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Britten: Piano Concerto; Violin Concerto [CD]

Britten Audio CD
4.7 out of 5 stars  See all reviews (3 customer reviews)
Price: £6.74 & FREE Delivery in the UK on orders over £10. Details
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 : Includes FREE MP3 version of this album.
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Britten: Piano Concerto; Violin Concerto + Britten: Cello Symphony, Sinfonia da Requiem
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Product details

  • Audio CD (17 Mar 2003)
  • Number of Discs: 1
  • Format: CD
  • Label: Decca (UMO)
  • ASIN: B00008LJF3
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 152,631 in Music (See Top 100 in Music)

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song TitleArtist Time Price
Listen  1. Britten: Piano Concerto, Op.13 - 1. Toccata12:01Album Only
Listen  2. Britten: Piano Concerto, Op.13 - 2. Waltz 5:06£0.79  Buy MP3 
Listen  3. Britten: Piano Concerto, Op.13 - 3. Impromptu 8:06£1.09  Buy MP3 
Listen  4. Britten: Piano Concerto, Op.13 - 4. March 8:50£1.09  Buy MP3 
Listen  5. Britten: Violin Concerto, Op.15 - 1. Moderato con motoMark Lubotsky 9:16£1.09  Buy MP3 
Listen  6. Britten: Violin Concerto, Op.15 - 2. Vivace 9:18£1.09  Buy MP3 
Listen  7. Britten: Violin Concerto, Op.15 - 3. Passacaglia; Andante lento13:34Album Only


Customer Reviews

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4.7 out of 5 stars
4.7 out of 5 stars
Most Helpful Customer Reviews
9 of 10 people found the following review helpful
By Philoctetes TOP 500 REVIEWER
Format:Audio CD|Verified Purchase
I had long wanted to buy a recording of the piano concerto, but after hearing part of the violin concerto on the radio - and admiring it - I opted for this recording of Richter instead of the more recent Osborne version.

Britten's own recordings have long been held up as definitive and this coupling is no exception. Where some British composers look to France, Germany or Scandinavia for inspiration, I notice the Russian hand upon Britten's shoulder. Isn't that a quote from Prokofiev's Violin Concerto No.1 in Britten's essay? The wit, virtuosity, ironical and parodic features in Britten's exciting early works are surely a byproduct of the Prokofiev-Shostakovich-Stravinsky triad.

Personally, I wonder if the pizzicato motif for the violin isn't repeated ad nauseam, but the concerto gets better as it goes along, being very eloquent, melodic and pathetic. The Piano Concerto is a barnstorming thriller, like the Shostakovich given a boost for Prokofiev's brilliant technique and ably dispatched by Richter.

There's no better disc for getting to know these entertaining concerti, but I also strongly recommend the piano CD on Hyperion: Britten - Piano Concerto; Diversions
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1 of 1 people found the following review helpful
By I. Giles HALL OF FAME TOP 50 REVIEWER
Format:Audio CD
This disc, well recorded in 1970, pairs together Britten's only two concertos which were written towards the end of the 1930's and before there were any obvious signs of his future focus as a pre-eminent opera composer of his generation.

The piano concerto was later revised to the current version in 1945 with the original Recitative and Aria movement replaced with the Impromptu as played here. That impromptu, really a passacaglia, matched the Passacaglia last movement of the violin concerto.

Both concertos are very well played on this recording which, like most if not all of Britten's recordings, has claim to be considered a defining statement of the composer's intent. Britten was well-known as an excellent conductor of his own work. In the case of the piano concerto he has here not only a renowned virtuoso pianist to work with, but also a close friend. Naturally enough the result is one that would be hard to match let alone improve upon.

Much the same can be said about the quality of the playing in the violin concerto with Mark Lubotsky proving to be both an incisive and sensitive player of considerable technical resource. Of the two concertos, the violin concerto has been the more frequently played and the recording with Lorraine McAslan is well worth searching out although copies are hard to find these days.

I would suggest that this pair of recordings is as close to self-recommending as it is possible to be. It makes a strong case for consideration as the obvious purchase option.
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4 of 5 people found the following review helpful
4.0 out of 5 stars exciting surprise 4 April 2010
By D. Bond
Format:Audio CD
This work came as an exhilerating surprise to me - I had mainly thought of Britten's work as a bit dull. To hear such a rythmic and exciting Concerto beautifully played was A joy. The violin Concerto is exquisite, haunting melody and a swift moving work. Truely two great works for the price of one.
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 5.0 out of 5 stars  1 review
5.0 out of 5 stars A perfect coupling in arguably close to definitive performances 8 Dec 2013
By I. Giles - Published on Amazon.com
Format:Audio CD
This disc, well recorded in 1970, pairs together Britten's only two concertos which were written towards the end of the 1930's and before there were any obvious signs of his future focus as a pre-eminent opera composer of his generation.

The piano concerto was later revised to the current version in 1945 with the original Recitative and Aria movement replaced with the Impromptu as played here. That impromptu, really a passacaglia, matched the Passacaglia last movement of the violin concerto.

Both concertos are very well played on this recording which, like most if not all of Britten's recordings, has claim to be considered a defining statement of the composer's intent. Britten was well-known as an excellent conductor of his own work. In the case of the piano concerto he has here not only a renowned virtuoso pianist to work with, but also a close friend. Naturally enough the result is one that would be hard to match let alone improve upon.

Much the same can be said about the quality of the playing in the violin concerto with Mark Lubotsky proving to be both an incisive and sensitive player of considerable technical resource. Of the two concertos, the violin concerto has been the more frequently played and the recording with Lorraine McAslan is well worth searching out although copies are hard to find these days.

I would suggest that this pair of recordings is as close to self-recommending as it is possible to be. It makes a strong case for consideration as the obvious purchase option. I note that the non-imported version offers the same recordings but at a cheaper price. The reverse is true in the UK.
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