- Is Discontinued By Manufacturer : いいえ
- 製品サイズ : 14.27 x 12.5 x 0.84 cm; 108.86 g
- メーカー : Sony
- EAN : 0696998950528, 0069699895052
- 商品モデル番号 : 2110927
- レーベル : Sony
- ASIN : B00006876P
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 596,180位ミュージック (の売れ筋ランキングを見るミュージック)
Joshua Bell's first recordings of these warhorses stand apart from the hundreds of versions crowding the catalogs in at least one respect, namely his own cadenzas. Beethoven didn't supply his own for the long first movement of his Violin Concerto, and Bell's thoughtful, stylish emendation easily stands with the frequently played Kreisler and Joachim cadenzas as a viable option. His extroverted yet well-proportioned cadenza in the Mendelssohn may not match the original's instant melodic appeal, but it certainly works. Elsewhere, Bell's direct, clean-cut, utterly dependable virtuosity will not surprise his legions of fans, who won't mind that the violin tends to dominate in the mix. Is that due to the engineering, or to Roger Norrington's somewhat reticent accompaniments? You'd think a chamber orchestra would help the Mendelssohn's bubbling woodwind licks emerge with greater clarity. Likewise, small forces are capable of richer, more tonally varied, and sustained string tone in the Beethoven's slow movement, as one hears in the more confrontational and interesting Richard Kapp-Mela Tenenbaum collaboration. --Jed Distler
I found it very peculiar that Bell, who could probably have recorded these concertos with almost any orchestra and conductor, chose to record them with Sir Roger Norrington and the emphatically chamber-sized Camerata Salzburg. Norrington is a long time stalwart advocate of "historically informed" and original instrument performances, which is fine, except others who came into the same arena achieved results far less stodgy and dull. Norrington's approach becomes especially problematic, for some of us, when performing romantic (or early romantic) pieces with contemporary orchestras, which in my opinion sound uncomfortably squeezed into a Baroque and Renaissance mold that doesn't suit them or the pieces.
And Joshua Bell, by contrast, has always seemed extraordinarily and passionately committed to his playing, ready for innovation (even when that is risky, as is his playing of his own cadenzas here). He has often lent his often astonishingly adroit and luscious sound and technique to performances of relatively mundane material, so I was especially looking forward to hearing this recording of two of the greatest concertos in the repertoire.
So what seemed on paper like a mismatch, to my ears, comes across exactly that way here. It may well be that the combination was felt to be a way to highlight even more intensely Bell's technical and emotional commitment, which does in fact stand out very glaringly throughout in contrast to the wooden and too often awkward accompaniment (missed entrances, imbalances, martial tempi, etc.).
On balance I would prefer however not to second guess the choices made by these two distinguished forces. I find myself instead primarily basking in the sensuous, soulful, and technically brilliant playing of Bell, who seems to caress every note with feeling, and enjoying that for what it is.
But it does leave one wishing for another recording at some time with a more dynamic conductor and more modern, full sized orchestra, perhaps, as a guess, as Beethoven himself might prefer if we could bring him back to life.
Lyrical and vigorous. Forceful and gentle. Original and respectful of tradition. Technical but tasteful.
And they sing with the joy of music-making in every measure. There is a sense of drama where appropriate and always a keen feel for the emotional depth of the music.
But, I have read some other reviews that are not as favorable and I would like to make a few comments about those. The orchestra is smaller than people are used to hearing. This is probably consistent with performances during the composers' lives but it sounds a little unfamiliar to listeners today. With a smaller orchestra, the balance between brass and strings is always on the brass side. But I found their playing very articulate except for a few places that could have been edited (live performances by all performers have a few of these). Second, there were mixed reviews about Bell's use of his own cadenzas. I thought they are tasteful and interesting. Over the years I have been really disappointed by some of the candenzas played by even well-known violinists in the Beethoven. Bell's cadenzas seemed in the spirit of the works. A reviewer complained that Bell's vibrato was a little too much in places, and I tend to agrees with that; but it's all a subjective. A few other problems that people had can be attributed to Bell's own style of intonation, the fact that some very soft passages just don't come through on the recording (which is Sony's fault) and the fact that, let's face it, we are creatures of habit and anything even a little bit new and different takes a little time to accept.