Perlman/Giulini: Brahms Violin Concerto Op. 77 - EMI 1C 063-02 899 Q, as new

$

29

redgarnett Store ITEM DESCRIPTION:

This handsome gatefold LP from French EMI (1C 063-02 899 Q / SQ · Quadrophonie, French pressing, colored postage stamp label, stereo) features Itzakh Perlman's leonine account of Brahms's Violin Concerto in D Major Op. 77, recorded at Medinah Temple, Chicago on 30 November and 1 December 1976 with conductor Carlo Maria Giulini conducting the mighty Chicago Symphony Orchestra – one of the great recordings of this work and one of Perlman's more daring interpretative efforts, brilliantly realized in every way.

Of EMI’s “Masters” CD release of this performance (paired with Perlman and Barenboim’s account of Dvorak’s Violin Concerto) the superb critic Jonathan Woolf wrote for MusicWeb-International:

“These are long admired recordings, the coupling of which makes sense given that both composers turned to Joseph Joachim as soloist, though he famously declined to play the Dvo?ák. The fact that they were written almost contemporaneously only adds to the aptness.

 
“I’m sure readers will have their own views on the matter by now, given that these recordings are now well over thirty years old, but for those yet to experience them a few pointers will be in order. The Brahms is by far the more contentious performance. One’s appreciation will depend on how one views the rather expansive tempo set by the conductor in the first movement, one in which the soloist acquiesces. There is a very elastic sense of sometimes dark-hued lyricism in this reading, one that offers its own rather compelling view of a movement often taken in muscular fashion. The limitation of this approach is a sagging of tension, phrase ends trailing off, and moments where – to take one particular example – orchestral pizzicati sound sedentary rather than rhythmically supportive of the solo line. Melancholy is not far from the surface of this reading, but of a rather lateral kind. Certainly the cadenza is splendidly realised, and after it Perlman’s approach is the essence of sustained introspection, one that barely summons the will to proceed; all beautifully and inimitably executed by this masterful musician. Refined textures permeate the slow movement and, as Duncan Druce notes in his booklet notes, Perlman’s vibrato usage is perfectly deployed. When lesser musicians use such movements as opportunities exhaustingly to vary the speed and weight of their vibrato it can disturb the line; with Perlman everything is subtle and apposite and highly developed. The finale is buoyant but could perhaps be more so, although it possesses resilience. It is certainly consonant with Giulini’s measured and grave approach throughout.”

This recording was produced by Christopher Bishop and engineered by Christopher Parker.

Incidentally, there are fine liner notes on the reverse side of the jacket, provided in both English and German, by R. Kinloch Anderson. The striking cover photo of Perlman and Giulini was taken by Christian Steiner, New York.

Incidentally, there are fine liner notes on the interior panels of the gatefold jacket, provided in both French (by Jean-Jacques Normand) and in English (by R. Kinloch Anderson). The striking cover photo of Perlman and Giulini was taken by Christian Steiner, New York.

CONDITION:

The gradations of condition I use are as follows: MINT, Near-Mint, Excellent, Very Good, Good, Fair, Poor.

The condition of the jacket is near-MINT. Really there are no flaws to speak of and the album appears virtually as new – overall, a lovely collector's copy.

The condition of the LP is near-MINT and playback is superb – overall, a truly fine collector's copy.

PLEASE NOTE:
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