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Piano, Cello Concertos (Zukerman)
 
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Piano, Cello Concertos (Zukerman)

Camille Saint-Saens Audio CD


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Amazon.com:  6 reviews
5 of 5 people found the following review helpful
Reference performance by Zukerman 22 July 2008
By Nehemia Velvart - Published on Amazon.com
Format:Audio CD|Amazon Verified Purchase
The performance of the Introduction and Rondo Capriccioso for violin and Orchestra by Pinchas Zukerman is the very best recording I've heard of this piece ever (I have heard over 20 recordings); it is the reason I purchased this CD and it is truly a collector's jewel of a performance.

All the concertos are decent performances and excellently recorded.
best recordings of piano concertos 2 and 4, and a real bargain 28 April 2012
By John K. Gayley - Published on Amazon.com
Format:Audio CD
Hard to beat this. There are numerous recordings of the piano concerti, many of them (Collard, Licad, etc) very very good. I still think Entremont has them beat in these two. The Zukerman rendition of the Introduction and Rondo is top notch, as is the Rose interpretation of the cello concerto. The sonics, (while not 2012 standards) are fine for anyone except obsessive audiophiles.

So what's at risk? Not much. 75+ minutes of great music at a bargain price, rendered by people who lived and breathed it. A criminally inexpensive introduction to the flashy artistry of Saint Saens' concerto writing.
2 of 4 people found the following review helpful
Two winners and a disappointed performance! 30 Oct 2005
By Hiram Gomez Pardo - Published on Amazon.com
Format:Audio CD
Though I am not a consequent of Entremont 's style, I must acknowledge Entremont was in very good shape, those evenings with Ormandy and the Philadelphia Orchestra, specially with the Fourth Concerto. He caught the required élan and marked bourgeois style, with the adequate bright sound, so typical of the French Orchestras. Of course, the hitherto per excellence still belongs to Robert Casadesus who in recorded an admirable performance under Rodzinski in a live performance still available.

I have problems with the second Concerto who finds in Jean Marie Darré and Artur Rubinstein their most remarkable performers to date. Entremont employs excessively the pedal and confers the Concerto a certain dryness and rhythmic untidiness, that joined with a glassy sound of the Orchestra really draws badly the whole meaning of the piece which, somehow would seem to coincide with Oscar Levant when affirmed about this work: "It starts like Bach and concludes like Offenbach."

Fortunately Leonard Rose saves the game with his fabulous approach of the Cello Concerto.

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