Reissue CD Reviews
DVORAK: Violin Concerto in A Minor; MOZART: Adagio in E Major; Rondo in C Major; GLAZOUNOV: Violin Concerto in A Minor - Nathan Milstein, violin/ Minneapolis Symphony Orchestra/Antal Dorati/ RCA Victor Symphony/Vladimir Golschamann - Naxos Historical
Brilliant restorations of c.1950 recordings by thrilling violinist
Published on November 22, 2005
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DVORAK: Violin Concerto in A Minor, Op. 53; MOZART: Adagio in E
Major, K. 261; Rondo in C Major, K. 373; GLAZOUNOV: Violin Concerto in
A Minor, Op. 82 - Nathan Milstein, violin/ Minneapolis Symphony
Orchestra/Antal Dorati/ RCA Victor Symphony/Vladimir Golschmann
(Mozart)/ RCA Victor Symphony/William Steinberg (Glazounov)/
Naxos Historical 8.110975, 60:52 ****:
One of the most consistently thrilling violinists to listen to, just in terms of the sheer electric virtuosity he brought to his playing, was Nathan Milstein (1904-1992), perhaps my first great idol among fiddlers. The late critic Irving Kolodin once penned an article on Nathan Milstein called “Nathan Milstein and the 6 B’s: Bach, Beethoven, Brahms, Bruch and Better & Better.” Virtually until the end of his career, Milstein’s musical savvy and unforced seamless bravura seemed to improve, and each reconsideration of his basic repertory gained in thoughtfulness and nuance. He recorded the Dvorak Concerto with Antal Dorati for RCA on 4 March 1951, the first of several inscriptions he would make, competing only with himself for excitement and musical sympathy. When asked by interviewer Pinchas Zukerman whom Milstein regarded as the greatest conductor, Milstein unhesitatingly answered, “Furtwaengler.” “Did you play the Beethoven with him,” queried Zukerman. “No, the Dvorak,” came the curt, surprising reply.
With the brilliant restoration by Mark Obert-Thorn, the Dvorak more than regains the original luster of the LP incarnation (LM 1147); it now reveals opulent details of winds, horns, and harp, the internal Slavonic dances which infiltrate Dvorak’s part writing and whose charms Dorati is eager to elicit from the Minneapolis players. Milstein’s recordings of the non-concerto Mozart (29 March 1950) bespeak a patrician sensibility, a serene but pointed sense of the style, where the tone and often extremely fast vibrato hint at the sensuality just under the surface. The Rondo becomes a coloratura opera aria under Milstein’s lightning touch. Once the proud possessor a lovely mint LP (LM 1064) of the Adagio and Rondo, I am most grateful Mark Obert-Thorn forwarded me this Naxos incarnation. As for the Glazounov Concerto (19 February 1949), Milstein has been its most natural, magical advocate since he first played it for the composer in 1923. Milstein’s own performance of the Glazounov with William Steinberg for the Capitol label (with the Pittsburgh Symphony) set the standard for how the piece should sound. From the first entry, Milstein drives the melodic tissue forward inexorably but passionately to its pre-ordained conclusion. In its 78 rpm format, the Glazounov had the Tchaikovsky Meditation, Op. 42 as a filler, an item I hope Naxos will likewise restore, perhaps with the Tchaikovsky Concerto under Munch.
--Gary Lemco
Naxos Historical 8.110975, 60:52 ****:
One of the most consistently thrilling violinists to listen to, just in terms of the sheer electric virtuosity he brought to his playing, was Nathan Milstein (1904-1992), perhaps my first great idol among fiddlers. The late critic Irving Kolodin once penned an article on Nathan Milstein called “Nathan Milstein and the 6 B’s: Bach, Beethoven, Brahms, Bruch and Better & Better.” Virtually until the end of his career, Milstein’s musical savvy and unforced seamless bravura seemed to improve, and each reconsideration of his basic repertory gained in thoughtfulness and nuance. He recorded the Dvorak Concerto with Antal Dorati for RCA on 4 March 1951, the first of several inscriptions he would make, competing only with himself for excitement and musical sympathy. When asked by interviewer Pinchas Zukerman whom Milstein regarded as the greatest conductor, Milstein unhesitatingly answered, “Furtwaengler.” “Did you play the Beethoven with him,” queried Zukerman. “No, the Dvorak,” came the curt, surprising reply.
With the brilliant restoration by Mark Obert-Thorn, the Dvorak more than regains the original luster of the LP incarnation (LM 1147); it now reveals opulent details of winds, horns, and harp, the internal Slavonic dances which infiltrate Dvorak’s part writing and whose charms Dorati is eager to elicit from the Minneapolis players. Milstein’s recordings of the non-concerto Mozart (29 March 1950) bespeak a patrician sensibility, a serene but pointed sense of the style, where the tone and often extremely fast vibrato hint at the sensuality just under the surface. The Rondo becomes a coloratura opera aria under Milstein’s lightning touch. Once the proud possessor a lovely mint LP (LM 1064) of the Adagio and Rondo, I am most grateful Mark Obert-Thorn forwarded me this Naxos incarnation. As for the Glazounov Concerto (19 February 1949), Milstein has been its most natural, magical advocate since he first played it for the composer in 1923. Milstein’s own performance of the Glazounov with William Steinberg for the Capitol label (with the Pittsburgh Symphony) set the standard for how the piece should sound. From the first entry, Milstein drives the melodic tissue forward inexorably but passionately to its pre-ordained conclusion. In its 78 rpm format, the Glazounov had the Tchaikovsky Meditation, Op. 42 as a filler, an item I hope Naxos will likewise restore, perhaps with the Tchaikovsky Concerto under Munch.
--Gary Lemco
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