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A piece I often associate with Yehudi Menuhin, and one I have always appreciated but rarely hear played.
Stumbled on the above, clearly NOT in my vinyl collection, (was it ever re-issued?)
Now streaming it on QOBUZ and admit to having even MORE appreciation for Szeryng as a violinist than before, if that is at all possible.
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I found the Isabelle Faust recording quite concincing, though I don't like the white tone in the coupled chamber work.
Maybe that accounts for the blanched tone you're hearing? ;-)
But the straight tone playing seems more pronounced in the coupled Piano Trio No. 3. I'd call it a misfire.
It used to be hardly ever played, and many listeners hear in this late work only a slackening of Schumann's powers as a composer (as if his mental problems became more and more pronounced in his musical compositions too). But, somehow (and perhaps I'm only fancying this), there's an underlying will to compose in this piece which gives it a tremendous strength: the themes never sound facile to me - on the contrary, they sound hard won (again, almost as if put together by force of will). I get a similar feeling when I hear Schumann's Third Violin Sonata (like the First, in A minor), part of which AFAIR was actually composed while he was in the asylum.
I'm not a string player and I've heard that the Concerto is awkward to play, so I guess many players used to feel that it was just not worth the effort, despite Schumann's secure place in the musical Pantheon. That attitude has been changing over the last couple of decades, as more and more younger violinists take it up.
I've treasured the Szeryng/Dorati recording (shown in your post) ever since I bought it on LP, where it was coupled with the Mendelssohn Concerto. Strangely enough, my wife also had this Szerying/Dorati LP when she was young - she always played the side with the Mendelssohn which she loved, never the Schumann. (Actually, she said she played the Schumann side once, and it didn't seem too interesting, so she never played it again!)
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