Royal PO's performance is outstanding in many ways. Menuhin has deep understanding of Elgar's music and its innermost yearning. Every movement displays his genuine affinity with the inspiration and characterisation of the music. Tempi are perfectly judged throughout, the famous 9th variation Nimrod, for example, is neither too fast nor too slow, achieving maximum grandeur and dramatic effect without losing forward momentum. The fast variations are bursting with energy and verve, the slow variations are played with amazing subtlely and heart warming intimacy. The additional organ in the last variation amplifies the scale of the monumental finale.
Menuhin - as is well known - recorded the Elgar Violin Concerto with the composer conducting. In many respects these recordings of the Symphonies sound as if Elgar was still standing at Menuhin's side. No other recordings come closer to the spirit and style of Elgar's own conducting of these works. But this is not mere imitation. Menhuin was a musician of the very first rank - with a remarkable ear and attention to detail. The phrasing is always beautiful and the rhythm alert and alive. These is nothing pompous about these performances - everything is full of vigour and feeling. Playing and recording are excellent.
This 50-CD set features Sir Yehudi Menuhin's most celebrated EMI recordings, made during his extraordinary 70-year exclusive recording relationship with the company. Includes works by composers such as Bach, Berg, Beethoven, Bartók, Brahms, Dvoøák, Enescu, Handel, Lalo, Mozart, Paganini, Sibelius, Vivaldi, and more!
Also includes a bonus interview CD, entitled Yehudi Menuhin: Highlights and Recollections of a Legendary Life.
Elgar’s Violin Concerto has a certain mystique about it independent of the knee-jerk obeisance it has received in the British press. It probably is the longest and most difficult of all Romantic violin concertos, requiring not just great technical facility but great concentration from the soloist and a real partnership of equals with the orchestra. And like all of Elgar’s large orchestral works, it is extremely episodic in construction and liable to fall apart if not handled with a compelling sense of the long line. In reviewing the score while listening to this excellent performance, I was struck by just how fussy Elgar’s indications often are: the constant accelerandos and ritards, and the minute (and impractical) dynamic indications that ask more questions than they sometimes answer. No version, least of all the composer’s own, even attempts to realize them all: it would be impossible without italicizing and sectionalizing the work to death.
Many notable Mozart conductors have become broader in their tempos and more detail-obsessed as they aged. Walter, Beecham, Böhm, Klemperer, and even Sir Colin Davis have all fallen under the spell of the music's perfection to the point where they could hardly bear to let it alone. On the other side of the equation are equally great conductors such as Szell, Reiner, Casals, and Toscanini, whose vision intensified instead of mellowing. It is to the latter group that Menuhin belongs, and these superb performances call to mind Toscanini at his best, in the tensile strength of the melodic line, subtle rubato, and miraculously clear articulation.
The most famous violin concertos ever written are well represented in this 10-CD set of Menuhin's finest performances-but so are many less-familiar works that Menuhin resurrected. Beginning with The Four Seasons by Vivaldi; Violin Concerto in E by Bach, and many more pieces by both composers, the set moves on to Concerto for Violin and Orchestra in C Major Haydn; Violin Concertos. Nos. 4 & 5 Mozart; Violin Concerto in D Beethoven; Violin Concerto in A Minor Dvorak; Violin Concerto in D Brahms; Violin Concerto in B Minor Elgar, and more!
Between his birth in New York on 22 April 1916 and his death in Berlin on 12 March 1999, Yehudi Menuhin, the son of humble Russian immigrants, grew from a brilliant child prodigy violinist, who made his public concert début in San Francisco in 1924, aged just 7, into not just one of the 20th century s finest and most celebrated artists (as a conductor as well as a soloist), but also a peace campaigner, civil rights activist, spiritual guru and revered senior statesman of the musical world, who ended his days as the Right Honourable the Lord Menuhin of Stoke d Abernon, with a seat in the House of Lords, yet also found time to establish two music schools, a violin competition and an international scheme for taking music out of the concert hall and into the wider community.