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MU 1168
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MU 1168
Milstein, Nathan: Art of Nathan Milstein (The) - BRUCH, M. / BACH, J.S. / BRAHMS, J. / BEETHOVEN, L. van / LALO, E. (1955-1963)

Milstein, Nathan: Art of Nathan Milstein (The) - BRUCH, M. / BACH, J.S. / BRAHMS, J. / BEETHOVEN, L. van / LALO, E. (1955-1963)

The Classical Shop
release date: August 2013

Originally recorded in 2013

Artists:

ORTF Philharmonic Orchestra

Orchestra

Concertgebouw Orchestra

Orchestra

Eugene Ormandy

Conductor

Andre Cluytens

Conductor

Antal Dorati

Conductor

Istvan Kertesz

Conductor

audience

Ensemble

Nathan Milstein

Soloist

audience

Chamber

Venue:

Montreux

Venue

Record Label
Music and Arts

Genre:

Orchestral & Concertos


Classical

Total Time - 141:47
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Milstein, Nathan: Art of Nathan Milstein (The) - BRUCH, M. / BACH, J.S. / BRAHMS, J. / BEETHOVEN, L. van / LALO, E. (1955-1963)

     
 

MAX BRUCH

 

Violin Concerto No. 1 in G minor, Op. 26

 


Select Complete Single Disc for
1 Violin Concerto No. 1 in G Minor, Op. 26: I. Prelude - Allegro moderato 8:08
2 Violin Concerto No. 1 in G Minor, Op. 26: II. Adagio 8:32
3 Violin Concerto No. 1 in G Minor, Op. 26: III. Finale - Allegro energico 6:47
 Nathan Milstein Soloist
 Antal Dorati Conductor
     
 

NA NOT APPLICABLE

4 

Applause

0:23
  audience Ensemble
     
 

JOHANN SEBASTIAN BACH

 

Violin Concerto in A minor, BWV 1041

 
5 Violin Concerto in A Minor, BWV 1041: I. Allegro 3:50
6 Violin Concerto in A Minor, BWV 1041: II. Andante 6:21
7 Violin Concerto in A Minor, BWV 1041: III. Allegro assai 3:55
 Nathan Milstein Soloist
 Antal Dorati Conductor
     
 

NA NOT APPLICABLE

8 

Applause

0:22
  audience Ensemble
     
 

JOHANNES BRAHMS

 

Violin Concerto in D major, Op. 77

 
9 Violin Concerto in D Major, Op. 77: I. Allegro non troppo 20:18
10 Violin Concerto in D Major, Op. 77: II. Adagio 9:03
11 Violin Concerto in D Major, Op. 77: III. Allegro giocoso, ma non troppo vivace 7:55
 Nathan Milstein Soloist
 Istvan Kertesz Conductor
     
 

NA NOT APPLICABLE

12 

Applause

0:16
  audience Ensemble
     


Select Complete Single Disc for
     
     
 

LUDWIG VAN BEETHOVEN

 

Violin Concerto in D major, Op. 61

 
1 Violin Concerto in D Major, Op. 61: I. Allegro ma non troppo 22:07
2 Violin Concerto in D Major, Op. 61: II. Larghetto 9:52
3 Violin Concerto in D Major, Op. 61: III. Rondo - Allegro 8:56
 Nathan Milstein Soloist
 Eugene Ormandy Conductor
     
 

NA NOT APPLICABLE

4 

Applause

0:08
  audience Ensemble
     
 

EDOUARD LALO

 

Symphonie espagnole, Op. 21

 
5 Symphonie espagnole, Op. 21: I. Allegro non troppo 7:31
6 Symphonie espagnole, Op. 21: II. Scherzando - Allegro molto 3:56
7 Symphonie espagnole, Op. 21: IV. Andante 6:25
8 Symphonie espagnole, Op. 21: V. Rondo - Allegro 6:46
 Nathan Milstein Soloist
 Andre Cluytens Conductor
     
 

NA NOT APPLICABLE

9 

Applause

0:16
  audience Ensemble
     


Milstein enjoyed a long-standing relationship with the concertos in this collection. In fact, except for Brahms’s, he included them explicitly in the short list of the greatest works in his autobiography, From Russia to the West. He expressed reservations about Bach’s Concertos, which he thought belonged under the heading of chamber music; and he placed Beethoven’s Concerto first, divining in it a spiritual message that had somehow sprung out of thin air. He agreed with early critics who considered Bruch’s Concerto a better work than Brahms’s, despite its being somewhat uneven in inspiration and suffering {like all Bruch’s concerted works for the violin] from an inferior finale. He accepted Tchaikovsky’s word for the merit of Lalo’s Symphonie-although it’s clear that he also warmed to it personally. He recorded all of these concertos several times in the studio, some more than once.
 
More often than not, broadcasts and live performances of artists who made many studio recordings represent them as possessing qualities and characteristics distinctly different from those of an editor’s air-brushed and reassembled studio portrait. But in Milstein’s case, the live performances seem equally flattering, if not more so. At the very least, they reveal the injustice of dismissing him as simply a violinist’s violinist. He had in his lyre a string for every occasion, even if he reserved the use of that lyre for music-and occasions- of his choosing. But though he may not have been a man for quite all seasons, all seasons flattered him.
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