Violin Concerto No 1 in F sharp minor op 14 by Henryk Wieniawski 1. Allegro moderato 2. Preghiera (Larghetto) 3. Rondo (Allegro giocoso) Itzhak Perlman, Violin London Philharmonic Orchestra Seiji Ozawa, Conductor
In 1981, I was a USAF troop guarding B-52s at a northern tier base. I and another 2-striper, Alan Cook, would be trying to stay awake on a midnight shift in -10° weather in a truck with no heater, and we would listen to this - of all things - and try to create a storyline to go along with it like it was a soundtrack lacking a movie. For HOURS. Both Nos. 1 and 2. I love this piece on two levels: the piece itself and that it reminds me that I’m not guarding planes at a northern tier base. And Alan and I are still friends.
As an AFROTC Cadet and a fellow Violinist, this comment reaches me to a different level. Thank you for sharing this story and thank you for your service.
This violin concerto is absolutely amazing and super underrated. The first mouvement always gets to me, especially with this performance. The perfect vibrato at the right time really makes a difference too. Sometimes I wonder if I had picked the wrong instrument to play because of this piece.
Perhaps it is because the first concerto is about five times more difficult to play than the second concerto. I too find it equally compelling and beautiful.
The clarinet solo at the introduction always hits me right in the gut. It never fails to move me. Wieniawski, like Schubert, had a gift for composing hauntingly beautiful melodies.
In my opinion, this recording ranks as one of the best of this crazy difficult concerto. Ivry Gitlis made a swashbuckling, hair-raising recording of this piece. He takes even greater risks than Perlman. But if I could play this piece, I'd want to play it like Perlman. The luscious sound, the impeccable technique, and the hyper romantic phrasing by Perlman is without peer for this particular piece.
Indeed! A great recording! Thanks a lot! I think Gil Shahams recording is also great! Wonderful played on a technical top level. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-aNOdaBJbT8A.html
This deserves more likes and views Also I don’t know who are those 7 people who would dislike this, but what I do know is that they are not true musicians who don’t know how to appreciate good music
Concerto #1 has always been the one I liked way better. It has such a beautiful theme and builds up hauntingly to intense virtuosic passages for the violinist. I studied the violin and I appreciated the technical demands but they do not outweigh the the sheer beauty of the first movement in particular.
Überzeugende Interpretation dieses technisch anspruchsvollen Konzerts mit perfekt artikulierten Töne der Solovioline und gut kontrollierten Töne des ganzen Orchesters. Die höchste Technik dieses Violinisten ist ewig unvergleichlich. Der geniale Dirigent unterstützt ihn im lebhaften Tempo mit völlig effektiver Dynamik. Einfach wunderschön und ausgezeichnet!
Es ist bereits eine historische Aufnahme aber nicht zu übertreffen in keinerlei Hinsicht. Perlman ist einer der grössten Instrumentalisten ALLER ZEITEN. Musik von atemberubender Virtusität, göttliche Schönheit und zerreissende Dramatik. um vereinfacht zu sagen. Schlicht unvorstellbar was er da tut!
Esta interpretación, es una de las mas altas cumbres del violín. Perlman estaba en su mejor momento.Aqui su ataque de arco es increíble, aunque se le suele criticar, cuando toca las sonatas y partitas de Bach, donde resulta un tanto violento. En este concierto Perlman despliega todo su genio.
Beautiful playing by Perlman, as is his playing of the Goldmark. Once again I cannot understand why Heifetz never recorded this concerto, as well as the Goldmark, to name two, it's a great loss.
mit dieser Aufnahme stellt sich Perlman neben seinen Vorgänger Michael Rabin, dessen Aufnahme bisher der Goldstandard war. Beide Schüler von Ivan Galamian. Der Ton von Perlman ist etwas schlanker neben dem opulenten von Rabin. Goldstein und Midori haben auch beachtliche Aufnahmen gemacht.
Because he didn’t have anything to prove or because he didn’t find it compelling enough. Or perhaps because the record companies didn’t see a demand for it. Unfortunately, Heifetz did not record all of his beautiful transcriptions either.
I rather recently that I discovered Ginette Neveu and I can't stop thinking of her musicianship. It was precisely the Wieniaski competition she won at age 15 (beating David Oistrakh) and that was the start of a short (due to her tragical death at 30), but unrivalled, fulgurant career. We have only very few recordings left of her. This piece here, the 1th Wieniaski concerto is rather unintersting from a musical point of view. But I am sure that even in this piece, GN would have had something interesting to tell. This rendition by Perlman is great from a technical point of view, but doesn't make the piece in any way more interesting musically speaking.
To think: all of this is being wiped out by the new global order. It breaks my heart that we are letting the villains destroy our cultures and heritages which are our responsibilities to pass along, all in thr name of fear over a virus with a survival rate of 99.92%.
@@mackjones5524 Let me start to answer your question with a question: what do you see happening with the arts, including but certainly not limited to music concerts? When people start tearing down statues and rewriting history, it is entirely past time when you should be paying attention. Forbidding concerts is only one small step in the complete destruction. There are others, such as burning down cathedrals and churches, like Notre Dame, a church which stood for nearly a millennia. I am not saying it is one grand conspiracy; it is one in the pattern.
@@mackjones5524 No, information about the fire came out fairly soon after the fire itself...but it was not in the MSM so much as interviews and independent journalists who did their jobs in actually investigating.
