33 of 36 people found the following review helpful
on 3 June 2004
This recording is incredibly clear and distinguished in terms of conducting, as well as perfectly played by violinist Perlman. All aspects of the orchestra are blended wonderfully, the bassoon in the finale was impressive - a very smooth delivery without forcing it's delivery in the slightest. This version is the definitive one. I find no faults with it, whereas the EMI version with Yehudi Menuhin lacks the punch and consistency of this marvellous recording
21 of 24 people found the following review helpful
on 26 March 2006
In my opinion it is very difficult to identify one version of a work as great as this . Different interpretations can tell you so much more about a work .
That said this marvellous recording from the early 1980s was my introduction to a 25 year long love affair with this piece . Perlman spins tone of gold whilst also allowing introspection in the slow movement .
That said I wouldn't be without Menuhin/Furtwangler on Testament, Oistrakh/Cluytens on EMI or Hilary Hahn on Sony either
8 of 9 people found the following review helpful
on 23 February 2009
I had this recording on a tape cassette that I wore out. I think it is one of the finest examples of expressive virtuosity available. The emotional quality combined with astounding technique is what we expect from Perlman, and we are not disappointed.
1 of 1 people found the following review helpful
on 10 January 2012
Rousing, emotional, uplifting. Sophisticated yet an unchallenging listen.
Admittedly I have not listened to other recordings but when EMI say 'Recording of the Century' I don't doubt them for a second. I have about 50 good or very good classical music cds and this is one of the best. Apologies for the non-technical review - I know what a cadenza is for example, but I won't be critiquing the finer details of the performance!
I am playing it on a £5K hifi - yes it can make things sound great but the resolution is such that excessive hiss or other noise would come through clearly if present. I must say the remaster is remarkably good. What you don't need a particularly special system to appreciate is Perlman's sweet, sonorous and touching sound. Just be swept away by 45 minutes of pure pleasure through all 3 movements.
I remember that this recording made quite a splash when it came out in 1981, but being content with Grumiaux, Schneiderhan, and Francescatti in those days, I didn't bother buying it. Now, I pick it up used for $2.00 (really), and I'm glad I did. The recording lacks the refinement of some later digital recordings, but it has plenty of presence, and the balance, while slightly favoring the violin, is fine. The weight and texture of the orchestral playing comes through, and Giulini conducts with rock-solid rhythmic steadiness while also enabling us to hear the different sections of the orchestra as they come into prominence in support of the soloist throughout. There's a Klemperer-like steadiness to it, and on that basis, Perlman gives an account of the solo part that marries muscularity and poetry very engagingly. The solo playing is always alive, with adjustments to dynamics and tempo (never extreme) that keep the listener's ear engaged. For all the muscularity at times, there is nothing mechanical or driven about the playing, and Giulini is most responsive to Perlman's expressive phrasing. The wit of the finale -- its sense of fun -- is well-caught, and the Kreisler cadenzas are athletically dispatched. In the playing of Grumiaux and Schneiderhan, there's a vein of sublimity in the slow movement that we don't find with Perlman, but in every other respect this is an excellent reading.
NOTE: The most recent re-issue of this recording couples it with Perlman's account of the Mendelssohn concerto (with Previn conducting). I haven't heard the Mendelssohn, but obviously that reissue is much better value for the money, unless you can pick up the Beethoven very cheaply, as I was fortunate enough to do. There has also been remastering, so the reissue's sound might be even better than the original.