Tchaikovsky: Violin Concerto, Op. 35; Shostakovich: Violin Concerto No. 1, Op. 99

Read About This Recording

When the violinist Midori burst on the music scene as a petite teenager she was instantly hailed as one of the great talents of the age. Indeed, her exquisite technique was amazing and it seemed there was no technical challenge the young wizard couldn't handle. But music-making goes far beyond technique, and nothing makes technique seem even more impressive than musicality.

For the first time, the Musical Heritage Society is pleased to offer recordings by this wonderful violinist. These performances, recorded between 1995 and 2000, are the work of a mature musician. But don't for a minute think that by adding maturity and musicality Midori has sacrificed technique. In fact, what makes these two New Releases so wonderful is the way she uses her amazing technique to bring out the beauty in this wide range of compositions. Whether conquering the demands of Tchaikovsky or soaring through the free-flowing melodies of Mozart, Midori astounds.

Though composed less than 70 years apart, the Tchaikovsky Violin Concerto and the Shostakovich Violin Concerto, are radically different works. Of course the world itself, and Russia in particular, went through some pretty dramatic changes between 1878 and 1947.

Tchaikovsky's Violin Concerto in D Major is one of the cornerstones of the solo violin literature. Every violinist has to include this chestnut in her repertoire. Its famous melodies, especially the incredibly sad second movement, are irresistible. The demands on the violinist are tremendous. In this work it's not enough to be able to play fast. The soloist is often called upon to play long, sustained phrases. Midori's sensuous tone is perfect for these passages and when she is called upon to race through passages of demanding double-stops her technique is extraordinary.

Dmitri Shostakovich's Concerto for Violin and Orchestra No. 1, Op. 99, is a lesser-known work, but one that holds a special place. Composed after World War II, it can be considered to be a piece that is part of the composer's response to the artistic repression of Stalinist Russia. Passion and anguish are central to this concerto, and Midori conveys those feelings brilliantly.

Perhaps what makes this recording so extraordinary is that these were live performances recorded in Berlin in 1995 and 1997. Claudio Abbado and the Berlin Philharmonic are exceptional partners in both concertos and the sound belies the fact that these were taped during live concerts.

—Jacob Anthony

Contents

Tchaikovsky: Concerto for Violin and Orchestra, Op. 35 in D Major; Shostakovich: Concerto for Violin and Orchestra No. 1 in A Minor, Op. 99.

Midori, Violin; Berlin Philharmonic; Claudio Abbado, Conductor.