Brahms - Violin Concerto · Beethoven - Symphony No. 5 / Kyung Wha Chung · Wiener Phil. · Sir Simon Rattle
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Music CD Cover
Edition: Music CDFormat: Import, Live
CD Release Date: 2002-08-05
Music Label: EMI Int'l
Soundtracks:
- Allegro con brio
- Andante con moto
- Allegro
- Allegro
- Allegro non troppo
- Adagio
- Allegro giocoso, ma non troppo vivace
Free Music Notes for Brahms - Violin Concerto · Beethoven - Symphony No. 5 / Kyung Wha Chung · Wiener Phil. · Sir Simon Rattle
Free Music Review: Why is this recording so good?
Hit: 5 Stars
The Amazon reviewer is off base on this CD. It's fine to have differences of taste, but she gets the facts wrong. The contrast between Toscanini and Furtwangler has nothing to do with Rattle's influences or his career. The first movement of his Beethoven Fifth isn't unduly fast: it's one second faster than the classic Carlos Kleiber recording on DG. The second movement isn't strict and inflexible--there's more rubato than one usually hears, in fact. Oh well.
To my ears, this is Rattle's best Beethoven. He is playing catch-up with both Beethoven and Brahms, two composers he didn't record for twenty years in England. Now that he has been elevated to Berlin, and in addition has a successful relationship with the Vienna Phil., he is adapting to two composdrs that, frankly, he had little sympathy with.
In this case the results are excelent. Both the live Beethoven Fifth and live Brahms concerto with Kyung Wha Chung are in wonderful, clear, warm sound. the Vienna Phil. plays with incredible beauty, as does Chung in the Brahms. Rattle in general paces eerything with quick, dramatic thrust, but he is far from being a hectic time-beater like Gardiner or Norrington.
This is genuinly great conducting of the kind that Rattle himself rarely rises to. I was deeply impressed.
Brahms - Violin Concerto · Beethoven - Symphony No. 5 / Kyung Wha Chung · Wiener Phil. · Sir Simon Rattle Poster
Toscanini has been called the exact interpreter of what's written in the notes, Furtwängler the discoverer of what's written between the lines. Simon Rattle attempts to combine both: strict adherence to the score with an unfettered emotional response to the music. In the Fifth Symphony, guided by the latest scholarship, he uses Beethoven's own scoring rather than later emendations, which produces unusual transparency as well as some surprises. For example, since Beethoven' hand-horn could not negotiate key changes fast enough, he gave the exposition's horn solo to the bassoon in the recapitulation; today's conductors let the modern valve-horn play both passages. Rattle goes back to the bassoon, which, though authentic, sounds so puny that one feels sure Beethoven would have approved the change.The first movement is very fast and stormy, the second strict and inflexible, the third unyielding in rhythm but full of swells; the Finale begins with a crash. This live recording displays all the qualities of the orchestra, as well as its amazing adaptability to the idiosyncrasies of Rattle's style: the unbridled impetuosity, all-out passion, extreme tempi, and dynamic contrasts that alternate between inaudible and ear-splitting and result in some rough, almost raucous playing. In the Brahms, too, excess prevails. Chung is a wonderful violinist with a brilliant technique and a beautiful, austere, radiant tone. Her playing is inherently noble and flexible, with lots of character and expression. In this performance, however, she exaggerates changes of tempo and dynamics; the chords are scratchy, the liberties not spontaneous enough. But the lyrical passages are lovely, the Finale is a real dance, and the interplay between soloist and orchestra is splendid. --Edith Eisler
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