Judging simply by timings, Mintz and Sinopoli seem to have decided on a middle path in their approach to the first movement of this concerto: they take nearly a minute less over it than Mutter and Karajan (also on DG), about a minute and a half more than Perlman and Giulini on EMI. Using ears rather than a stopwatch, however, they seem to be giving by far the slowest performance of the movement that I have heard in years. It is a reading from which anything which might savour of soloistic display has been expunged, in which no note, even one of a flourish of semiquavers, is allowed to be 'merely' decorative. Mutter is fond of polishing every note like a jewel, too, but the very opening of the concerto in hers and Karajan's reading sounds positively sprightly set beside the newcomer. The moment Mutter enters the speed slackens markedly, but Karajan watchfully assures that the pulse returns with each tutti, and a sense of momentum is present throughout, even during the soloist's most wayward rhapsodizings.
Legendary violinist David Oistrakh delivers a profoundly thrilling rendition of Beethoven’s Concerto for Violin & Orchestra in D Major Op.61. Arguably, 1 of the best violin concertos ever composed, the esteemed violinist delivers with his flawless virtuosity & skillful execution. Remastered by 4 historic engineers, the sound is spacious & warm.
Featuring John Eliot Gardiner and his Orchestre Révolutionnaire et Romantique - and Presented in DTS-HD Master Audio 7.1 at a 24/96 kHz bit and sample rate, the sound on this disc is awe-inspiring. The 7.1 palette gives a recording engineer the opportunity to map acoustically the orchestra and hall with incredible detail, and this recording does just that.
This is a great performance, one that simply has to be heard.
This live recording from 1954 of the Beethoven Violin Concerto with Gioconda de Vito and the RIAS Symphony Orchestra under Georg Ludwig Jochum is of particular documentary value as the Italian violinist made no studio recording of the work.
Following the collections of symphonies (Czech Philharmonic Orchestra, Kletzki, SU 4051-2) and violin sonatas (Suk, Panenka, SU 4077-2), Supraphon is now releasing the complete Beethoven concertante pieces. All of them (including the Triple Concerto and the genre-unique Fantasia for Piano, Chorus and Orchestra) came into being within a mere sixteen years, between 1793 and 1809. Although Beethoven deemed the piano "an imperfect instrument", his five piano concertos form one of the cornerstones of his oeuvre and represent a significant landmark in this genre.
Recordings of Beethoven's Triple Concerto, Op. 56, by a piano trio rather than by a group of virtuosi (a configuration that almost always misunderstands the work) are not abundant. Still rarer are those like the present release by the Storioni Trio, a Dutch group that takes its name from the maker of the 1790s instrument played by the violinist (and strung, like the viola, with gut strings). Pianist Bart van de Roer plays an 1815 Lagasse fortepiano. This recording is part of a series devoted to Beethoven's piano trios, but the Triple Concerto actually is more comfortable in those surroundings than when forced to keep company with the likes of the Violin Concerto in D major, Op. 61.
This recording should be on every musician's shelf.