Album available // Beethoven: Violin Concerto, Op. 61 by Nathan Milstein 🎧 Qobuz cutt.ly/keb3TZcQ Tidal cutt.ly/0eb3T9K9 🎧 Deezer cutt.ly/leb3YhQA Amazon Music cutt.ly/heb3YGhE 🎧 Apple Music - Spotify - UA-cam Music cutt.ly/7eb3Uqas 🎧 Napster, Pandora, SoundCloud, Anghami, QQ音乐, Awa日本, LineMusic日本 … Ludwig Van Beethoven (1770-1827) Violin Concerto, Op. 61 by Nathan Milstein 00:00 Violin Concerto in D Major, Op. 61 - I. Allegro ma non troppo (Remastered 2022) 21:43 Violin Concerto in D Major, Op. 61 - II. Larghetto (Remastered 2022) 31:10 Violin Concerto in D Major, Op. 61 - III. Rondo, Allegro (Remastered 2022) Violin: Nathan Milstein Philharmonia Orchestra Conductor: Erich Leinsdorf Recorded in 1961 New mastering in 2022 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 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 (the Paganini 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 believe me to be so tasteless as to stand on the platform as a listener, violin in hand, while the oboe plays the only melody of the whole work?'' Beethoven's Concerto in D Major, Op. 61, reflects one of the happiest periods in the composer's life. Contemporary with the Fourth Symphony and the Razumovsky Quartets, it was inspired, among other positive events, by Beethoven's secret engagement to Therese of Brunswick. The work, almost a love song, was premiered in December 1806 by Franz Clement at the 'Theater an der Wien' in Vienna, which had witnessed the premiere of Mozart's 'The Magic Flute' in 1791, but had been rebuilt in the meantime and inaugurated in 1801 (Beethoven lived in the adjoining buildings in 1803 and composed 'Fidelio' there). The characteristic of this concerto comes from the fact that the orchestra, whose density is important, rarely opposes the soloist. The soloist, on the contrary, reinforces the orchestral discourse and its expression, which he permanently subordinates to his natural virtuoso gifts. Never before has this instrument known greater glory in its concertante role. Mendelssohn: Violin Concerto in E minor, Op. 64 by Nathan Milstein: ua-cam.com/video/jpCb1eUVSCg/v-deo.html Ludwig Van Beethoven PLAYLIST (reference recordings): ua-cam.com/video/yemP0H529Zg/v-deo.html
I grew up with this beautiful performance of this glorious work and have loved it above the many others I have heard ever since ... what gifts we keep from a childhood so blessed by music.
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 (the Paganini 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 believe me to be so tasteless as to stand on the platform as a listener, violin in hand, while the oboe plays the only melody of the whole work?'' Beethoven's Concerto in D Major, Op. 61, reflects one of the happiest periods in the composer's life. Contemporary with the Fourth Symphony and the Razumovsky Quartets, it was inspired, among other positive events, by Beethoven's secret engagement to Therese of Brunswick. The work, almost a love song, was premiered in December 1806 by Franz Clement at the 'Theater an der Wien' in Vienna, which had witnessed the premiere of Mozart's 'The Magic Flute' in 1791, but had been rebuilt in the meantime and inaugurated in 1801 (Beethoven lived in the adjoining buildings in 1803 and composed 'Fidelio' there). The characteristic of this concerto comes from the fact that the orchestra, whose density is important, rarely opposes the soloist. The soloist, on the contrary, reinforces the orchestral discourse and its expression, which he permanently subordinates to his natural virtuoso gifts. Never before has this instrument known greater glory in its concertante role. 🔊 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!!
This is the only violin concerto Beethoven wrote. Such a magnificent work. It is such a shame he penned no more. And the tone of this violin is simply divine. Was this not a Stradivarius?
Album available // Beethoven: Violin Concerto, Op. 61 by Nathan Milstein
🎧 Qobuz cutt.ly/keb3TZcQ Tidal cutt.ly/0eb3T9K9
🎧 Deezer cutt.ly/leb3YhQA Amazon Music cutt.ly/heb3YGhE
🎧 Apple Music - Spotify - UA-cam Music cutt.ly/7eb3Uqas
🎧 Napster, Pandora, SoundCloud, Anghami, QQ音乐, Awa日本, LineMusic日本 …
Ludwig Van Beethoven (1770-1827) Violin Concerto, Op. 61 by Nathan Milstein
00:00 Violin Concerto in D Major, Op. 61 - I. Allegro ma non troppo (Remastered 2022)
21:43 Violin Concerto in D Major, Op. 61 - II. Larghetto (Remastered 2022)
31:10 Violin Concerto in D Major, Op. 61 - III. Rondo, Allegro (Remastered 2022)
Violin: Nathan Milstein
Philharmonia Orchestra
Conductor: Erich Leinsdorf
Recorded in 1961
New mastering in 2022 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
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 (the Paganini 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 believe me to be so tasteless as to stand on the platform as a listener, violin in hand, while the oboe plays the only melody of the whole work?''
Beethoven's Concerto in D Major, Op. 61, reflects one of the happiest periods in the composer's life. Contemporary with the Fourth Symphony and the Razumovsky Quartets, it was inspired, among other positive events, by Beethoven's secret engagement to Therese of Brunswick. The work, almost a love song, was premiered in December 1806 by Franz Clement at the 'Theater an der Wien' in Vienna, which had witnessed the premiere of Mozart's 'The Magic Flute' in 1791, but had been rebuilt in the meantime and inaugurated in 1801 (Beethoven lived in the adjoining buildings in 1803 and composed 'Fidelio' there). The characteristic of this concerto comes from the fact that the orchestra, whose density is important, rarely opposes the soloist. The soloist, on the contrary, reinforces the orchestral discourse and its expression, which he permanently subordinates to his natural virtuoso gifts. Never before has this instrument known greater glory in its concertante role.
Mendelssohn: Violin Concerto in E minor, Op. 64 by Nathan Milstein: ua-cam.com/video/jpCb1eUVSCg/v-deo.html
Ludwig Van Beethoven PLAYLIST (reference recordings): ua-cam.com/video/yemP0H529Zg/v-deo.html
La m
Kuku Kuk j
Will you make a series on Heifetz’s recordings of the major violin concertos?
@@joekbaron1205 Yes, remastering is on the agenda
@@classicalmusicreference Awesome, those are my favorite recordings. Do you prefer Milstein or Oistrakh?
Sublime performance of the superlative concerto by a supreme master of the violin!
Thanks for the post!
Jamshed K Delvadavala
Mumbai.
I grew up with this beautiful performance of this glorious work and have loved it above the many others I have heard ever since ... what gifts we keep from a childhood so blessed by music.
beautiful, 아름답습니다
thank you, 감사합니다
The violin in the second movement is especially sublime,and the entire concerto is played with warmth and elegance.
Este concierto es fascinante. Beethoven me hace creer en las formas terrenales de lo divino.
Thank You, this is my favorite violin concerto.
Ours too
Everybody's.
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 (the Paganini 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 believe me to be so tasteless as to stand on the platform as a listener, violin in hand, while the oboe plays the only melody of the whole work?''
Beethoven's Concerto in D Major, Op. 61, reflects one of the happiest periods in the composer's life. Contemporary with the Fourth Symphony and the Razumovsky Quartets, it was inspired, among other positive events, by Beethoven's secret engagement to Therese of Brunswick. The work, almost a love song, was premiered in December 1806 by Franz Clement at the 'Theater an der Wien' in Vienna, which had witnessed the premiere of Mozart's 'The Magic Flute' in 1791, but had been rebuilt in the meantime and inaugurated in 1801 (Beethoven lived in the adjoining buildings in 1803 and composed 'Fidelio' there). The characteristic of this concerto comes from the fact that the orchestra, whose density is important, rarely opposes the soloist. The soloist, on the contrary, reinforces the orchestral discourse and its expression, which he permanently subordinates to his natural virtuoso gifts. Never before has this instrument known greater glory in its concertante role.
🔊 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
❤️🌄
Una maravilla!
Merci pour ce merveilleux concert !! Il m 'apporte du bonheure
Hermosa música, Beethoven me fascina !!! Gracias . Saludos 🤗❤👍🌅
Saludos :)
Csodalatosan szép mind a hegedüverseny es Nathan Milstein tolmácsolása
sublime, merci.💖
❤❤❤❤
Magnifique concerto!
É mesmo
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!!
Nathan Milstein é intérprete de 1ª linha .. Ouça tb com ele as partitas de Bach p/ violino solo
This is the only violin concerto Beethoven wrote. Such a magnificent work. It is such a shame he penned no more.
And the tone of this violin is simply divine. Was this not a Stradivarius?
It was the Goldman Strad (Wikipedia)
Благодарю!
great recordings & pf
💎🎻
Lovely performance and a very pleasant chance to hear other Cadenzas than those written by Kreisler (as good as they are).
Beautiful performance! It does not get much better. Excellent cadenzas! But I would have liked if the violin would stand out more from the orchestra
Very fine. Leinsdorf is good too.
Thumbs down for adverts every 5 minutes
I agree! I remember the product being push in the exact wrong moment and make it a point not to buy ....I keep a register in the back of my mind ;-)
💤💤💤🌅🌄❤️
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