Benjamin Schmid, Staatsorchester Rheinische Philharmonie, Daniel Raiskin - Mendelssohn: Violin Concerto, Op. 64 - Schumann: Phantasie - Bruch, Violin Concerto No. 1 (2009)
BAND/ARTIST: Benjamin Schmid, Staatsorchester Rheinische Philharmonie, Daniel Raiskin
- Title: Mendelssohn: Violin Concerto, Op. 64 - Schumann: Phantasie - Bruch, Violin Concerto No. 1
- Year Of Release: 2009
- Label: Oehms Classics
- Genre: Classical
- Quality: flac lossless (tracks) +Booklet
- Total Time: 01:05:28
- Total Size: 318 mb
- WebSite: Album Preview
Tracklist
01. Violin Concerto in E Minor, Op. 64: I. Allegro molto Appassionato -
02. Violin Concerto in E Minor, Op. 64: II. Andante -
03. Violin Concerto in E Minor, Op. 64: III. Allegretto non troppo - Allegro molto Vivace
04. Phantasie in C Major, Op. 131
05. Violin Concerto No. 1 in G Minor, Op. 26: I. Prelude: Allegro Moderato
06. Violin Concerto No. 1 in G Minor, Op. 26: II. Adagio
07. Violin Concerto No. 1 in G Minor, Op. 26: III. Finale: Allegro Energico
Despite the span of more than two decades between the Mendelssohn Violin Concerto, Schumann's Fantasy for Violin and Orchestra, and Bruch's G minor Violin Concerto, there was still one man whose influential hands were present for the premieres and (with the exception of the Mendelssohn) composition of these great works: legendary violinist Joseph Joachim. Perhaps best known as the longtime friend and collaborator with Johannes Brahms, Joachim was a profoundly influential figure on a generation's worth of violin compositions. The three works heard on this Oehms Classics album bare the mark of extremely idiomatic violin writing, whether virtuosic in nature or not. Violinist Benjamin Schmid, known for his prowess as both a classical and jazz artist, joins conductor Daniel Raiskin and the Staatsorchester Rheinische Philharmonic. The orchestral writing for all three of these compositions is predominantly accompanimental; Raiskin does a nice job keeping the orchestral forces to a hushed minimum, allowing the solo line to easily rise to the forefront. Tuttis are powerful and, while not stunning in any particular way, keep the momentum of the music going. For his part, Schmid offers three extremely energetic, passionate performances. Tempos are brisk and forward moving in the outer movements of the two concertos, and serene and reserved in the inner movements. Schumann's Fantasy gives listeners a sense of true improvisation, certainly an attribute that Schmid's jazz background prepares him for. There are moments, though, when Schmid's intensity seems to get the better of him as he sometimes adds accents and stresses in peculiar moments, detracting from the integrity of the line. Still, this album makes a respectable choice as an introduction to these three enjoyable compositions.
01. Violin Concerto in E Minor, Op. 64: I. Allegro molto Appassionato -
02. Violin Concerto in E Minor, Op. 64: II. Andante -
03. Violin Concerto in E Minor, Op. 64: III. Allegretto non troppo - Allegro molto Vivace
04. Phantasie in C Major, Op. 131
05. Violin Concerto No. 1 in G Minor, Op. 26: I. Prelude: Allegro Moderato
06. Violin Concerto No. 1 in G Minor, Op. 26: II. Adagio
07. Violin Concerto No. 1 in G Minor, Op. 26: III. Finale: Allegro Energico
Despite the span of more than two decades between the Mendelssohn Violin Concerto, Schumann's Fantasy for Violin and Orchestra, and Bruch's G minor Violin Concerto, there was still one man whose influential hands were present for the premieres and (with the exception of the Mendelssohn) composition of these great works: legendary violinist Joseph Joachim. Perhaps best known as the longtime friend and collaborator with Johannes Brahms, Joachim was a profoundly influential figure on a generation's worth of violin compositions. The three works heard on this Oehms Classics album bare the mark of extremely idiomatic violin writing, whether virtuosic in nature or not. Violinist Benjamin Schmid, known for his prowess as both a classical and jazz artist, joins conductor Daniel Raiskin and the Staatsorchester Rheinische Philharmonic. The orchestral writing for all three of these compositions is predominantly accompanimental; Raiskin does a nice job keeping the orchestral forces to a hushed minimum, allowing the solo line to easily rise to the forefront. Tuttis are powerful and, while not stunning in any particular way, keep the momentum of the music going. For his part, Schmid offers three extremely energetic, passionate performances. Tempos are brisk and forward moving in the outer movements of the two concertos, and serene and reserved in the inner movements. Schumann's Fantasy gives listeners a sense of true improvisation, certainly an attribute that Schmid's jazz background prepares him for. There are moments, though, when Schmid's intensity seems to get the better of him as he sometimes adds accents and stresses in peculiar moments, detracting from the integrity of the line. Still, this album makes a respectable choice as an introduction to these three enjoyable compositions.
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