Édouard Lalo (1823-1892) Symphonie Espagnole, Op. 21 by Leonid Kogan. 🎧 Qobuz bit.ly/3scDuru Tidal tidal.com/browse/album/210382850 🎧 Spotify spoti.fi/3sg3iDf UA-cam Music bit.ly/3kJp1zb 🎧 Apple Music apple.co/3KGAH09 Amazon Music amzn.to/3sddXyB 🎧 Deezer bit.ly/3w0PX2K Amazon Store amzn.to/3vNq2Ni 🎧 Napster bit.ly/384yNJD Soundcloud bit.ly/3KI9Ctz 🎧 LineMusic日本 bit.ly/3yds9vl Awa日本 - 00:00 Symphonie Espagnole, Op. 21 - I. Allegro non troppo (Remastered 2021) 07:37 Symphonie Espagnole, Op. 21 - II. Scherzando, Allegro molto (Remastered 2021) 11:47 Symphonie Espagnole, Op. 21 - III. Intermezzo, Allegro non troppo (Remastered 2021) 17:54 Symphonie Espagnole, Op. 21 - IV. Andante (Remastered 2021) 24:42 Symphonie Espagnole, Op. 21 - V. Rondo, Allegro (Remastered 2021) Violin: Leonid Kogan Orchestre de la Société des Concerts du Conservatoire Conductor: Charles Bruck Recorded in 1955, at Paris New mastering in 2021 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr This recording displays the artistry and sense of style in 19thcentury virtuoso concerto of an extraordinary violinist. Leonid Kogan was a legendary figure in the musical profession and had he not suffered to live out his life in the restrictive society of the Soviet Union, he would be even better known today than he is. Fortunately for posterity he was a prolific recording artist. This reissue, which is among the first recordings he made in the West, contributes to our knowledge of this singular creative genius. Leonid Borisovich Kogan was born on 14 November 1924 in Dnepropetrovsk, Ukraine, the son of two photographers. His father played the violin as an amateur and the sound so fascinated the boy that by the age of three he would not go to sleep unless he had the fiddle beside him. When he was five, he tried to play it, but became frustrated when he could not stretch his left hand far enough - so Boris Kogan bought him a small violin. Fortunately Leonid was found a first-rate teacher, Philip Yampolsky, who had studied with Auer. Seeing Kogan's natural platform manner and classical stance, the weight beautifully distributed between his feet and his back perfectly arched, the violin held quite high, one realised he had been well instructed from an early age. He felt that Philip Yampolsky inspired in him "a love of work, which I think is most important"; but he was never pushed - and almost gave up after two lessons. Luckily his parents encouraged him gently and by playing a few minutes each day, he kept his enthusiasm alive. "l cannot say that in my childhood I played with pleasure," he recalled, adding that he enjoyed most the pieces at which he had to work least! His first encounter with the playing of David Oistrakh, 16 years his senior, came in 1932 and was a spur to his endeavours. As a Jew, Kogan faced discrimination at every turn. "He made a career only through his really great talent," said his son Pavel. The turning point should have come in 1951, when he was pitched into the Ysaye Competition in Brussels. Joseph Stalin apparently asked Oistrakh who could capture the first prize for the Soviet Union and was told that only Kogan could do it. "My father was not a young man he was 26 and he got a call ten days or two weeks before the competition," said Pave! Kogan. It was a test of temperament but Kogan triumphed before a jury including Oistrakh and Jacques Thibaud - who in 1936, on a visit to Moscow, had foretold a great future for him. Instead of being feted across Europe, Kogan had to return home, as the Cold War was raging. Only in 1955 did he make his London and Paris debuts (playing three concertos in each programme). In 1956 he visited South America and at home he gave six concerts featuring 18 concertos with orchestra in the 1956/57 season, to illustrate The Development of the Violin Concerto. In January 1958 he made it to the United States. After his opening Boston performance of the Brahms Concerto, with Pierre Monteux conducting, the audience applauded for 18 minutes. From that moment until his premature death on a train, at the Mytishcha rail station on 17 December 1982, Kogan was recognised as one of the great violinists. He was made an Honoured Artist in 1955 and a People's Artist in 1964 and received the Lenin Prize the following year. He taught at the Moscow Conservatory virtually from the time he finished his post-graduate studies and became a soughtafter professor, as well as serving on competition juries. The conductor is the Romanianborn, Viennese-trained Charles Bruck (1911-95), who originally came to Paris to further his studies at the Ecole Normale and stayed to become a French citizen. As a conductor he specialised in modern music. Dvořák - Sonatina for Violin & Piano, Kreisler - Prelude & Allegro (Century’s rc.: Gerhard Taschner): ua-cam.com/video/-TyBSH4B6pU/v-deo.html
- Léonid Kogan (1924-1982) Je l'ai découvert au domicile rempli de disques d'un vieux Monsieur qui a éclairé ma jeunesse, à partir de mes 14 ans. J'écoutais sa discothèque, je me remplissais de rêves mélomanes et ce que j'écoute aujourd'hui de L Kogan me demeure intact, c'est lui ! J'ai 78 ans, j'ai le cœur rempli d'émotion pour le bien qu'ils ont apporté à ma jeunesse. À cette évocation, je pleure... Que Dieu les garde dans sa lumière et son amour.
This recording displays the artistry and sense of style in 19thcentury virtuoso concerto of an extraordinary violinist. Leonid Kogan was a legendary figure in the musical profession and had he not suffered to live out his life in the restrictive society of the Soviet Union, he would be even better known today than he is. Fortunately for posterity he was a prolific recording artist. This reissue, which is among the first recordings he made in the West, contributes to our knowledge of this singular creative genius. Leonid Borisovich Kogan was born on 14 November 1924 in Dnepropetrovsk, Ukraine, the son of two photographers. His father played the violin as an amateur and the sound so fascinated the boy that by the age of three he would not go to sleep unless he had the fiddle beside him. When he was five, he tried to play it, but became frustrated when he could not stretch his left hand far enough - so Boris Kogan bought him a small violin. Fortunately Leonid was found a first-rate teacher, Philip Yampolsky, who had studied with Auer. Seeing Kogan's natural platform manner and classical stance, the weight beautifully distributed between his feet and his back perfectly arched, the violin held quite high, one realised he had been well instructed from an early age. He felt that Philip Yampolsky inspired in him "a love of work, which I think is most important"; but he was never pushed - and almost gave up after two lessons. Luckily his parents encouraged him gently and by playing a few minutes each day, he kept his enthusiasm alive. "l cannot say that in my childhood I played with pleasure," he recalled, adding that he enjoyed most the pieces at which he had to work least! His first encounter with the playing of David Oistrakh, 16 years his senior, came in 1932 and was a spur to his endeavours. As a Jew, Kogan faced discrimination at every turn. "He made a career only through his really great talent," said his son Pavel. The turning point should have come in 1951, when he was pitched into the Ysaye Competition in Brussels. Joseph Stalin apparently asked Oistrakh who could capture the first prize for the Soviet Union and was told that only Kogan could do it. "My father was not a young man he was 26 and he got a call ten days or two weeks before the competition," said Pave! Kogan. It was a test of temperament but Kogan triumphed before a jury including Oistrakh and Jacques Thibaud - who in 1936, on a visit to Moscow, had foretold a great future for him. Instead of being feted across Europe, Kogan had to return home, as the Cold War was raging. Only in 1955 did he make his London and Paris debuts (playing three concertos in each programme). In 1956 he visited South America and at home he gave six concerts featuring 18 concertos with orchestra in the 1956/57 season, to illustrate The Development of the Violin Concerto. In January 1958 he made it to the United States. After his opening Boston performance of the Brahms Concerto, with Pierre Monteux conducting, the audience applauded for 18 minutes. From that moment until his premature death on a train, at the Mytishcha rail station on 17 December 1982, Kogan was recognised as one of the great violinists. He was made an Honoured Artist in 1955 and a People's Artist in 1964 and received the Lenin Prize the following year. He taught at the Moscow Conservatory virtually from the time he finished his post-graduate studies and became a soughtafter professor, as well as serving on competition juries. The conductor is the Romanianborn, Viennese-trained Charles Bruck (1911-95), who originally came to Paris to further his studies at the Ecole Normale and stayed to become a French citizen. As a conductor he specialised in modern music. 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr
A "Jew" would NOT have suffered from discrimination in the Soviet Union because it was established by "Jews"! It's just yet another technique to get the tears to flow for "Jews"!
@@alejandrosotomartin9720 Yes, indeed thanks, we will correct it on other streaming platforms but we will not be able to correct it on the image of this video
Самый совершенный скрипач...Его исполнение не может никого оставить равнодушным...Бросаешь все дела и остаешься наедине с его искусством скрипичной игры...Так задушевно, смятенно, чувственно скрипка никогда ни у кого не звучала...Слава, маэстро Леонид Коган!)))))Навеки покорена Вашей игрой! Вы несравненны...демоничны...Вы АНГЕЛ ...ВОЛШЕБНИК...КОРОЛЬ скрипичной игры...
Thank you very much for presenting us Leonid Kogan and bringing him back to life again. Like Dawid Oistrach, we'll have to search far in spite of this absolutely wonderful, clean, pure and passionate violin playing. No show, just a pure profound and virtuose highly sophisticated violinist like the diamond, Kho-i-Noor, (mountain of light), belonging to the british crown jewels. Quelle gourmandise pour ces temps difficiles. Avec nos chaleureuses remerciements de la 🙏🏻🇨🇭
Amen!! Thank you for waking us once again to see an marvelous day, another week, another blessing, other gift, other lesson, and teaching. This morning Lord order our steps. Let thy will be done. God I know that you are near to the brokenhearted. Comfort the heart of those who are broken. Heal, mend, fix, restore so that many can return back to you as their first love. There is nothing Father you cannot do; because you are the Father of everything that we need and want. Thank you Lord for all that you have done and for what you continue to do in our lives. Help us Lord were we may lack, come up short, and where we may not understand. Blessings to you my brothers and sisters may your journey this week be filled with laugher, joy, peace, and calmness despite of everything that is going on. Please be safe, courageous and encouraged out there. Love you with the Love of God.❤💕🙏🙏
Congratulaciones para todos los que hemos compartido este alimento para el Alma. Mi Abuelo no tuvo estudios pero fue músico y escuchaba una estación de radio de música clásica (XLA) y sin proponérselo me despertó la sensibilidad para poder apreciar estas joyas. Bendito Dios , Bendito Abuelo. Un abrazo a cada uno. 🙏
A most soulful performance. This concerto must have meant a lot to Kogan. What I heard is not the violin being bowed, but the soul of a great man singing.
Much delayed listing of this performance of Lalo by Kogan, clean and splendid playing, pure meat with no fat, full and rich sound to each and every note, with the right tempo, perfect and examplary playing every violin student learning this piece must listen to.
I'v just recently listen the great Oistrakh's version but I have to say that this one is even better, more expressive, more emotional, less romantic and more honest. The orchestration is amassing and Kogan is perfect - a true virtuoso. A moving interpretation. Bravo and thank you - great pick.
Wunderschöne und spannende Interpretation dieses einzigartig konstruierten und ethnisch komponierten Meisterwerks mit seidigem doch gut phrasiertem Ton der unvergleichlichen Solovioline sowie gut vereinigten und perfekt entsprechenden Tönen der anderen Instrumente. Der intelligente und geniale Dirigent leitet das ausgezeichnete Orchester im veränderlichen Tempo und mit möglichst effektiver Dynamik. Die verbesserte Tonqualität ist auch ziemlich hoch als eine Originalaufnahme von siebenundsechzig Jahren vor. Wundervoll und atemberaubend zugleich!
For years my reference recording was Pinchas Zukerman with Mehta conducting, a record from the 70's I believe. But I will be happy to make this one my new reference. What a lovely vibrato he gets.
I just came across the wonderful composition a month ago via Bronislaw Huberman's recording with George Szell conducting (Wiener Philharmoniker). Yesterday I listened to Maxim Vengerov's EMI Classic release (Anontio Pappano conducting Phiharmonia Orchestra) but imo the violin was not mixed well and hard for me to fully enjoy. This recording is much cleaner and violin is not styfled.
Es una interpretación de Excelencia , cada movimiento de la Obra Maestra de Eduard Lalo es ejecutado de manera Magistral , llevando a través de la Obra un estilo tempestuoso , con un sonido Maravilloso .
Kogan is an absolute shredder. I listen to heavy metal and when I listen to Kogan play i get the same rush of adrenaline that causes my body to move to the music .
SYMPHONIE ESPAGNOLE (not ESPAGNOL)... LEONID (not LEONIG) KOGAN... DU CONSERVATOIRE (NOT CONSERVATOIRES)... It's ORCHESTRE DE LA SOCIETE DES CONCERTS DU CONSERVATOIRE DE PARIS...
![АЛАУДИНОВ у Скабеевой: эти их ВСУ нас НЕ ДОГОНЯТ 😁 [Пародия]](http://i.ytimg.com/vi/an0anqU4WGQ/mqdefault.jpg)
Édouard Lalo (1823-1892) Symphonie Espagnole, Op. 21 by Leonid Kogan.
🎧 Qobuz bit.ly/3scDuru Tidal tidal.com/browse/album/210382850
🎧 Spotify spoti.fi/3sg3iDf UA-cam Music bit.ly/3kJp1zb
🎧 Apple Music apple.co/3KGAH09 Amazon Music amzn.to/3sddXyB
🎧 Deezer bit.ly/3w0PX2K Amazon Store amzn.to/3vNq2Ni
🎧 Napster bit.ly/384yNJD Soundcloud bit.ly/3KI9Ctz
🎧 LineMusic日本 bit.ly/3yds9vl Awa日本 -
00:00 Symphonie Espagnole, Op. 21 - I. Allegro non troppo (Remastered 2021)
07:37 Symphonie Espagnole, Op. 21 - II. Scherzando, Allegro molto (Remastered 2021)
11:47 Symphonie Espagnole, Op. 21 - III. Intermezzo, Allegro non troppo (Remastered 2021)
17:54 Symphonie Espagnole, Op. 21 - IV. Andante (Remastered 2021)
24:42 Symphonie Espagnole, Op. 21 - V. Rondo, Allegro (Remastered 2021)
Violin: Leonid Kogan
Orchestre de la Société des Concerts du Conservatoire
Conductor: Charles Bruck
Recorded in 1955, at Paris
New mastering in 2021 by AB for CMRR
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
❤️ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
This recording displays the artistry and sense of style in 19thcentury virtuoso concerto of an extraordinary violinist. Leonid Kogan was a legendary figure in the musical profession and had he not suffered to live out his life in the restrictive society of the Soviet Union, he would be even better known today than he is. Fortunately for posterity he was a prolific recording artist. This reissue, which is among the first recordings he made in the West, contributes to our knowledge of this singular creative genius.
Leonid Borisovich Kogan was born on 14 November 1924 in Dnepropetrovsk, Ukraine, the son of two photographers. His father played the violin as an amateur and the sound so fascinated the boy that by the age of three he would not go to sleep unless he had the fiddle beside him. When he was five, he tried to play it, but became frustrated when he could not stretch his left hand far enough - so Boris Kogan bought him a small violin. Fortunately Leonid was found a first-rate teacher, Philip Yampolsky, who had studied with Auer. Seeing Kogan's natural platform manner and classical stance, the weight beautifully distributed between his feet and his back perfectly arched, the violin held quite high, one realised he had been well instructed from an early age. He felt that Philip Yampolsky inspired in him "a love of work, which I think is most important"; but he was never pushed - and almost gave up after two lessons. Luckily his parents encouraged him gently and by playing a few minutes each day, he kept his enthusiasm alive. "l cannot say that in my childhood I played with pleasure," he recalled, adding that he enjoyed most the pieces at which he had to work least! His first encounter with the playing of David Oistrakh, 16 years his senior, came in 1932 and was a spur to his endeavours.
As a Jew, Kogan faced discrimination at every turn. "He made a career only through his really great talent," said his son Pavel. The turning point should have come in 1951, when he was pitched into the Ysaye Competition in Brussels. Joseph Stalin apparently asked Oistrakh who could capture the first prize for the Soviet Union and was told that only Kogan could do it. "My father was not a young man he was 26 and he got a call ten days or two weeks before the competition," said Pave! Kogan. It was a test of temperament but Kogan triumphed before a jury including Oistrakh and Jacques Thibaud - who in 1936, on a visit to Moscow, had foretold a great future for him. Instead of being feted across Europe, Kogan had to return home, as the Cold War was raging. Only in 1955 did he make his London and Paris debuts (playing three concertos in each programme). In 1956 he visited South America and at home he gave six concerts featuring 18 concertos with orchestra in the 1956/57 season, to illustrate The Development of the Violin Concerto. In January 1958 he made it to the United States. After his opening Boston performance of the Brahms Concerto, with Pierre Monteux conducting, the audience applauded for 18 minutes. From that moment until his premature death on a train, at the Mytishcha rail station on 17 December 1982, Kogan was recognised as one of the great violinists. He was made an Honoured Artist in 1955 and a People's Artist in 1964 and received the Lenin Prize the following year. He taught at the Moscow Conservatory virtually from the time he finished his post-graduate studies and became a soughtafter professor, as well as serving on competition juries.
The conductor is the Romanianborn, Viennese-trained Charles Bruck (1911-95), who originally came to Paris to further his studies at the Ecole Normale and stayed to become a French citizen. As a conductor he specialised in modern music.
Dvořák - Sonatina for Violin & Piano, Kreisler - Prelude & Allegro (Century’s rc.: Gerhard Taschner): ua-cam.com/video/-TyBSH4B6pU/v-deo.html
- Léonid Kogan (1924-1982) Je l'ai découvert au domicile rempli de disques d'un vieux Monsieur qui a éclairé ma jeunesse, à partir de mes 14 ans. J'écoutais sa discothèque, je me remplissais de rêves mélomanes et ce que j'écoute aujourd'hui de L Kogan me demeure intact, c'est lui ! J'ai 78 ans, j'ai le cœur rempli d'émotion pour le bien qu'ils ont apporté à ma jeunesse. À cette évocation, je pleure... Que Dieu les garde dans sa lumière et son amour.
I will never tire of Kogan.....
This recording displays the artistry and sense of style in 19thcentury virtuoso concerto of an extraordinary violinist. Leonid Kogan was a legendary figure in the musical profession and had he not suffered to live out his life in the restrictive society of the Soviet Union, he would be even better known today than he is. Fortunately for posterity he was a prolific recording artist. This reissue, which is among the first recordings he made in the West, contributes to our knowledge of this singular creative genius.
Leonid Borisovich Kogan was born on 14 November 1924 in Dnepropetrovsk, Ukraine, the son of two photographers. His father played the violin as an amateur and the sound so fascinated the boy that by the age of three he would not go to sleep unless he had the fiddle beside him. When he was five, he tried to play it, but became frustrated when he could not stretch his left hand far enough - so Boris Kogan bought him a small violin. Fortunately Leonid was found a first-rate teacher, Philip Yampolsky, who had studied with Auer. Seeing Kogan's natural platform manner and classical stance, the weight beautifully distributed between his feet and his back perfectly arched, the violin held quite high, one realised he had been well instructed from an early age. He felt that Philip Yampolsky inspired in him "a love of work, which I think is most important"; but he was never pushed - and almost gave up after two lessons. Luckily his parents encouraged him gently and by playing a few minutes each day, he kept his enthusiasm alive. "l cannot say that in my childhood I played with pleasure," he recalled, adding that he enjoyed most the pieces at which he had to work least! His first encounter with the playing of David Oistrakh, 16 years his senior, came in 1932 and was a spur to his endeavours.
As a Jew, Kogan faced discrimination at every turn. "He made a career only through his really great talent," said his son Pavel. The turning point should have come in 1951, when he was pitched into the Ysaye Competition in Brussels. Joseph Stalin apparently asked Oistrakh who could capture the first prize for the Soviet Union and was told that only Kogan could do it. "My father was not a young man he was 26 and he got a call ten days or two weeks before the competition," said Pave! Kogan. It was a test of temperament but Kogan triumphed before a jury including Oistrakh and Jacques Thibaud - who in 1936, on a visit to Moscow, had foretold a great future for him. Instead of being feted across Europe, Kogan had to return home, as the Cold War was raging. Only in 1955 did he make his London and Paris debuts (playing three concertos in each programme). In 1956 he visited South America and at home he gave six concerts featuring 18 concertos with orchestra in the 1956/57 season, to illustrate The Development of the Violin Concerto. In January 1958 he made it to the United States. After his opening Boston performance of the Brahms Concerto, with Pierre Monteux conducting, the audience applauded for 18 minutes. From that moment until his premature death on a train, at the Mytishcha rail station on 17 December 1982, Kogan was recognised as one of the great violinists. He was made an Honoured Artist in 1955 and a People's Artist in 1964 and received the Lenin Prize the following year. He taught at the Moscow Conservatory virtually from the time he finished his post-graduate studies and became a soughtafter professor, as well as serving on competition juries.
The conductor is the Romanianborn, Viennese-trained Charles Bruck (1911-95), who originally came to Paris to further his studies at the Ecole Normale and stayed to become a French citizen. As a conductor he specialised in modern music.
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
❤️ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
A "Jew" would NOT have suffered from discrimination in the Soviet Union because it was established by "Jews"! It's just yet another technique to get the tears to flow for "Jews"!
Just one thing, in french it will be Espagnole rather than Espagnol. Thanks for sharing.
@@alejandrosotomartin9720 Yes, indeed thanks, we will correct it on other streaming platforms but we will not be able to correct it on the image of this video
Самый совершенный скрипач...Его исполнение не может никого оставить равнодушным...Бросаешь все дела и остаешься наедине с его искусством скрипичной игры...Так задушевно, смятенно, чувственно скрипка никогда ни у кого не звучала...Слава, маэстро Леонид Коган!)))))Навеки покорена Вашей игрой! Вы несравненны...демоничны...Вы АНГЕЛ ...ВОЛШЕБНИК...КОРОЛЬ скрипичной игры...
Thank you very much for presenting us Leonid Kogan and bringing him back to life again.
Like Dawid Oistrach, we'll have to search far in spite of this absolutely wonderful, clean, pure and passionate violin playing.
No show, just a pure profound and virtuose highly sophisticated violinist like the diamond, Kho-i-Noor, (mountain of light), belonging to the british crown jewels.
Quelle gourmandise pour ces temps difficiles.
Avec nos chaleureuses remerciements de la 🙏🏻🇨🇭
What poignant storytelling. This is not performing a work, it’s being the work. Many thanks for this astounding performance!
Amen!! Thank you for waking us once again to see an marvelous day, another week, another blessing, other gift, other lesson, and teaching. This morning Lord order our steps. Let thy will be done. God I know that you are near to the brokenhearted. Comfort the heart of those who are broken. Heal, mend, fix, restore so that many can return back to you as their first love. There is nothing Father you cannot do; because you are the Father of everything that we need and want. Thank you Lord for all that you have done and for what you continue to do in our lives. Help us Lord were we may lack, come up short, and where we may not understand. Blessings to you my brothers and sisters may your journey this week be filled with laugher, joy, peace, and calmness despite of everything that is going on. Please be safe, courageous and encouraged out there. Love you with the Love of God.❤💕🙏🙏
Congratulaciones para todos los que hemos compartido este alimento para el Alma. Mi Abuelo no tuvo estudios pero fue músico y escuchaba una estación de radio de música clásica (XLA) y sin proponérselo me despertó la sensibilidad para poder apreciar estas joyas. Bendito Dios , Bendito Abuelo. Un abrazo a cada uno. 🙏
A most soulful performance. This concerto must have meant a lot to Kogan. What I heard is not the violin being bowed, but the soul of a great man singing.
Much delayed listing of this performance of Lalo by Kogan, clean and splendid playing, pure meat with no fat, full and rich sound to each and every note, with the right tempo, perfect and examplary playing every violin student learning this piece must listen to.
I'v just recently listen the great Oistrakh's version but I have to say that this one is even better, more expressive, more emotional, less romantic and more honest. The orchestration is amassing and Kogan is perfect - a true virtuoso. A moving interpretation. Bravo and thank you - great pick.
Wunderschöne und spannende Interpretation dieses einzigartig konstruierten und ethnisch komponierten Meisterwerks mit seidigem doch gut phrasiertem Ton der unvergleichlichen Solovioline sowie gut vereinigten und perfekt entsprechenden Tönen der anderen Instrumente. Der intelligente und geniale Dirigent leitet das ausgezeichnete Orchester im veränderlichen Tempo und mit möglichst effektiver Dynamik. Die verbesserte Tonqualität ist auch ziemlich hoch als eine Originalaufnahme von siebenundsechzig Jahren vor. Wundervoll und atemberaubend zugleich!
❤Merci beaucoup, quel magnifique enregistrement !❤👍
🕊🌟🕊
This is
ABSOLUTELY BEAUTIFUL
🙏💜🙏
💜🎵💜
Maravillosa interpretación del Excepcional Violinista .🎻
Thanks
One and only Kogan.
아름다운 연주곡 잘 들었습니다~감사합니다~🎵🎻🌿🍀☘🌹🌹☘🍀🌿❤❤수고 많으셨습니다~☕
Simply a fantastic master performance!
Played with Passion, I Love it !
Out of the ordinary ~ thank you!
For years my reference recording was Pinchas Zukerman with Mehta conducting, a record from the 70's I believe. But I will be happy to make this one my new reference. What a lovely vibrato he gets.
I just came across the wonderful composition a month ago via Bronislaw Huberman's recording with George Szell conducting (Wiener Philharmoniker). Yesterday I listened to Maxim Vengerov's EMI Classic release (Anontio Pappano conducting Phiharmonia Orchestra) but imo the violin was not mixed well and hard for me to fully enjoy. This recording is much cleaner and violin is not styfled.
This was a pleasant surprise I’m glad it popped up on my screen and I could listen to this beautiful piece of music thank you
Es una interpretación de Excelencia , cada movimiento de la Obra Maestra de Eduard Lalo es ejecutado de manera Magistral , llevando a través de la Obra un estilo tempestuoso , con un sonido Maravilloso .
I love the Paris Conservatoire Orchestra !!!
Gilels was so proud of this brother-in-law of him.
He also had to spy on Gilels for the KGB. What a country! And now we have Putin...
Kogan is an absolute shredder. I listen to heavy metal and when I listen to Kogan play i get the same rush of adrenaline that causes my body to move to the music .
off the chart !!!
최고 🔝
Thanks fron Brasil
Excelente Version.
Un interprète unique complet au jeu subtil
ou la force et la délicatesse cheminent
de
Me lleva a sensaciones pretéritas... Me parece familiar y vuelvo al ambiente primero
:)
SYMPHONIE ESPAGNOLE (not ESPAGNOL)... LEONID (not LEONIG) KOGAN... DU CONSERVATOIRE (NOT CONSERVATOIRES)... It's ORCHESTRE DE LA SOCIETE DES CONCERTS DU CONSERVATOIRE DE PARIS...
oui, merci !
@@Ever8eliever You have just missed another excellent opportunity to keep your mouth shut! Good night, you idiot!
❤🌹❤
07:15 good
Should it read "Symphonie Espagnole"?
Yes it's a mistake on the title, everything has been corrected in the description of the video and everything is being corrected on other platforms
Orchestra sucks