[.ca] Tchaikovsky: Violin Concerto in D; Dvorak: Romance, Op. ...

From Amazon.co.uk:
The young Itzhak Perlman was as impressively virtuoso as the more mature and thoughtful artist he has become; these first versions of the Tchaikovsky and Sibelius concertos are flashy and passionate, and none the worse for that. Both are, in a real sense, works about showing off--Tchaikovsky was creating a showcase for a performer he rather liked and Sibelius making his way in the world as a soloist--and there is something to be said for performances which remind us of that. Leinsdorf. always a generous conductor when working with soloists, gives Perlman his head; these are big performances which find the right balance between speed and delicacy. These are, after all, works in which the violin engages in dialogue with the full resources of the Romantic orchestra as an equal partner. The Dvorak Romance makes an attractive filler, intelligently placed to clear the palate between two rich works.--Roz Kaverney

vinyl:
I had a copy of this on vinyl when I was younger and I lost it. However, I then found it on CD in a store and bought it. It is undoubtedly my VERY favorite piece of music. I love the sound of a violin and I can hear the strains of the music in my head so clearly and I can't help but smile, because I have never heard a violin make such beautiful sounds as it does in the violin concerto.

Perlman's recording debut 1966:
Where have these recordings been hiding? It is hard to imagine the reason why they ever left print. Many thanks to BMG for bringing these performances back as part of the "High Performance" series. The Sibelius was Perlman's recording debut, and the Tchaikovsky was his first recording of four currently in the catalog. What a performance! The Tchaikovsky performance takes its rightful place with Vengerov/Abbado and Repin/Krivine as the best current versions in print. The first movement is taken at a breathless speed and yet it highlights Perlman's extreme virtuosity. The central movement is reflective, but not overly sentimental. The final movement is brilliant and exciting. The end is simply thrilling. The sound is very bright, as was customary for the RCA recordings from Boston in the 60's. But the Boston Symphony sounds excellent and the "High Performance" engineers are to be congratulated. The Sibelius is of a similar high quality, although I wouldn't say it approaches the best available versions. Lin/Salonen on Sony and Kennedy/Rattle on EMI both surpass Perlman. Even so it is thrilling to hear his debut recording. The Dvorak serenade is as beautifully played as I've heard, and the liner notes are excellent. A historic re-release.

One of the best Tchaikovsky versions:
I bought this cd because I am a fan of the Tchaikovsky concerto and a huge fan of Perlman. He doesn't disappoint. It is hard to imagine why this recording hasn't been available all these years. The Tchaikovsky is outstanding, with Perlman at the prime of his youth playing with real panache and flair. The sound is close with loud climaxes and the soloist close to the mic. It is now definitely one of the best versions available, better than both of Perlman's recordings with EMI. The BSO under Leinsdorf is captured well. Unfortunately the Sibelius is not so memorable. Similar to Perlman's later recording with Previn on EMI, he seems to push the first movement a little too hard with the result being a loss of feeling and mystery. I don't hear the dark, brooding quality I expect to hear in this work. Leinsdorf was not known for his Sibelius either and it shows. For the Sibelius, try Vadim Repin on Erato (also coupled with an excellent Tchaikovsky).

Auspicious Beginnings:
Though these recordings from the mid to late 60s find Perlman at the beginning of his international career, they capture well the qualities most associated with his now mature artistry: solid technique, lyricism, and continuity of line. The Perlman approach works best with the Tchaikovsky concerto in a performance that eschews pyrotechnics until the last movement. The first movement sounds unlike any other recorded version, emphasizing the thoughtful, even melancholy elements within the score. The second and third movements are more conventional in their delivery, with the eruption of the finale's high spirits more astounding given the restraint shown earlier. The Dvorak was the original disc-mate for the Tchaikovsky, and sounds lovely here. Perlman and Leinsdorf seem less interested in the Sibelius. Everything's well-executed and beautifully rendered, but this is a reading that stays on the surface, with little acknowledgement of the raging passions underneath. Perhaps most appealing about the High Performance release to those collectors familiar only with the previous Red Seal and Gold Seal releases of the Tchaikovsky and Dvorak is the refurbishment of the sound. The lps' sound was terrible - muffled and distorted. The first cd release on RCA's Papillion series miraculously cured the sonic ills, and High Performance doesn't improve much upon that earlier issue. But the Perlman/Leinsdorf/Dvorak piece is new to cd, and it may tempt some collectors to replace the Papillion with the fuller High Performance cd.

• Concerto in D, Op.35: Allegro moderato
• Concerto in D, Op.35: Canzonetta: Andante
• Concerto in D, Op.35: Finale: Allegro vivacissimo
• Romance: Romance, Op.11
• Concerto In D Minor, Op.47: Allegro moderato
• Concerto In D Minor, Op.47: Adagio di molto
• Concerto In D Minor , Op.47: Allegro, ma non troppo