Felix Mendelssohn-Bartholdy (1809-1847) Violin Concerto by Nathan Milstein / Remastered. 🎧 Qobuz bit.ly/3IQEIQh Deezer bit.ly/3uYCed4 🎧 Amazon Music amzn.to/3vmaXBJ Amazon Store amzn.to/3obcUwD 🎧 Apple Music - Spotify spoti.fi/3RIkyfA 🎧 Tidal bit.ly/3On8mxQ UA-cam Music bit.ly/3uXTAH6 🎧 LineMusic日本 bit.ly/3obdGd1 Awa日本 bit.ly/3B0gMrP 🎧 Napster, Pandora, SoundCloud, Anghami, QQ音乐 … 00:00 Violin Concerto in E minor, Op. 64 - I. Allegro molto appassionato (Remastered 2022) 11:20 Violin Concerto in E minor, Op. 64 - II. Andante (Remastered 2022) 19:12 Violin Concerto in E minor, Op. 64 - III. Allegretto non troppo, Allegro molto vivace (Remastered 2022) Violin: Nathan Milstein Philharmonia Orchestra Conductor: Leon Barzin Recorded in 1960 🔊 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 The baroque and classical concerto, which was the object of much attention throughout the 18th century, especially in Italy, the violin's home country, completed its long virtuoso journey with Mozart and his concertos of 1775, brilliant works with a youthful spirit, if not, in view of the master in question, youthful. There followed a fairly long period of rest, more favorable to the perfection of the new symphony, before the archetypal romantic concerto appeared with Beethoven's Opus 61, followed by other works, less numerous than those dedicated to the piano, but signed by the greatest names of romanticism, including Mendelssohn (Paganini's Concertos, more classical in form, being a case apart, because of the limited role of the orchestra). Important modifications, not only in the field of the violin concerto, are then implemented, thematically, structurally, but above all in the balance between the soloist and the orchestra, the latter definitively becoming symphonic and no longer a simple harmonic support, taking up in ritornello the themes treated brilliantly by the virtuoso. This evolution of the romantic concerto towards the "symphony with principal violin" will continue until the Brahms Concerto (1879). The violin, in Beethoven as in his successors, will be just as virtuosic as before, and even more so, at the same time deeply integrated into the orchestral fabric. The pure virtuosos, of 'Paganinian' obedience, will not always appreciate this too equal sharing of skills between soloist and orchestra, such as Sarastre who, about Brahms' concerto, will say: ''Do you think I am so tasteless as to stand on the stage as a listener, with the violin in my hand, while the oboe plays the only melody of the whole work?'' Mendelssohn's Concerto in E minor, Op.64, is comparable in orchestral size to Beethoven's, but significantly less developed. It remains one of the most seductive works of the entire concerto repertoire of the Romantic period: charming thematic invention, absolute clarity of writing, marvelously cantabile virtuosity of the solo part, without, however, departing from an elegant sobriety. The work was begun in 1838 but not completed until 1844. It was premiered at the Gewandhaus in Leipzig in 1845, in the absence of Mendelssohn, who was ill, by the famous violinist Ferdinand David. Fortunately, the composer was able to hear his work in 1847, still in Leipzig but by the young Joseph Joachim; one month later Mendelssohn died. Michel Roubinet Beethoven - Violin Concerto, Op. 61 by Nathan Milstein: ua-cam.com/video/KqbieGCO2-Y/v-deo.html Felix Mendelssohn PLAYLIST (reference recordings): ua-cam.com/video/ntL5A4zjvR4/v-deo.html
I used to listen obsessively to a 33rpm recording of Nathan Milstein playing this concerto when I very young 9-10 yrs old (whilst other children were out on their bikes).
Wunderschöne Interpretation dieses romantischen und perfekt komponierten Konzerts mit seidigem doch gut phrasiertem Ton der technisch fehlerlosen Solovioline sowie gut harmonisierten und perfekt entsprechenden Tönen der anderen Instrumente. Der zweite Satz klingt besonders schön und echt melodisch. Im Kontrast klingt der dritte Satz echt lebhaft und auch inspirierend. Der intelligente Dirigent leitet das ausgezeichenete Orchester in verschiedenen Tempi und mit möglichst effektiver Dynamik. Wunderbar vom Anfang bis zum Ende!
The baroque and classical concerto, which was the object of much attention throughout the 18th century, especially in Italy, the violin's home country, completed its long virtuoso journey with Mozart and his concertos of 1775, brilliant works with a youthful spirit, if not, in view of the master in question, youthful. There followed a fairly long period of rest, more favorable to the perfection of the new symphony, before the archetypal romantic concerto appeared with Beethoven's Opus 61, followed by other works, less numerous than those dedicated to the piano, but signed by the greatest names of romanticism, including Mendelssohn (Paganini's Concertos, more classical in form, being a case apart, because of the limited role of the orchestra). Important modifications, not only in the field of the violin concerto, are then implemented, thematically, structurally, but above all in the balance between the soloist and the orchestra, the latter definitively becoming symphonic and no longer a simple harmonic support, taking up in ritornello the themes treated brilliantly by the virtuoso. This evolution of the romantic concerto towards the "symphony with principal violin" will continue until the Brahms Concerto (1879). The violin, in Beethoven as in his successors, will be just as virtuosic as before, and even more so, at the same time deeply integrated into the orchestral fabric. The pure virtuosos, of 'Paganinian' obedience, will not always appreciate this too equal sharing of skills between soloist and orchestra, such as Sarastre who, about Brahms' concerto, will say: ''Do you think I am so tasteless as to stand on the stage as a listener, with the violin in my hand, while the oboe plays the only melody of the whole work?'' Mendelssohn's Concerto in E minor, Op.64, is comparable in orchestral size to Beethoven's, but significantly less developed. It remains one of the most seductive works of the entire concerto repertoire of the Romantic period: charming thematic invention, absolute clarity of writing, marvelously cantabile virtuosity of the solo part, without, however, departing from an elegant sobriety. The work was begun in 1838 but not completed until 1844. It was premiered at the Gewandhaus in Leipzig in 1845, in the absence of Mendelssohn, who was ill, by the famous violinist Ferdinand David. Fortunately, the composer was able to hear his work in 1847, still in Leipzig but by the young Joseph Joachim; one month later Mendelssohn died. Michel Roubinet Beethoven - Violin Concerto, Op. 61 by Nathan Milstein: ua-cam.com/video/KqbieGCO2-Y/v-deo.html 🔊 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
Years ago I was privileged to attend a concert at the Philadelphia Academy of Music at which Mr. Milstein performed the Beethoven violin concerto. Every violin player in the Philadelphia Orchestra and most of those from the New York Philharmonic were in the audience. The performance was absolutely riveting. I still get goosebumps thinking about it.
I absolutely love this violin concerto. I have a 1960 RCA recording on an lp which is still in good playing condition. Many nights I have sat, puffing my pipe, a glass of scotch in my hand and this exact recording spinning on my turntable. It is timeless, exquisite and masterfull beyond words.
Objet de soins attentifs tout au long du XVIIIe siècle, notamment en Italie, terre d’élection du violon, le concerto baroque et classique acheva son long parcours virtuose avec Mozart et ses concertos de 1775, oeuvres brillantes et d’un esprit juvénile sinon, eu égard au maître dont il s’agit, de jeunesse. Il s’ensuivit une assez longue période de repos, plus favorable au perfectionnement de la nouvelle symphonie, avant que ne surgisse, avec l’Opus 61 de Beethoven, l’archétype du concerto romantique, lui-même suivi d’autres oeuvres, moins nombreuses que celles dévolues au piano, mais signées des plus grands nom du romantisme, dont Mendelssohn (les Concertos de Paganini, plus classiques de forme, étant un cas à part, en raison du rôle limité de l’orchestre). Des modifications d’importante, que l’on ne relève pas seulement dans le domaine du concerto pour violon, sont alors mises en oeuvre, thématiques, structurelles mais surtout d’équilibre entre le soliste et l’orchestre, celui-ci définitivement devenu symphonique et non plus simple soutien harmonique, reprenant en ritournelle les thèmes traités brillamment par le virtuose. Cette évolution du concerto romantique vers la ‘’symphonie avec violon principal’’ se poursuivra jusqu’au Concerto de Brahms (1879). Le violon, chez Beethoven comme chez ses successeurs, sera tout aussi virtuose qu’auparavant, et plus encore, en même temps que profondément intégré au tissu orchestral. Les virtuoses purs, d’obédience ‘paganinienne’, n’apprécieront pas toujours ce partage trop égal des compétences entre soliste et orchestre, tel Sarastre qui, à propos du concerto de Brahms, dira : ‘’Me croyez-vous assez dépourvu de goût pour me tenir sur l’estrade en auditeur, le violon à la main, tandis que le hautbois joue la seule mélodie de toute l’oeuvre ?’’ Le Concerto en Mi mineur Op.64 de Mendelssohn est d’un effectif orchestral comparable à celui de Beethoven mais sensiblement moins développé. Il demeure l’une des oeuvres des plus séduisantes de tout le répertoire concertant de l’époque romantique : charme de l’invention thématique, absolue clarté de l’écriture, virtuosité merveilleusement cantabile de la partie soliste, sans toutefois se départir d’une élégante sobriété. L’oeuvre fut entreprise en 1838 mais achevée seulement en 1844. Elle fut créée au Gewandhaus de Leipzig en 1845, en l’absence de Mendelssohn, malade, par le célèbre violoniste Ferdinand David. Le compositeur, par bonheur, put entendre son oeuvre en 1847, toujours à Leipzig mais par le jeune Joseph Joachim; un mois plus tard Mendelssohn mourait. Michel Roubinet Beethoven - Violin Concerto, Op. 61 by Nathan Milstein: ua-cam.com/video/KqbieGCO2-Y/v-deo.html 🔊 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
O som do violino tem a capacidade de tocar nossas almas, elevando-as. Depois do piano é o instrumento que mais me fascina. Obrigado pela seleção. Vou ouvir com muita alegria. Pena que meu país não está incluído para doações. Sucesso!!
Yes, flawless playing, but MORE IMPORTANTLY playing that is always passionate and creative, and playing that ALWAYS compels the music FORWARD in a dramatic way, "showing" the music's big arc, as a whole composition, and NEVER getting lost in "the moment."
Thank you for this upload. Well worth hearing. He was a great virtuoso, but not flawless. Sorry. Flattery is absolutely worthless. Truth is much better. Truth leads to improvement; flattery leads to corruption.
Flawless? Does that matter a jot in music? Thank goodness for the flaws in the great, sensitive performances from real live musicians. Richter said no performance is complete without a few lost notes!
Felix Mendelssohn-Bartholdy (1809-1847) Violin Concerto by Nathan Milstein / Remastered.
🎧 Qobuz bit.ly/3IQEIQh Deezer bit.ly/3uYCed4
🎧 Amazon Music amzn.to/3vmaXBJ Amazon Store amzn.to/3obcUwD
🎧 Apple Music - Spotify spoti.fi/3RIkyfA
🎧 Tidal bit.ly/3On8mxQ UA-cam Music bit.ly/3uXTAH6
🎧 LineMusic日本 bit.ly/3obdGd1 Awa日本 bit.ly/3B0gMrP
🎧 Napster, Pandora, SoundCloud, Anghami, QQ音乐 …
00:00 Violin Concerto in E minor, Op. 64 - I. Allegro molto appassionato (Remastered 2022)
11:20 Violin Concerto in E minor, Op. 64 - II. Andante (Remastered 2022)
19:12 Violin Concerto in E minor, Op. 64 - III. Allegretto non troppo, Allegro molto vivace (Remastered 2022)
Violin: Nathan Milstein
Philharmonia Orchestra
Conductor: Leon Barzin
Recorded in 1960
🔊 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
The baroque and classical concerto, which was the object of much attention throughout the 18th century, especially in Italy, the violin's home country, completed its long virtuoso journey with Mozart and his concertos of 1775, brilliant works with a youthful spirit, if not, in view of the master in question, youthful. There followed a fairly long period of rest, more favorable to the perfection of the new symphony, before the archetypal romantic concerto appeared with Beethoven's Opus 61, followed by other works, less numerous than those dedicated to the piano, but signed by the greatest names of romanticism, including Mendelssohn (Paganini's Concertos, more classical in form, being a case apart, because of the limited role of the orchestra).
Important modifications, not only in the field of the violin concerto, are then implemented, thematically, structurally, but above all in the balance between the soloist and the orchestra, the latter definitively becoming symphonic and no longer a simple harmonic support, taking up in ritornello the themes treated brilliantly by the virtuoso. This evolution of the romantic concerto towards the "symphony with principal violin" will continue until the Brahms Concerto (1879). The violin, in Beethoven as in his successors, will be just as virtuosic as before, and even more so, at the same time deeply integrated into the orchestral fabric. The pure virtuosos, of 'Paganinian' obedience, will not always appreciate this too equal sharing of skills between soloist and orchestra, such as Sarastre who, about Brahms' concerto, will say: ''Do you think I am so tasteless as to stand on the stage as a listener, with the violin in my hand, while the oboe plays the only melody of the whole work?''
Mendelssohn's Concerto in E minor, Op.64, is comparable in orchestral size to Beethoven's, but significantly less developed. It remains one of the most seductive works of the entire concerto repertoire of the Romantic period: charming thematic invention, absolute clarity of writing, marvelously cantabile virtuosity of the solo part, without, however, departing from an elegant sobriety. The work was begun in 1838 but not completed until 1844. It was premiered at the Gewandhaus in Leipzig in 1845, in the absence of Mendelssohn, who was ill, by the famous violinist Ferdinand David. Fortunately, the composer was able to hear his work in 1847, still in Leipzig but by the young Joseph Joachim; one month later Mendelssohn died. Michel Roubinet
Beethoven - Violin Concerto, Op. 61 by Nathan Milstein: ua-cam.com/video/KqbieGCO2-Y/v-deo.html
Felix Mendelssohn PLAYLIST (reference recordings): ua-cam.com/video/ntL5A4zjvR4/v-deo.html
I used to listen obsessively to a 33rpm recording of Nathan Milstein playing this concerto when I very young 9-10 yrs old (whilst other children were out on their bikes).
Wunderschöne Interpretation dieses romantischen und perfekt komponierten Konzerts mit seidigem doch gut phrasiertem Ton der technisch fehlerlosen Solovioline sowie gut harmonisierten und perfekt entsprechenden Tönen der anderen Instrumente. Der zweite Satz klingt besonders schön und echt melodisch. Im Kontrast klingt der dritte Satz echt lebhaft und auch inspirierend. Der intelligente Dirigent leitet das ausgezeichenete Orchester in verschiedenen Tempi und mit möglichst effektiver Dynamik. Wunderbar vom Anfang bis zum Ende!
The baroque and classical concerto, which was the object of much attention throughout the 18th century, especially in Italy, the violin's home country, completed its long virtuoso journey with Mozart and his concertos of 1775, brilliant works with a youthful spirit, if not, in view of the master in question, youthful. There followed a fairly long period of rest, more favorable to the perfection of the new symphony, before the archetypal romantic concerto appeared with Beethoven's Opus 61, followed by other works, less numerous than those dedicated to the piano, but signed by the greatest names of romanticism, including Mendelssohn (Paganini's Concertos, more classical in form, being a case apart, because of the limited role of the orchestra).
Important modifications, not only in the field of the violin concerto, are then implemented, thematically, structurally, but above all in the balance between the soloist and the orchestra, the latter definitively becoming symphonic and no longer a simple harmonic support, taking up in ritornello the themes treated brilliantly by the virtuoso. This evolution of the romantic concerto towards the "symphony with principal violin" will continue until the Brahms Concerto (1879). The violin, in Beethoven as in his successors, will be just as virtuosic as before, and even more so, at the same time deeply integrated into the orchestral fabric. The pure virtuosos, of 'Paganinian' obedience, will not always appreciate this too equal sharing of skills between soloist and orchestra, such as Sarastre who, about Brahms' concerto, will say: ''Do you think I am so tasteless as to stand on the stage as a listener, with the violin in my hand, while the oboe plays the only melody of the whole work?''
Mendelssohn's Concerto in E minor, Op.64, is comparable in orchestral size to Beethoven's, but significantly less developed. It remains one of the most seductive works of the entire concerto repertoire of the Romantic period: charming thematic invention, absolute clarity of writing, marvelously cantabile virtuosity of the solo part, without, however, departing from an elegant sobriety. The work was begun in 1838 but not completed until 1844. It was premiered at the Gewandhaus in Leipzig in 1845, in the absence of Mendelssohn, who was ill, by the famous violinist Ferdinand David. Fortunately, the composer was able to hear his work in 1847, still in Leipzig but by the young Joseph Joachim; one month later Mendelssohn died. Michel Roubinet
Beethoven - Violin Concerto, Op. 61 by Nathan Milstein: ua-cam.com/video/KqbieGCO2-Y/v-deo.html
🔊 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
Mendelssohn‘s music knows no borders.
Many people of Japan love his masterpieces .
This performance‘s splendor of words can not arrive
Nathan Milstein's playing is absolutely flawless.
Years ago I was privileged to attend a concert at the Philadelphia Academy of Music at which Mr. Milstein performed the Beethoven violin concerto. Every violin player in the Philadelphia Orchestra and most of those from the New York Philharmonic were in the audience. The performance was absolutely riveting. I still get goosebumps thinking about it.
아름다운 연주곡 잘 들었습니다~감사합니다~🎵🎻🌿🍀☘🌹🌹☘🍀🌿❤❤수고 많으셨습니다~☕
Thank you from the bottom of my heart!!! BRAVO!!!
Espléndida, sublime interpretación de Nathan Milstein, nunca defrauda con su violín, brillante grabación del concierto para violín de Mendelssohn.
велика дяка із України. Natan - майстер! Божественно! Велично, коли у митця-людини співає душа! Бальзам. Дяка за реліз! Правда завжди переможе!!!
Efsanevi musigici! Bu konsert menim en sevdiyim ve defelerle gulag asdigimdir. Cox sag olun! Thank you for this!
I absolutely love this violin concerto. I have a 1960 RCA recording on an lp which is still in good playing condition.
Many nights I have sat, puffing my pipe, a glass of scotch in my hand and this exact recording spinning on my turntable. It is timeless, exquisite and masterfull beyond words.
Incredible perfection and musicality. Wow.
Objet de soins attentifs tout au long du XVIIIe siècle, notamment en Italie, terre d’élection du violon, le concerto baroque et classique acheva son long parcours virtuose avec Mozart et ses concertos de 1775, oeuvres brillantes et d’un esprit juvénile sinon, eu égard au maître dont il s’agit, de jeunesse. Il s’ensuivit une assez longue période de repos, plus favorable au perfectionnement de la nouvelle symphonie, avant que ne surgisse, avec l’Opus 61 de Beethoven, l’archétype du concerto romantique, lui-même suivi d’autres oeuvres, moins nombreuses que celles dévolues au piano, mais signées des plus grands nom du romantisme, dont Mendelssohn (les Concertos de Paganini, plus classiques de forme, étant un cas à part, en raison du rôle limité de l’orchestre).
Des modifications d’importante, que l’on ne relève pas seulement dans le domaine du concerto pour violon, sont alors mises en oeuvre, thématiques, structurelles mais surtout d’équilibre entre le soliste et l’orchestre, celui-ci définitivement devenu symphonique et non plus simple soutien harmonique, reprenant en ritournelle les thèmes traités brillamment par le virtuose. Cette évolution du concerto romantique vers la ‘’symphonie avec violon principal’’ se poursuivra jusqu’au Concerto de Brahms (1879). Le violon, chez Beethoven comme chez ses successeurs, sera tout aussi virtuose qu’auparavant, et plus encore, en même temps que profondément intégré au tissu orchestral. Les virtuoses purs, d’obédience ‘paganinienne’, n’apprécieront pas toujours ce partage trop égal des compétences entre soliste et orchestre, tel Sarastre qui, à propos du concerto de Brahms, dira : ‘’Me croyez-vous assez dépourvu de goût pour me tenir sur l’estrade en auditeur, le violon à la main, tandis que le hautbois joue la seule mélodie de toute l’oeuvre ?’’
Le Concerto en Mi mineur Op.64 de Mendelssohn est d’un effectif orchestral comparable à celui de Beethoven mais sensiblement moins développé. Il demeure l’une des oeuvres des plus séduisantes de tout le répertoire concertant de l’époque romantique : charme de l’invention thématique, absolue clarté de l’écriture, virtuosité merveilleusement cantabile de la partie soliste, sans toutefois se départir d’une élégante sobriété. L’oeuvre fut entreprise en 1838 mais achevée seulement en 1844. Elle fut créée au Gewandhaus de Leipzig en 1845, en l’absence de Mendelssohn, malade, par le célèbre violoniste Ferdinand David. Le compositeur, par bonheur, put entendre son oeuvre en 1847, toujours à Leipzig mais par le jeune Joseph Joachim; un mois plus tard Mendelssohn mourait. Michel Roubinet
Beethoven - Violin Concerto, Op. 61 by Nathan Milstein: ua-cam.com/video/KqbieGCO2-Y/v-deo.html
🔊 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
The best music for violin 🎻
O som do violino tem a capacidade de tocar nossas almas, elevando-as. Depois do piano é o instrumento que mais me fascina. Obrigado pela seleção. Vou ouvir com muita alegria. Pena que meu país não está incluído para doações. Sucesso!!
Amazing. Thank You
Bravoooooo
Wonderful
有名な曲、大好きです。メロディの美しさに心癒されました。
Thank you all for sharing this beautiful music with the public!
Conductor is Barzin? He kicks that out! Great thing!
Great concerto, I have some of mine century recordings, but, this is very nice one too, Indeed, some lovely playing by Milstein. Thank you.
In fact, this concerto has been played and recorded so much that there are several versions of an exceptional level and this is one of them :)
Absolutely stunning! Thank you so much for this ❤️
:)
Muy buena interpretación de un notable concierto...
プラチナトーンがよく捉えられた、名録音です。
Yes, flawless playing, but MORE IMPORTANTLY playing that is always passionate and creative, and playing that ALWAYS compels the music FORWARD in a dramatic way, "showing" the music's big arc, as a whole composition, and NEVER getting lost in "the moment."
Excelente.
like Milstein's version even better then Menyuhin's, awesome!
Milstein holds an unchallenged position as an interpreter of Mendelssohn
let's listen together 🌙🌙 hakandebruyneny
Thank you for this upload. Well worth hearing. He was a great virtuoso, but not flawless. Sorry. Flattery is absolutely worthless. Truth is much better. Truth leads to improvement; flattery leads to corruption.
Flawless? Does that matter a jot in music? Thank goodness for the flaws in the great, sensitive performances from real live musicians. Richter said no performance is complete without a few lost notes!