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There is no shortage of recordings of the music on this album; the Bruch Violin Concerto in G minor, Op. 26, in particular, is one of the most often recorded violin works in the classical canon. However, this one is a standout in several ways. Start with the presence of Adagio appassionato for violin and orchestra, Op. 57, of Bruch, who pleaded with performers to play some of his other violin-and-orchestra works; it is lovely and not often heard. The grand finale is the Souvenir d'Amérique, Variations on "Yankee Doodle," Op. 17, to which Esther Yoo gives an appropriate level of over-the-topness. Yet this just serves to point up the careful approach Yoo brings to the two big concertos. There is a flavor of swinging for the fences here; Yoo (and really the Royal Philharmonic Orchestra, with which she collaborates here for the first time) is not a household name, but she stretches herself to the limit here with impressive results. Consider the famed opening of the Bruch concerto, where she takes a deliberate, operatic approach that contrasts with the raw brilliance of readings from the violin golden age. She is capable of brilliance aplenty as well; her top register rings throughout this concerto as few others do, but she doesn't let the concerto turn into a wave of schmaltz. In the Barber concerto, she switches gears completely, moving into a warm, lyrical mode. It is a rewarding recording that will reveal new things on multiple hearings, and it has a rare quality of personal involvement from the violinist. Deutsche Grammophon's engineers make a strong case for Henry Wood Hall as the most acoustically interesting of London's major venues.
© James Manheim /TiVo
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Violin Concerto No. 1 in G Minor, Op. 26 (Max Bruch)
Royal Philharmonic Orchestra, Orchestra, MainArtist - Max Bruch, Composer - Christopher Alder, Producer - Vasily Petrenko, Conductor, MainArtist - Esther Yoo, Violin, MainArtist, AssociatedPerformer
℗ 2022 Universal Music Ltd.
Royal Philharmonic Orchestra, Orchestra, MainArtist - Max Bruch, Composer - Christopher Alder, Producer - Vasily Petrenko, Conductor, MainArtist - Esther Yoo, Violin, MainArtist, AssociatedPerformer
℗ 2022 Universal Music Ltd.
Royal Philharmonic Orchestra, Orchestra, MainArtist - Max Bruch, Composer - Christopher Alder, Producer - Vasily Petrenko, Conductor, MainArtist - Esther Yoo, Violin, MainArtist, AssociatedPerformer
℗ 2022 Universal Music Ltd.
Royal Philharmonic Orchestra, Orchestra, MainArtist - Max Bruch, Composer - Christopher Alder, Producer - Vasily Petrenko, Conductor, MainArtist - Esther Yoo, Violin, MainArtist, AssociatedPerformer
℗ 2022 Universal Music Ltd.
Violin Concerto, Op. 14 (Samuel Barber)
Royal Philharmonic Orchestra, Orchestra, MainArtist - Samuel Barber, Composer - Christopher Alder, Producer - Vasily Petrenko, Conductor, MainArtist - Esther Yoo, Violin, MainArtist, AssociatedPerformer
℗ 2022 Universal Music Ltd.
Royal Philharmonic Orchestra, Orchestra, MainArtist - Samuel Barber, Composer - Christopher Alder, Producer - Vasily Petrenko, Conductor, MainArtist - Esther Yoo, Violin, MainArtist, AssociatedPerformer
℗ 2022 Universal Music Ltd.
Royal Philharmonic Orchestra, Orchestra, MainArtist - Samuel Barber, Composer - Christopher Alder, Producer - Vasily Petrenko, Conductor, MainArtist - Esther Yoo, Violin, MainArtist, AssociatedPerformer
℗ 2022 Universal Music Ltd.
Royal Philharmonic Orchestra, Orchestra, MainArtist - Henri VIEUXTEMPS, Composer - Christopher Alder, Producer - Vasily Petrenko, Conductor, MainArtist - Esther Yoo, Violin, MainArtist, AssociatedPerformer
℗ 2022 Universal Music Ltd.
Chronique
There is no shortage of recordings of the music on this album; the Bruch Violin Concerto in G minor, Op. 26, in particular, is one of the most often recorded violin works in the classical canon. However, this one is a standout in several ways. Start with the presence of Adagio appassionato for violin and orchestra, Op. 57, of Bruch, who pleaded with performers to play some of his other violin-and-orchestra works; it is lovely and not often heard. The grand finale is the Souvenir d'Amérique, Variations on "Yankee Doodle," Op. 17, to which Esther Yoo gives an appropriate level of over-the-topness. Yet this just serves to point up the careful approach Yoo brings to the two big concertos. There is a flavor of swinging for the fences here; Yoo (and really the Royal Philharmonic Orchestra, with which she collaborates here for the first time) is not a household name, but she stretches herself to the limit here with impressive results. Consider the famed opening of the Bruch concerto, where she takes a deliberate, operatic approach that contrasts with the raw brilliance of readings from the violin golden age. She is capable of brilliance aplenty as well; her top register rings throughout this concerto as few others do, but she doesn't let the concerto turn into a wave of schmaltz. In the Barber concerto, she switches gears completely, moving into a warm, lyrical mode. It is a rewarding recording that will reveal new things on multiple hearings, and it has a rare quality of personal involvement from the violinist. Deutsche Grammophon's engineers make a strong case for Henry Wood Hall as the most acoustically interesting of London's major venues.
© James Manheim /TiVo
À propos
- 1 disque(s) - 8 piste(s)
- Durée totale : 01:04:20
- Artistes principaux : Esther Yoo Royal Philharmonic Orchestra Vasily Petrenko
- Compositeur : Various Composers
- Label : Universal Music Ltd.
- Genre : Classique
© 2023 Universal Music Ltd. ℗ 2023 Esther Yoo
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