|
If you’re looking for objectivity, you won’t find it here. I’m a psychologist by profession and an novice violinist. So the following list and the explanations are rigorously subjective, not the sentiment of a professional musician or musical scholar, and will in all probability change by the time I finish writing this. Nevertheless, as of today, here are the top 10 violin concertos of all time (in rank order), and why I think so.
Number 1 – Ludwig van Beethoven, Concerto for Violin and Orchestra in D major, Opus 61, written in 1806.
“The Gentle Giant.” A serene piece of music made of the simplest materials but of tremendous scope and structure. One of the biggest cultural accomplishments of Western civilization. Listen specially for the 5-beat factor present closely everyplace in the 1st Movement.
Number 2 – Peter Ilyich Tchaikovsky, Concerto for Violin and Orchestra in D Major, Opus 35, written in 1878.
“A unfeigned blockbuster.” This is the most usual violin concerto ever written, and with good reason. Written in a burst of happy inspiration, it has been on the best-seller list of audience favorites for over 125 years, and shows no signs of disappearing.
Number 3 – Johannes Brahms, Concerto for Violin and Orchestra in D Major, Opus 77, written in 1878.
“Depth and romanticism.” The idealisti combining of classical form and romanticism from the distinguishable voice of classical music’s most introspective poet. He had to have been in love when he wrote this one.
Number 4 – Niccolo Paganini, Concerto for Violin and Orchestra No. 2 in B minor, Opus 7, written in 1826.
“Dramatic, theatrical, virtuosic, and seductive.” Italian opera with the violin solo as a kind of super-soprano voice. You may almost see the curtains opening at the opening orchestral introduction. The extreme combining an operatic aesthetic with spectacular instrumental virtuosity by perchance one of the biggest virtuosos and underrated composers of all time.
Number 5 – Jean Sibelius, Concerto for Violin and Orchestra in D Minor, Opus 47, written in 1903.
“Emotional, majestic, and exciting.” This has been an audience favored ever since it was extrapolated by the great Jascha Heifetz. The rugged nature of the two outer movements is in finish contrast to the exquisite beauty of the slow movement, which has a long melody played only twice.
Number 6 – Felix Mendellsohn, Concerto for Violin and Orchestra in E Minor, Opus 64, written in 1844.
“Seamless elegance and heart.” The model of what a violin concerto must be. Pure song from beginning to end. It actually sounds as if it was never genuinely “composed,” but always existed in the atmosphere somewhere, only to be plucked out of the sky by Mendellsohn and written down for others to play.
Number 7 – Bela Bartok, Concerto for Violin and Orchestra #2, written in 1939.
“Animalistic fury from the heart of the Eastern European backwoods.” This concerto is simultaneously in classical sonata form, a theme and variations, and with all of the inspiration of an improvised fantasy. Its nature is deep and stark, just as the turmoil of the world the composer lived in.
Number 8 – Dmitri Shostakovich, Concerto for Violin and Orchestra, #1, Opus 99, written in the 1950′s.
“The darkness of the 20th Century.” Unusual in being in 4 movements, whereas most concertos are in 3. Introspective and vibrant. The 3rd Movement, “Passacaglia,” is a theme and variations of closely agonizing intensity.
Number 9 – Edward Elgar, Concerto for Violin and Orchestra in B Minor, Opus 61, written in 1910.
“Victorian pomp and aroused sensitivity all rolled into one.” This is one of those “old-fashioned” concertos that keeps popping up as timeless. The depth of emotion, authenti sentimentality, regal dignity, and consummate virtuosity inherent is this music is all utterly combined and direct from the composer’s heart.
Number 10 – Wolfgang Amadeus Mozart, Violin Concerto #4 in D Major, K. 218, written in 1775.
“Purity, song, and perfection.” How may you have a top-10 list and not include Mozart? In fact, how may Mozart perchance have sunk to 10th place? The 3rd and 5th Concertos may be more popular, but to me this one has such sheer beauty, liveliness, and heart, that it never fails to move me.
Album DescriptionLaunching himself as a Deutsche Grammophon soloist with Beethoven’s Violin Concerto, Vadim Repin is likewise notching up a personal “first”: In spite of the fact that he has loved this work since he was very young, he had not antecedently recorded it. “I have been reserving it for a special time,” he says. “If I had recorded it earlier in my career, I would now need to do it again. A recording is a document that stays with you, but it only represents your view on that day–it’s only true to that moment.” For Beethoven’s famous Violin Concerto, he is joined by the Vienna Philharmonic underneath conductor Riccardo Muti. Also included on this two-disc set is Beethoven’s Violin Sonata Op. 47 “Kreutzer,” where Repin is joined by pianist Martha Argerich. An all-star cast worthy of a DG debut!
The Boston Globe”His tone is huge, impeccably tuned, and…gorgeous”
The Los Angeles Times”A spectacularly accomplished, magnificently gifted young violinist”
Beethoven Violin Concerto Kreutzer Sonata Photo
Beethoven Violin Concerto Kreutzer Sonata Image
Beethoven Violin Concerto Kreutzer Sonata Picture
Beethoven Violin Concerto Kreutzer Sonata Pic
Beethoven Violin Concerto Kreutzer Sonata Photo
Beethoven Violin Concerto Kreutzer Sonata Pic
Most helpful customer reviews
15 of 22 people found the following review helpful.
 Why Vadim, why?
By villegem
Vadim Repin is one of the most talented, imaginative violinist alive. His Mozart concerti conducted by Menuhin, his Shostakovich with Nagano were powerful, refined, intelligent recordings. So why is Vadim Repin so afraid of Beethoven’s concerto? The respect he certainly displays in the promotional video is all too real and perhaps, his usually steely arm just couldn’t serve him as his Durandal to slay Beethoven’s dragon. Perhaps Vadim would have benefited from including the Schnittke cadenza: at least he would have had an ally to make history instead of selecting a sleep walker named Muti… Repin budding ideas -they never reach maturity- are tramped by Riccardo like a drunk elephant in a glass menagery. But hey, Vadim we are told, waited to find his ideal collaborators… yeah right!
4 of 6 people found the following review helpful.
 Classical Elegance
By R. Wood
This is a comment on the Beethoven Concerto only. I appear to be in the minority here. I really like Repin’s interpretation. It’s precisely because Beethoven’s violin concerto is so different from much of his other work that I appreciate the restrained “classical” as opposed to “romantic” interpretation that Repin gives us. I hear plenty of emotion in his playing, but it never overpowers the structure, which is elegant and beautiful.
See all 9 customer reviews…
|