Jun 11

The Bolshoi Experience: Highlights from Russian Operas, Vol. 1 – Soloists, Chorus & Orchestra of the Bolshoi Theatre Moscow, Alexander Vedernikov (2006)
DSD64 (.dsf) 1 bit/2,82 MHz | Time – 01:15:38 minutes | 3,00 GB | Genre: Classical
Official Digital Download – Source: nativeDSDmusic | Digital Booklet | © Pentatone Music B.V.
Recorded: Moscow, November 2005 & February 2006

Alexander Vedernikov leads the orchestra, soloists and chorus of the Bolshoi Theatre in Moscow on this first volume of Highlights From Russian Operas, including works by Tchaikovsky, Rachmaninov, Glinka and others.

“Now here comes a compilation of excerpts from the present generation of Bolshoi artists, recorded less than a year ago in stunning SACD sound, rendering an impressive realism to the performances. The chorus and orchestra, always among the top contenders in the operatic world, are heard in their full glory with magnificent brass and silken strings. The chorus includes excellent voices, less vibrato-laden than earlier incarnations and with a punch that makes the Polovtsian dances really thrilling…There is an essay on the music in three languages and several fine colour photos from Bolshoi stagings but no texts. Playing time is generous and I wouldn’t mind a second issue, covering operas that are not included here and giving another opportunity to hear some of these singers again and maybe some others from the Bolshoi roster.” –Göran Forsling, Music Web

“This co-production of the Bolshoi Theatre (the word translates as “Great”) and Pentatone brings a sampling of the typical opera-goers’ experience in one of the great world centres of opera. And in exemplary surround sonics instead of the awful sound of Soviet-ear recordings or the so-so sound of many more recent Russian efforts….The last selection is one of the most energetic and dramatic versions of the orchestral Polovtsian Dances I’ve ever heard – making a grand audiophile wrap up to an interesting survey of the Bolshoi Experience.  The acoustics of the huge venue are excellent and the 5.0 surround recreates them with much realism.” –John Sunier, Audiophile Audition

Mikhail Glinka (1804-1857)
A Life for the Czar
1 Act 2: Bog vojnyi posle bitv… (After the battle the god of war) – Polonaise and chorus 4.39
2 Act 4: Tchujut pravdu! (They sense the truth!) – Ivan Susanin’s aria 5.08
Vladimir Matorin – bass

Alexander Dargomizhsky (1813-1869)
3 Act 3: Nevol’no k etim grustnyim beregam.. (Some unknown power) – Prince’s cavatina 6.00
4 Act 3: Chto eto znachit? (What does this mean?) – Mad scene 11.39
Mikhail Gubsky (Prince) – tenor; Alexander Naumenko (Miller) – bass; Male chorus

Peter Ilyich Tchaikovsky (1840-1893)
5 Net, charyi lask krasyi myatezhnoj… (No, the charms of a voluptuous beauty)(Vaudémont’s Romance) 4.14
Vsevolod Grivnov – tenor
Pique Dame (Queen of Spades)
6 Act 3: Uzh polnoch blizitsya (It is close on midnight already) – Lisa’s aria 5.14
Elena Zelenskaya – soprano
7 Act 2: O Marija, Marija – Mazeppa’s arioso 5.12
Yuri Nechaev – baritone

Sergei Rachmaninov (1873-1943)
8 Volšébnoy síloy pesnopén’ya (The magic power of song) – Old Gipsy’s Story 5.25
Taras Shtonda – bass; Male chorus

Alexander Borodin (1833-1887)
Prince Igor
9 Act 2: Ni sna ne otdykha (No sleep no rest) Prince Igor’s aria (orch. Rimsky-Korsakov) 6. 53
10 Act 2: Zdorov li, knyaz? (Are you in good health, Prince?) Konchak’ s aria 6.31
11 Act 2: Gey, privesti syuda! (Hey, bring the captive girls here!) Recitativo (orch. Rimsky-Korsakov) 2. 57
12 Act 2: Polovtsian Dances 11. 40
Yuri Nechaev (Prince Igor) – baritone; Valery Gilmanov (Konchak) – bass; Chorus

Soloists, Chorus & Orchestra of the Bolshoi Theatre Moscow
Alexander Vedernikov, conductor

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Jun 11

The Bolshoi Experience: Highlights from Russian Operas, Vol. 2 – Soloists, Chorus & Orchestra of the Bolshoi Theatre Moscow, Alexander Vedernikov (2009)
DSD64 (.dsf) 1 bit/2,82 MHz | Time – 01:00:14 minutes | 2,38 GB | Genre: Classical
Official Digital Download – Source: nativeDSDmusic | Digital Booklet | © Pentatone Music B.V.
Recorded: Moscow, November 2005 & February 2006

Traditionally, since the middle of the 18th century, Russian opera had been influenced by the Italians, just as the music world as a whole had been strongly oriented towards that country during the empire of the czars. For Russian composers, this meant that they have to battle incessantly for the recognition of their musical identity, which was not surprising in a country where many prominent families felt more at home speaking French than Russian. In his operas A Life for the Czar (1836), and Ruslan and Lyudmila (1841), Michael Glinka laid a foundation for the national opera culture, and Alexander Dargomishky  followed his example. However, their music was still strongly influenced by foreign works; the torch was then taken over by Alexander Borodin and a few others, who grouped together under the name Moguchaya Kuchka (the ‘mighty handful’). Their main objective was to develop an authentic idiom, based on Russian folklore music. In addition, they strove to create a high degree of realism in the music drama. They were successful at this, even though at times hindered in the realization of their intentions by a lack of professional training of various members.


Modest Mussorgsky(1839-1881)
From “Khovanschina” (Rimsky-Korsakov version)
1 Prelude Act 1 (Dawn over the Moscow River) 5. 59
2 Act 2: Sily potajnye (Mysterious forces) 5. 42
Elena Manistina (Marfa) – mezzo-soprano
Mikhail Gubsky (Golitsyn) – tenor
3 Act 3: Batya, batya, vyijdi k nam ! (Chief-our-father, come to us!) 6. 27
Vladimir Krasov (Kuzhka)– baritone; Vladimir Matorin (Ivan Khovansky)– bass; Chorus

Nikolai Rimsky-Korsakov (1844-1908)
From “Legend of the invisible city of Kitezh and the Maiden Fevroniya”
4 Prelude: A hymn to nature 5. 26
5 The battle near the Kerzhenets River 4.30
From “Sadko” Act 2: Songs of the Foreign Merchant Traders
6 Song of the Varangian (Viking) Guest 2. 50
Vadim Lynkovsky – bass
7 Song of the Indian Guest 3. 27
Maksim Paster – tenor
8 Song of the Venetian Guest 4. 34
Anton Grigoriev – baritone; Chorus

Peter Ilyich Tchaikovsky (1840-1893)
From “Eugene Onegin”
9 Act 3: Polonaise 4. 50
10 Act 2: Kuda, kuda vyi udalilis? (Where, oh where have you gone?) 6. 05
Andrey Dunaev – tenor

Modest Mussorgsky (1839-1881)
From “Boris Godunov” (Rimsky-Korsakov version)
11 Prologue: Coronation Scene 9. 31
Maksim Paster (Shuisky) – tenor; Mikhail Kazakov (Boris Godunov) – bass; Chorus

Soloists, Chorus & Orchestra of the Bolshoi Theatre Moscow
Alexander Vedernikov, conductor

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Jun 11

The Doobie Brothers – Minute By Minute (1978) (2016 Remastered)
FLAC (tracks) 24 bit/192 kHz | Time – 36:47 minutes | 1,34 GB | Genre: Rock
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | © Rhino/Warner Bros.

The Doobie Brothers’ eighth studio album, originally released in 1978. Contains the Grammy-winning track “What A Fool Believes”.

With Tom Johnston gone from the lineup because of health problems, this is where the “new” Doobie Brothers really make their debut, with a richly soulful sound throughout and emphasis on horns and Michael McDonald’s piano more than on Patrick Simmons’ or Jeff Baxter’s guitars. Not that they were absent entirely, or weren’t sometimes right up front in the mix, as the rocking, slashing “Don’t Stop to Watch the Wheels” and the bluegrass-influenced “Steamer Lane Breakdown” demonstrate. But given the keyboards, the funky rhythms, and McDonald’s soaring tenor (showcased best on “What a Fool Believes”), it’s almost difficult to believe that this is the hippie bar band that came out of California in 1970. There’s less virtuosity here than on the group’s first half-dozen albums, but overall a more commercial sound steeped in white funk. It’s still all pretty compelling even if its appeal couldn’t be more different from the group’s earlier work (i.e., The Captain and Me, etc.). The public loved it, buying something like three million copies, and the recording establishment gave Minute by Minute four Grammy Awards, propelling the group to its biggest success ever. –AllMusic Review by Bruce Eder

1. Here To Love You 3:58
2. What A Fool Believes 3:41
3. Minute By Minute 3:26
4. Dependin’ On You 3:44
5. Don’t Stop To Watch The Wheels 3:26
6. Open Your Eyes 3:18
7. Sweet Feelin’ 2:41
8. Steamer Lane Breakdown 3:24
9. You Never Change 3:26
10. How Do The Fools Survive? 5:12

Patrick Simmons – guitar, vocals
Jeff “Skunk” Baxter – guitar, steel guitar
Michael McDonald – keyboards, synthesizers, vocals
Tiran Porter – bass, vocals
John Hartman – drums
Keith Knudsen – drums, vocals

Bobby LaKind – congas, vocals
Tom Johnston – vocals on “Don’t Stop to Watch the Wheels”
Nicolette Larson – vocals on “Sweet Feelin’” and “Dependin’ on You”
Rosemary Butler – vocals on “Here to Love You” and “Dependin’ on You”
Norton Buffalo – harmonica
Herb Pederson – banjo
Byron Berline – fiddle
Lester Abrams – electric piano on “How Do the Fools Survive”
Bill Payne – synthesizer (with Michael McDonald) on “What a Fool Believes” and “Minute by Minute”
Andrew Love – saxophone
Ben Cauley – trumpet
Ted Templeman – percussion
Michael Jackson said he contributed back up vocals on “What a Fool Believes”, “Here to Love You” and “Minute by Minute” for the album, but he is not credited on the album.

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Jun 11

The Doobie Brothers – Takin’ It To The Streets (1976/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 00:38:49 minutes | 1,47 GB | Genre: Rock
Studio Master, Official Digital Download – Source: HDTracks | Front Cover | © Rhino/Warner Bros.

Takin’ It To The Streets is the sixth studio album released by the American rock band. It was the first recording to feature Michael McDonald on lead vocals. The album features singles “Takin’ It to the Streets,” “Wheels of Fortune” and “It Keeps You Runnin’.”

The group’s first album with Michael McDonald marked a shift to a more mellow and self-consciously soulful sound for the Doobies, not all that different from what happened to Steely Dan — whence McDonald (and Jeff Baxter) had come — between, say, Can’t Buy a Thrill and Pretzel Logic. They showed an ability to expand on the lyricism of Patrick Simmons and Baxter’s writing on “Wheels of Fortune,” while the title track introduced McDonald’s white funk sound cold to their output, successfully. Simmons’ “8th Avenue Shuffle” vaguely recalled “Black Water,” only with an urban theme and a more self-consciously soul sound (with extraordinarily beautiful choruses and a thick, rippling guitar break). “Rio” and “It Keeps You Runnin’” both manage to sound like Steely Dan tracks — and that’s a compliment — while Tiran Porter’s hauntingly beautiful “For Someone Special” was a pure soul classic right in the midst of all of these higher-energy pieces. Tom Johnston’s “Turn It Loose” is a last look back to their earlier sound, while Simmons’ “Carry Me Away” shows off the new interplay and sounds that were to carry the group into the 1980s, with gorgeous playing and singing all around. ~~ AllMusic Review by Bruce Eder

1. Wheels Of Fortune 4:54
2. Takin’ It To The Streets 3:56
3. 8th Avenue Shuffle 4:39
4. Losin’ End 3:39
5. Rio 3:49
6. For Someone Special 5:04
7. It Keeps You Runnin’ 4:20
8. Turn It Loose 3:53
9. Carry Me Away 4:09

Tom Johnston – guitar, lead vocals on “Turn It Loose” and Vocal on “Wheels of Fortune”
Patrick Simmons – guitar, vocals
Jeff “Skunk” Baxter – guitar, steel guitar
Michael McDonald – keyboards, vocals
Tiran Porter – bass, vocals, Lead Vocal on “For Someone Special”
John Hartman – drums
Keith Knudsen – drums, vocals

The Memphis Horns
Wayne Jackson – trumpet
Andrew Love – tenor saxophone
James Mitchell – baritone saxophone
Lewis Collins – tenor saxophone
Jack Hale – trombone
Bobby LaKind – congas
Richie Hayward – drums (with Little John) on “Wheels Of Fortune”
Novi Novog – viola on “Losin’ End”
Bill Payne – organ on “Takin’ It To The Streets”
Maria Muldaur – cameo vocal appearance on “Rio”
Ted Templeman – percussion

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Jun 11

The Doobie Brothers – The Best Of The Doobies (1976/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 00:46:24 minutes | 1,76 GB | Genre: Rock
Studio Master, Official Digital Download – Source: PonoMusic | Front Cover | © Warner Bros. Records

Best of The Doobies is the first greatest hits album by The Doobie Brothers. The album has material from Toulouse Street through Takin’ It to the Streets, and is also a diamond record. The album was first released by Warner Bros. Records in November 1976 and has been re-released numerous times.

Featuring 11 of the group’s best-known songs from 1971-1976, Best of the Doobie Brothers contains the boogie rock band’s very best songs, including the big hits “Listen to the Music,” “Jesus Is Just Alright,” “Long Train Runnin’,” “China Grove,” “Black Water,” and “Takin’ It to the Streets.” For most casual fans, The Best of the Doobie Brothers is the perfect summation of the group’s early career, before they turned into a slick, jazzy blue-eyed soul band in the late ’70s. –AllMusic Review by Stephen Thomas Erlewine


1. China Grove 03:17
2. Long Train Runnin’ 03:27
3. Takin’ It To The Streets 03:59
4. Listen To The Music 04:48
5. Black Water 04:20
6. Rockin’ Down The Highway 03:23
7. Jesus Is Just Alright With Me 04:35
8. It Keeps You Runnin’ 04:19
9. South City Midnight Lady 05:29
10. Take Me In Your Arms (Rock Me A Little While) 03:42
11. Without You 05:01

Tom Johnston – vocals/guitar on all except “Takin’ It to the Streets” and “It Keeps You Runnin’”, harmonica on “Long Train Runnin’”
Michael McDonald – vocals and keyboards on “Takin’ It to the Streets” and “It Keeps You Runnin’”
Patrick Simmons – guitar and vocals on “Black Water” and “South City Midnight Lady”, “Jesus Is Just Alright”
Jeff “Skunk” Baxter – guitar, steel guitar, slide guitar
Tiran Porter – bass guitar, vocals
Michael Hossack – drums
John Hartman – drums
Keith Knudsen – drums on “Take Me In Your Arms”

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Jun 11

The Modern Jazz Quartet – Django (1956/2014)
FLAC (tracks) 24-bit/44,1 kHz | Time – 38:44 minutes | 245 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | Digital Booklet | © Prestige Records
Recorded:  June 25, 1953 (#4-7) at WOR Studios, New York City; December 23, 1954 (#1,2,8) and January 9, 1955 (#3) at the Van Gelder Studio, Hackensack, NJ
Remastered: 2005, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ

Django, originally released in 1956 and features some of the best playing by The Modern Jazz Quintet in their discography. The album’s sessions took place between 1953 and 1955, mostly recorded at Rudy Van Gelder’s studio in Hackensack, New Jersey. All original tunes are by John Lewis, and the album also includes a few songs by Dizzy Gillespie and George & Ira Gershwin.

Hailing from a trio of Modern Jazz Quartet (MJQ) sessions, Django (1955) contains some of the earliest sides that Milt Jackson (vibraphone), John Lewis (piano), Percy Heath (bass) and Kenny Clarke (drums) recorded for Prestige Records. Initially, the combo was part of Dizzy Gillespie’s influential backing band and after a change in drummers (to Connie Kay), they continued as one of the more sophisticated aggregates of the post-bop era. The album commences with Lewis’ sublime and serene title track “Django,” dedicated to the memory of guitarist extraordinaire Django Reinhardt. This musical paean aptly recaptures the essence of Reinhardt’s enigmatic gypsy-like nature, especially evident within Jackson’s leads, which emerge from the thoughtful opening dirge with a refined, warm tone throughout. Reinhardt’s playfulness is recalled in Lewis’ well-placed interjections between and beneath Jackson’s lines. “One Bass Hit” is an homage to Gillespie with Heath taking charge of the intricate melody, showing off his often criminally underutilized skills. From the same December 1954 gathering comes the moody Lewis-penned ballad “Milano.” There is a notable Mediterranean feel resounding in the opulence of MJQ’s unassuming interaction. The centerpiece is the lengthy four-movement showcase “La Ronde Suite” circa January of 1955. The MJQ maneuver with unquestionable grace, alternately supporting and soloing, each taking the reigns as the others construct their contributions around the respective soloist. The remaining four selections date back to June of 1953 and are highlighted by “The Queen’s Fancy,” a simple and refined fugue that carries a distinct air of nobility. “Delaunay’s Dilemma” is a definite contrast as it allows the players to cut loose with some frisky and fun exchanges that perfectly demonstrate their ability to glide through the sinuous syncopation. Both the understated splendor of “Autumn in New York” and the equally sublime cover of “But Not for Me” provide some familiar backdrops for the MJQ to collaborate and perhaps more directly display their essential improvisational abilities. In terms of seminal Modern Jazz Quartet entries, it is hard to exceed the variety of styles and performances gathered on Django. ~~AllMusic Review by Lindsay Planer

1. Django 7:01
2. One Bass Hit 2:58
3. La Ronde Suite: 9:35
– Piano
– Bass
– Vibes
– Drums
4. The Queen’s Fancy 3:12
5. Delaunay’s Dilemma 3:57
6. Autumn In New York 3:38
7. But Not For Me 3:42
8. Milano 4:21

Milt Jackson, vibraphone
John Lewis, piano
Percy Heath, bass
Kenny Clarke, drums

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Jun 11

The Modern Jazz Quartet – Concorde (1955/2014)
FLAC (tracks) 24-bit/44,1 kHz | Time – 36:10 minutes | 398 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | Digital Booklet | © Prestige Records
Recorded:  July 2, 1955 at the Van Gelder Studio, Hackensack, NJ
Remastered: 2008, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ

This is a set with the Modern Jazz Quartet. The choice of material and its order of appearance approximates a set you might hear if you were listening to the group at one of America’s leading jazz rooms. All the pieces display different use of contrapuntal technique. The record features works, “Ralph’s New Blues” which starts off the set, “All of You” from Cole Porter’s musical Silk Stockings, and Sigmund Romberg’s “Softly, As in a Morning Sunrise” from New Moon. Originally recorded in 1955, the six song set has been remastered by Concord’s original engineer Rudy Van Gelder.

After issuing 10″ EPs for several years, Concorde (1955) marked two significant touchstones in the five-plus-decade career of the Modern Jazz Quartet (MJQ). One of those was the replacement of co-founder Kenny Clarke (drums) with former Lester Young quintet member Connie Kay (drums), who joined in time for the other hallmark — this, the MJQ’s very first full-length long-player. Kay remained with the combo for the better part of four decades, until his passing in 1994. The transition between percussionists is both smooth as well as sensible. Kay’s understated rhythms and solid timekeeping are perfectly suited to the clever arrangements and sophisticated sound of Milt Jackson (vibraphone), John Lewis (piano) and Percy Heath (bass). One MJQ constant is the blend of classic covers and stunning original compositions that comprise their releases. Concorde is certainly no exception as the effort kicks off with a mid-tempo Jackson’s “Ralph’s New Blues.” Immediately, Kay’s contributions are ample yet discrete, as he interacts with a consistent backbeat, supporting the tasty vibe runs and improvisations from the tune’s author. The title track “Concorde” is the other tune to be derived from within the band. Lewis’ effervescent syncopation drives through the heart of the melody, with the pianist laying down essential interplay. Once again Kay impresses with well-placed ringing interjections that never overpower the soloist. Most notable among the reworked popular standards are the slightly brooding opulence of Cole Porter’s “All of You” and the fugal, if not slightly Third Stream approach taken on “Softly, As in a Morning Sunrise” from the short-lived collaborations of Sigmund Romberg and Oscar Hammerstein II. However, the centerpiece is undoubtedly the four selections within the “Gershwin Medley.” The interpretations of “Soon,” “For You, For Me Forevermore,” “Love Walked In” and “Our Love Is Here to Stay” are nothing short of definitive. They collectively provide keen insight into the inner-workings of the MJQ and their collective abilities to improvise with purpose, rather than simply combining aimless solos. All manner of post-bop jazz listeners will find much to enjoy throughout Concorde. –AllMusic Review by Lindsay Planer

1. Ralph’s New Blues 07:12
2. All Of You 04:32
3. I’ll Remember April 05:10
4. Gershwin Medley: 07:58
– Soon
– For You, For Me, Forevermore
– Love Walked In
– Our Love Is Here To Stay
5. Softly As In A Morning Sunrise 08:00
6. Concorde 03:38

Milt Jackson, vibraphone
John Lewis, piano
Percy Heath, bass
Connie Kay, drums

Producers: Nick Phillips and Bob Porter
Mastering engineer: Rudy Van Gelder

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Jun 11

Pyotr Ilyich Tchaikovsky – Violin Concerto & Serenade melancolique – Itzhak Perlman, Philadelphia Orchestra, Eugene Ormandy (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 46:48 minutes | 836 MB | Genre: Classical
Studio Masters, Official Digital Download – Source: Qobuz | Digital Booklet | © Warner Classics
Recorded: The “Old Met”, Philadelphia, 11 & 13 November 1978

It has to be the most popular violin concerto of all — by turns captivating, moving and flamboyant. Almost every virtuoso has recorded it at least once. And it was with this work that an eighteen-year-old violinist by the name of Itzhak Perlman would make the very first recording of his career, with the London Symphony Orchestra and Alfred Wallenstein (1964), returning to the studio in the years to come to set down three further versions of the same concerto. We are, of course, talking about Tchaikovsky’s Violin Concerto in D major, Op.35. Between the recording he made with the Boston Symphony conducted by Erich Leinsdorf (RCA, 1967), and his live version with the Israel Philharmonic and Zubin Mehta in Leningrad (EMI, 1990; see volume 45), Perlman added this third interpretation to his recorded catalogue. This concerto more than any other has accompanied him throughout his career. Indeed, he’s often claimed that he could play it virtually in his sleep. It could even be seen as emblematic of his style, given both the prodigiously virtuosic demands it makes on the performer and its charismatic warmth.

The concerto itself did not enter the concert repertoire in the most auspicious of circumstances. Rejected by its intended dedicatee Leopold Auer, professor of violin at the St Petersburg Conservatory, who deemed it unplayable, it was then vilified by eminent critic Eduard Hanslick when Adolf Brodsky gave its premiere in Vienna on 4 December 1881. While he conceded that the work was “not without spirit”, the rest of his vitriolic review left little room for doubt about his true feelings: “I do not know whether it is within anyone’s capabilities to conquer its terrifying difficulties, but what I do know is that the soloist Mr Brodsky tortured his audience as remorselessly as he did himself. The Adagio, with its gentle Slavic melody, might almost have won us over. However, it suddenly breaks off to make way for a finale which transports us into all the brutal and wretched gaiety of a Russian carnival. There our senses are assaulted by the sight of wild and vulgar faces, the sound of coarse language and the stink of cheap alcohol … Tchaikovsky’s violin concerto reveals to us for the first time the dreadful idea that some music may actually smell bad to our ears.” A review as immoderate as it was unforgettable, so deep was its impact that Tchaikovsky could recite it by heart until his dying day.
Nine months after the premiere, Brodsky introduced the concerto to Moscow, this time earning the kind of enthusiastic reception that has greeted the work ever since. Auer himself agreed to play it, although only after making a few cuts, and went on to teach it to his own pupils (including Elman, Heifetz and Zimbalist). Elman would make it his signature work, to the extent that before Heifetz arrived in the US, the concerto was so closely associated with Elman that concert organisers would only programme it if he was the soloist. History was on the move and now nothing could stop a work its composer feared had been “condemned to oblivion” from achieving its rightful place in the repertoire.

To round off the only recording he ever made with the great Hungarian-born but naturalised American conductor Eugene Ormandy (1899–1985) — himself a talented violinist in his younger days — Itzhak Perlman chose Tchaikovsky’s Sérénade mélancolique. A work that resulted from the first meeting between the composer and Leopold Auer in 1875, it was dedicated to the young violinist. In a foreshadowing of what was to happen with the concerto three years later, it was Brodsky, not Auer, who gave its premiere! Recorded almost as often as the concerto, beginning with a pioneering disc made in 1928 by Naoum Blinder (future teacher of Isaac Stern), this first work for violin and orchestra, inspired by a Polish poem by Władysław Syrokomla, conveys a kind of nostalgic intimacy and has at its heart a section of impassioned virtuosity which anticipates the writing in the concerto. –Jean-Michel Molkhou

Pyotr Ilyich Tchaikovsky (1840-1893)
Violin Concerto in D major, Op.35
1 I Allegro moderato 19.20
2 II Canzonetta: Andante — 7.02
3 III Allegro vivacissimo 11.03
4 Sérénade mélancolique, Op.26 9.20

Itzhak Perlman, violin
Philadelphia Orchestra
Eugene Ormandy

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