the thing to fill the stray gaps in his discography. Recorded between 1967 and 1992, the sound here ranges from the acceptable to the outstanding, and featuring works from Bach's Chaconne to Salmanov's Second Violin Sonata, the repertoire ranges from the extremely well known to the almost unknown…

Kremer made this recording in 1984 and it is an extraordinary recital, mostly of contemporary pieces for solo violin meant as homages to Paganini and especially his famous 24th Caprice. Milstein's Paganiniana is only an appetizer, a fine set of variations but quite conventional in outlook. On the other hand Rochberg's Caprice Variations (of which Kremer plays only a selection of 24, in a rearranged order, out of its 50 total, the 51st being a short statement of Paganini's 24th) is an extraordinary catalog of wild contemporary violin sounds, colors and effects put at the service of a spellbinding imagination.

Gidon Kremer and Valery Afanassiev enter a hotly contested area with this new release of works for violin and piano by Schubert, and they emerge as clear leaders in the field. All of their rivals do, of course, offer fine, if not always totally sympathetic accounts of these works, but with the exception of Isaac Stern and Daniel Barenboim, none can approach the Russian duo in terms of their stylistic awareness and affinity with the hidden aspects of the Schubertian genre.