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Product details
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Track Listings
| 1. Vorspiel (Allegro Moderato) |
| 2. Adagio |
| 3. Finale (Allegro Energico) |
| 4. I: Allegro non troppo |
| 5. II: Adagio |
| 6. III: Allegro giocoso, ma non troppo vivace - poco più presto |
Product Description
CD Description
Sarah Chang has recorded the Brahms Violin Concerto with Kurt Masur and the Dresdner Philharmonie. Two decades after first learning the concerto, and following several years of studying the work with Kurt Masur, she felt the time was finally right to commit to disc one of the summits of a violinist’s recording career. EMI Classics release this recording, which couples the Brahms with the ever-popular Bruch G minor concerto.
Sarah Chang is recognised as one of today’s most captivating and gifted performers, possessed of astonishing musical insight, technical virtuosity and emotional range. She has recorded exclusively for EMI Classics from the beginning of her career and has produced a discography that includes the violin concertos of Mendelssohn, Tchaikovsky, Dvorák, Paganini No. 1, Prokofiev No. 1, Shostakovich No. 1, Goldmark, Sibelius, Richard Strauss and Vieuxtemps No. 5 as well as Vivaldi’s Four Seasons, Lalo’s Symphonie espagnole, Saint-Saëns’s Havanaise and Introduction and Rondo Capriccioso and chamber music by Dvorák, Tchaikovsky, Franck, Ravel and Saint-Saëns.
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Customer Reviews
Most Helpful Customer Reviews
6 of 6 people found the following review helpful
Format:Audio CD
Sarah Chang's most recent release proves to be the most appealing and enjoyable for this listener. The Bruch and Brahms concertos appear here in an infrequent coupling with the soloist teamed with Dresden's Philharmonie and Kurt Masur.
The strongest point of this entire disc that jumps immediately on the first hear is the beautiful sound of the Dresden Phil: the entire sound worlds of the strings, winds, brass, and percussion are quite homogeneous in their union with an impressive breadth of sound textures and characters. The fluidity of the pacing and variance in colors and forward vs. subdued 'lighting' is absolutely wonderful. It is unknown how much of this was specifically due Masur's direction or whether the orchestra already possessed and voiced its own 'sixth sense' in the realm of concerto accompaniment. Bravi to the ensemble and Masur.
Sarah Chang's playing for me has remained impressively consistent through all the years of her career for the overall feelings of 'solidness and loudness' that are always conveyed in whichever repertoire she performs. She is remarkable for her command of execution and again, consistent delivery of incredible violin-playing. Yehudi Menuhin was certainly on-the-mark in his oft-quoted praise of her as the 'most perfect violinist'. Chang's performances on disc and in the concert-hall are close in resembling each other: she exudes an almost pre-meditated command of the piece that she plays with such a solid 'weight' that remains so firmly adherent to the ground. This is not to say Chang's playing is sluggish, yet her overall aura has always conveyed the aural sensation of fortissimo projection and a purposeful bow that usually stays 'earthbound' on the violin's strings.
This present recording, however, deviates somewhat from the above traits of Chang's identity as a violinist. The Bruch concerto is expressed more romantically than the Brahms; she performs the Brahms, especially the finale, in more of her usual mode of 'solid-weighted violinism'.
In the Bruch, she is more fluid with her emotions and pacing with rubato and a beautiful legato line that ceases to betray any bow-changes. Vibrato is more varied in its speed and width here than in other recordings where she has frequently made one feel that she is applying a single wide vibrato to all passages like a prime coat of paint. Articulation and acrobatics with the bow are clear without any doubt to what she is intending to say musically. The Bruch is perhaps the most convincing because I found myself less conscious or aware of Chang's technical execution of the piece and more in rapport with the music and its drama.
Chang's first Brahms concerto recording also offers clear musicality of her reading of this most grand of violin works. I enjoyed the first and second movements the most where Chang's 'solid' and loud persona are most facilitative of delivering the first 35 minutes of Brahms' masterpiece. Her rapport with the Dresden unfolds naturally and Masur's pacing of the tutti's prevents the entire performance from emulating the soloist's 'thickness' of sound and expressive temperament. The collaboration is clearly presenting the work as a concerto-symphony as inherent in Brahms' scoring and architecture of his concerto.
However, there are contrasting elements of light vs shade, tranquility/serenity vs sturm/drang, amiable warmth vs searing rage and 'public vs distant' moods that do not quite find voice in Chang's performance. These components can sum to deliver a 'living' performance of the concerto that should communicate senses of mystery, romance, build-up/release of tension and musical melodrama that reflect Brahms' humility and vulnerability. The finale is a beautiful execution of virtuoso bow feats but remains flat and less giocoso such that the contrast and dramatic release from the first two movements cannot be fully realized nor enjoyed.
In sum, these performances are positive testaments to add to Chang's discography. I heard her perform the Brahms in Houston ten years ago - her overall interpretation has not changed much to the present recording, however her musical expressiveness has flowered more and makes this release enjoyable.
The strongest point of this entire disc that jumps immediately on the first hear is the beautiful sound of the Dresden Phil: the entire sound worlds of the strings, winds, brass, and percussion are quite homogeneous in their union with an impressive breadth of sound textures and characters. The fluidity of the pacing and variance in colors and forward vs. subdued 'lighting' is absolutely wonderful. It is unknown how much of this was specifically due Masur's direction or whether the orchestra already possessed and voiced its own 'sixth sense' in the realm of concerto accompaniment. Bravi to the ensemble and Masur.
Sarah Chang's playing for me has remained impressively consistent through all the years of her career for the overall feelings of 'solidness and loudness' that are always conveyed in whichever repertoire she performs. She is remarkable for her command of execution and again, consistent delivery of incredible violin-playing. Yehudi Menuhin was certainly on-the-mark in his oft-quoted praise of her as the 'most perfect violinist'. Chang's performances on disc and in the concert-hall are close in resembling each other: she exudes an almost pre-meditated command of the piece that she plays with such a solid 'weight' that remains so firmly adherent to the ground. This is not to say Chang's playing is sluggish, yet her overall aura has always conveyed the aural sensation of fortissimo projection and a purposeful bow that usually stays 'earthbound' on the violin's strings.
This present recording, however, deviates somewhat from the above traits of Chang's identity as a violinist. The Bruch concerto is expressed more romantically than the Brahms; she performs the Brahms, especially the finale, in more of her usual mode of 'solid-weighted violinism'.
In the Bruch, she is more fluid with her emotions and pacing with rubato and a beautiful legato line that ceases to betray any bow-changes. Vibrato is more varied in its speed and width here than in other recordings where she has frequently made one feel that she is applying a single wide vibrato to all passages like a prime coat of paint. Articulation and acrobatics with the bow are clear without any doubt to what she is intending to say musically. The Bruch is perhaps the most convincing because I found myself less conscious or aware of Chang's technical execution of the piece and more in rapport with the music and its drama.
Chang's first Brahms concerto recording also offers clear musicality of her reading of this most grand of violin works. I enjoyed the first and second movements the most where Chang's 'solid' and loud persona are most facilitative of delivering the first 35 minutes of Brahms' masterpiece. Her rapport with the Dresden unfolds naturally and Masur's pacing of the tutti's prevents the entire performance from emulating the soloist's 'thickness' of sound and expressive temperament. The collaboration is clearly presenting the work as a concerto-symphony as inherent in Brahms' scoring and architecture of his concerto.
However, there are contrasting elements of light vs shade, tranquility/serenity vs sturm/drang, amiable warmth vs searing rage and 'public vs distant' moods that do not quite find voice in Chang's performance. These components can sum to deliver a 'living' performance of the concerto that should communicate senses of mystery, romance, build-up/release of tension and musical melodrama that reflect Brahms' humility and vulnerability. The finale is a beautiful execution of virtuoso bow feats but remains flat and less giocoso such that the contrast and dramatic release from the first two movements cannot be fully realized nor enjoyed.
In sum, these performances are positive testaments to add to Chang's discography. I heard her perform the Brahms in Houston ten years ago - her overall interpretation has not changed much to the present recording, however her musical expressiveness has flowered more and makes this release enjoyable.
1 of 2 people found the following review helpful
Format:Audio CD
Utterly sublime performance, good quality recording
I know this piece well, but the instrument Ms Chang uses must be very special, it has a depth to the timbre which is wonderful to hear.
I know this piece well, but the instrument Ms Chang uses must be very special, it has a depth to the timbre which is wonderful to hear.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
9 reviews
7 of 7 people found the following review helpful
Surprising Sarah: Brahms and Bruch
7 Mar 2010
Format:Audio CD
Sarah Chang's most recent release proves to be the most appealing and enjoyable for this listener. The Bruch and Brahms concertos appear here in an infrequent coupling with the soloist teamed with Dresden's Philharmonie and Kurt Masur.
The strongest point of this entire disc that jumps immediately on the first hear is the beautiful sound of the Dresden Phil: the entire sound worlds of the strings, winds, brass, and percussion are quite homogeneous in their union with an impressive breadth of sound textures and characters. The fluidity of the pacing and variance in colors and forward vs. subdued 'lighting' is absolutely wonderful. It is unknown how much of this was specifically due Masur's direction or whether the orchestra already possessed and voiced its own 'sixth sense' in the realm of concerto accompaniment. Bravi to the ensemble and Masur.
Sarah Chang's playing for me has remained impressively consistent through all the years of her career for the overall feelings of 'solidness and loudness' that are always conveyed in whichever repertoire she performs. She is remarkable for her command of execution and again, consistent delivery of incredible violin-playing. Yehudi Menuhin was certainly on-the-mark in his oft-quoted praise of her as the 'most perfect violinist'. Chang's performances on disc and in the concert-hall are close in resembling each other: she exudes an almost pre-meditated command of the piece that she plays with such a solid 'weight' that remains so firmly adherent to the ground. This is not to say Chang's playing is sluggish, yet her overall aura has always conveyed the aural sensation of fortissimo projection and a purposeful bow that usually stays 'earthbound' on the violin's strings.
This present recording, however, deviates somewhat from the above traits of Chang's identity as a violinist. The Bruch concerto is expressed more romantically than the Brahms; she performs the Brahms, especially the finale, in more of her usual mode of 'solid-weighted violinism'.
In the Bruch, she is more fluid with her emotions and pacing with rubato and a beautiful legato line that ceases to betray any bow-changes. Vibrato is more varied in its speed and width here than in other recordings where she has frequently made one feel that she is applying a single wide vibrato to all passages like a prime coat of paint. Articulation and acrobatics with the bow are clear without any doubt to what she is intending to say musically. The Bruch is perhaps the most convincing because I found myself less conscious or aware of Chang's technical execution of the piece and more in rapport with the music and its drama.
Chang's first Brahms concerto recording also offers clear musicality of her reading of this most grand of violin works. I enjoyed the first and second movements the most where Chang's 'solid' and loud persona are most facilitative of delivering the first 35 minutes of Brahms' masterpiece. Her rapport with the Dresden unfolds naturally and Masur's pacing of the tutti's prevents the entire performance from emulating the soloist's 'thickness' of sound and expressive temperament. The collaboration is clearly presenting the work as a concerto-symphony as inherent in Brahms' scoring and architecture of his concerto.
However, there are contrasting elements of light vs shade, tranquility/serenity vs sturm/drang, amiable warmth vs searing rage and 'public vs distant' moods that do not quite find voice in Chang's performance. These components can sum to deliver a 'living' performance of the concerto that should communicate senses of mystery, romance, build-up/release of tension and musical melodrama that reflect Brahms' humility and vulnerability. The finale is a beautiful execution of virtuoso bow feats but remains flat and less giocoso such that the contrast and dramatic release from the first two movements cannot be fully realized nor enjoyed.
In sum, these performances are positive testaments to add to Chang's discography. I heard her perform the Brahms in Houston ten years ago - her overall interpretation has not changed much to the present recording, however her musical expressiveness has flowered more and makes this release enjoyable.
The strongest point of this entire disc that jumps immediately on the first hear is the beautiful sound of the Dresden Phil: the entire sound worlds of the strings, winds, brass, and percussion are quite homogeneous in their union with an impressive breadth of sound textures and characters. The fluidity of the pacing and variance in colors and forward vs. subdued 'lighting' is absolutely wonderful. It is unknown how much of this was specifically due Masur's direction or whether the orchestra already possessed and voiced its own 'sixth sense' in the realm of concerto accompaniment. Bravi to the ensemble and Masur.
Sarah Chang's playing for me has remained impressively consistent through all the years of her career for the overall feelings of 'solidness and loudness' that are always conveyed in whichever repertoire she performs. She is remarkable for her command of execution and again, consistent delivery of incredible violin-playing. Yehudi Menuhin was certainly on-the-mark in his oft-quoted praise of her as the 'most perfect violinist'. Chang's performances on disc and in the concert-hall are close in resembling each other: she exudes an almost pre-meditated command of the piece that she plays with such a solid 'weight' that remains so firmly adherent to the ground. This is not to say Chang's playing is sluggish, yet her overall aura has always conveyed the aural sensation of fortissimo projection and a purposeful bow that usually stays 'earthbound' on the violin's strings.
This present recording, however, deviates somewhat from the above traits of Chang's identity as a violinist. The Bruch concerto is expressed more romantically than the Brahms; she performs the Brahms, especially the finale, in more of her usual mode of 'solid-weighted violinism'.
In the Bruch, she is more fluid with her emotions and pacing with rubato and a beautiful legato line that ceases to betray any bow-changes. Vibrato is more varied in its speed and width here than in other recordings where she has frequently made one feel that she is applying a single wide vibrato to all passages like a prime coat of paint. Articulation and acrobatics with the bow are clear without any doubt to what she is intending to say musically. The Bruch is perhaps the most convincing because I found myself less conscious or aware of Chang's technical execution of the piece and more in rapport with the music and its drama.
Chang's first Brahms concerto recording also offers clear musicality of her reading of this most grand of violin works. I enjoyed the first and second movements the most where Chang's 'solid' and loud persona are most facilitative of delivering the first 35 minutes of Brahms' masterpiece. Her rapport with the Dresden unfolds naturally and Masur's pacing of the tutti's prevents the entire performance from emulating the soloist's 'thickness' of sound and expressive temperament. The collaboration is clearly presenting the work as a concerto-symphony as inherent in Brahms' scoring and architecture of his concerto.
However, there are contrasting elements of light vs shade, tranquility/serenity vs sturm/drang, amiable warmth vs searing rage and 'public vs distant' moods that do not quite find voice in Chang's performance. These components can sum to deliver a 'living' performance of the concerto that should communicate senses of mystery, romance, build-up/release of tension and musical melodrama that reflect Brahms' humility and vulnerability. The finale is a beautiful execution of virtuoso bow feats but remains flat and less giocoso such that the contrast and dramatic release from the first two movements cannot be fully realized nor enjoyed.
In sum, these performances are positive testaments to add to Chang's discography. I heard her perform the Brahms in Houston ten years ago - her overall interpretation has not changed much to the present recording, however her musical expressiveness has flowered more and makes this release enjoyable.
11 of 14 people found the following review helpful
Virtuosic Chang!
19 Nov 2009
Format:Audio CD
I've been a fan of Sarah Chang for a quiet a while and it was a huge delight to find out that she had recorded two of the most popular concertos of the violin repertoire, accompanied by the exceptional team of Kurt Masur and the Dresden Philharmonic Orchestra. I have had the privilege to hear Sarah perform these concertos live so to have this recording part of my collection is a huge delight. Sarah's captivating live performance is brilliantly captured in this studio recording. You can hear Sarah's technical virtuosity as well as emotional range flow out of your stereo system. For a work that requires so much emotional depth, so much stamina and a lot of musical knowledge, Sarah Chang accomplishes such feats in this brilliant recording.
3 of 3 people found the following review helpful
Demanding and intense-- but still beautiful and elegant
10 July 2010
Format:Audio CD
This is definitely not a CD for a casual listen or for sensational reaction. The negative reactions from a couple of reviewers are understandable as it does seem like Sarah & Mazur did not try to grab the listeners' attention. Rather, they are in sort of an inner dialogue with the music themselves. But rather than Sarah taking a listless walk in the park, it feels to me more like Sarah taking a mindful walk in the park and could not quite decide whether she should invite the listeners along.
Of the two pieces included in this CD, I think the Bruch recording is not as impressive as the Brahms concerto. The latter is very well done! I am pleasantly surprised by how well Sarah and Mazur work together here. The orchestra came alive from the first note, and carries its weight in perfect balance throughout the piece -- as it always should be with Brahms' concertos. Sarah cooperates with the orchestra in such a way that their performance complements and calls out to each other. If there is an alleged "lack of personality" in Sarah's performance, it's probably motivated by a humility in face of such a great piece of music, which I rather suspect Brahms himself would approve.
Overall, the solo violin's timbre in this recording is not a soothing one, but the depth of interpretation is unquestionable. The "harshness" does take a little getting used to, but the restrained elegance and the focused striving for perfection more than compensate for it. And for a listener who is willing to lay down the expectations of sensationalism in the romantic pieces, s/he will be rewarded with a satisfying reading of Brahms' great violin concerto in this recording.
Of the two pieces included in this CD, I think the Bruch recording is not as impressive as the Brahms concerto. The latter is very well done! I am pleasantly surprised by how well Sarah and Mazur work together here. The orchestra came alive from the first note, and carries its weight in perfect balance throughout the piece -- as it always should be with Brahms' concertos. Sarah cooperates with the orchestra in such a way that their performance complements and calls out to each other. If there is an alleged "lack of personality" in Sarah's performance, it's probably motivated by a humility in face of such a great piece of music, which I rather suspect Brahms himself would approve.
Overall, the solo violin's timbre in this recording is not a soothing one, but the depth of interpretation is unquestionable. The "harshness" does take a little getting used to, but the restrained elegance and the focused striving for perfection more than compensate for it. And for a listener who is willing to lay down the expectations of sensationalism in the romantic pieces, s/he will be rewarded with a satisfying reading of Brahms' great violin concerto in this recording.
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