Mendelssohn: Violin Concerto, Op. 64 / Beethoven: Violin Concerto, Op. 61

Mendelssohn: Violin Concerto, Op. 64 / Beethoven: Violin Concerto, Op. 61

Mendelssohn: Violin Concerto, Op. 64 / Beethoven: Violin Concerto, Op. 61
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Composer: Felix Mendelssohn
Composer: Ludwig van Beethoven
Conductor: Roger Norrington
Orchestra: Camerata Salzburg
Performer: Joshua Bell
Edition: Music CD
Audio: English (Unknown)
CD Release Date: 2002-06-11
Music Label: Sony
Soundtracks:
  1. Mendelssohn: Concerto for Violin and Orchestra in E Minor, Op. 64: Allegro molto appassionato
  2. Mendelssohn: Concerto for Violin and Orchestra in E Minor, Op. 64: Andante
  3. Mendelssohn: Concerto for Violin and Orchestra in E Minor, Op. 64: Allegretto non troppo-Allegro molto vivace
  4. Beethoven: Concerto for Violin and Orchestra in D Major, Op. 61: Allegro ma non troppo
  5. Beethoven: Concerto for Violin and Orchestra in D Major, Op. 61: Larghetto
  6. Beethoven: Concerto for Violin and Orchestra in D Major, Op. 61:

Free Music Notes for Mendelssohn: Violin Concerto, Op. 64 / Beethoven: Violin Concerto, Op. 61

Free Music Review: Amazing interpretations
Hit: 5 Stars

I bought this cd simply because I had no other by Mr. Bell in my library. It languished unheard because I had many other recordings of various composers played by other artists of which I thought I was more fond. On a whim one day I decided to give these 2 concerti a listen to see what was there. To say I was pleasantly astounded by both is understating.

I found that Bell of course was completely entitled to the legendary status he is widely considered to possess. His mastery of skill and brilliance of interpretation of these two standards haunts me each time I've finished playing the cd. He emotes precisely what I believe the two masters of musical genius originally intended.

The guidance of the highly talented Roger Norrington with the beautiful contrapuntal accompaniment of the Camerata Salzburg make this one of my most favorite editions of Mendelssohn and Beethoven's violin showcases I've ever heard.

How does one put the music of genius into words thst the eyes can interpret artistically? That idea is nonsensical. These works can only be understood as books for the ears. A story told as by a novelist except that these writers are musicians instead.

The grace of the Mendelssohn is brought to the forefront of the cerebral aesthetic in a manner I've seldom if ever heard before. The music here flows freely, perfectly attuned, relaxing but effervescent as Mendelssohn's works are mostly known for.

This music never offends; it moves in a way that one is not aware of the logic behind the musical strands but yet is revealed marvelously at the end of the piece.
Movement blends effortlessly into movement and Bell wonderfully offers the blend well. As a student of Beethoven's music, it is clear that Mendelssohn is Beethoven refined - as if the latter were ever possible.

Saying that Bell is only strengthened in his virtuosity in this piece by the Camerata enforces the effect of the mixture of the orchestration of the Mendelssohn with the solos Bell delivers with ease. 30 minutes is too short a time. One wants more and more of the earful taste as it were of the masterpiece as presented.

And, devoting 45 minutes of eye closing, concentration on only the music, sans other distractions, and the utter joy of understanding the total genius of the Beethoven Violin Concerto, is 45 minutes of the best life has to offer.

From the opening hushed tympani of the triumphant First Movement, the paradoxical brilliance of the French-Horn-mixed-with-Violin opening of the Second Movement and the grateful summation in the ending movement of the complex emotion of the entire work, it's clear that this will always be music at its highest artistry possible.

Beethoven states a theme, and as if capitalizing a written phrase for emphasis, repeats the theme again and again, more dramatic and more forcefully each time. Themes cascade in wondrous harmony, not downward but upward, showcasing the mastery of form Beethoven always presents for us.

Bell's violin soars to the pinnacles of the highest notes possible, ascending from the lower bass quickly or slowly, depending on the rhythm of the cadence at hand.

Themes from other works are recognizable here, just like the other works repeat similar, earlier themes - a fun trick Beethoven often pulls from his musical hat repertoire.

The first movement has it all. It stands majestic. It could on its own be the entire concerto. Bell, Norrington and the Camerata play the brilliance well.

The First and Third Movements Bell plays almost with the oompah style of Lower Germany. One hears a refreshing reading of these Movements by Bell I've heard no where else.

The Second Movement lulls in its gentle beauty. One imagines fine men and ladies of the Austrian High Courts dancing their utmost refined, tip-toeing dance duets - highest society, music fit for Princes and Dukes. Once again, Bell brings all this to the fore. And it all makes for some of the most satisfying music possible.

I gush. Other listeners will gush also after buying and hearing this cd. It is a terrific work of art. Any p;ice asked is well worth the cost of the enjoyment heard. A library is incomplete without this recording. I've become a Bell fan for life. His other cds are other stories for other future times.
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