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Quintets - Released April 5, 2011 | BIS

Hi-Res Booklet Distinctions Diapason d'or de l'année - Diapason d'or - The Qobuz Ideal Discography - Choc Classica de l'année
The immense popularity of his Violin Concerto No. 1 in G minor, both during his lifetime and into modern times, turned out to be almost something of a curse for composer Max Bruch. The violin concerto, his first foray into the concerto genre, was helped along by none other than Joseph Joachim. So widespread was the success of the concerto that Bruch found it difficult if not impossible to compose subsequent instrumental works that could stand against it. In the almost six decades between the completion of the violin concerto and Bruch's death, few works were even to come close. In addition to the concerto, this BIS album attempts to shed new light on some of his more neglected compositions, including the Op. 85 Romance in F major and the String Quintet in A minor, one of the composer's final works. Violinist Vadim Gluzman joins the Bergen Philharmonic Orchestra under Andrew Litton for an exciting, dynamic performance of the concerto. Gluzman's playing is vibrant and energetic; his tone is both sumptuously warm and assertively powerful. Litton's orchestral leadership is equally enthralling. He does not simply race through the considerable orchestral tuttis, but adds shape, color, and interest throughout. Gluzman joins four other colleagues for a rare reading of the string quintet. Though written well into the 20th century, the quintet could just as well have been written in the mid-1800s; Bruch's commitment to Romantic ideals remained resolute right up to the end. The performance here is just as vivacious and edgy as the concerto, casting the little-heard work in its best possible light.
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Classical - Released May 5, 2017 | BIS

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice
There is no shortage of recordings of the Brahms Violin Concerto in D major, Op. 77, but there is a niche for this one: it is a superb reading in the Russian tradition, with modern Super Audio sound from Sweden's BIS label. Vadim Gluzman, a Ukrainian-born Israeli, comes in right between Jascha Heifetz and David Oistrakh, capable of both sharp attacks and dreamy cantabile, with a surface sensuousness that perhaps masks a good deal of thought about the longer line. Surely the first movement of the Brahms concerto is exquisitely balanced among its parts. Sample starting a bit after eight minutes in, where the main thematic material returns and, if properly handled as it is here, gives you a mighty thrill as you realize the material is a lot more complex than you thought it was. The entire 22-plus minutes of the movement have a rare coherence, with the difficult Joseph Joachim cadenza at the end seeming not at all a dutiful display of technical chops, but an organic part of a highly varied landscape. Throughout, the little-known Luzern Symphony Orchestra of Switzerland under James Gaffigan shows admirable alertness to the twists and turns of Gluzman's interpretation. The inclusion of the Violin Sonata No. 1 in G major, Op. 78, with Angela Yoffe on piano, is desirable, not only because a concert in Brahms' day might easily have included both symphonic and chamber music, but because it allows the violinist to shift gears completely and display his mastery of an intimate, melodic idiom. The finale is an unusual choice: the Scherzo in C minor for violin and piano, WoO 2, is a part of the F-A-E Sonata, a collaborative work with Robert Schumann and Albert Dietrich, with each of the composers contributing a movement (Schumann wrote two). Gluzman catches the tremendous energy of the very young Brahms here (the work dates from 1853). Highly recommended throughout.
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Chamber Music - Released August 27, 2013 | BIS

Booklet Distinctions 5 de Diapason
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Classical - Released July 3, 2012 | BIS

Hi-Res Booklet Distinctions 5 de Diapason
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Concertos - Released August 24, 2010 | BIS

Hi-Res Booklet Distinctions 4 étoiles Classica
Although he is fondly remembered for his many exemplary film scores composed during the Second World War, Korngold's more "serious" concerto works -- particularly those written after the war -- are becoming increasingly well-respected and widely performed. Chief among those works gaining tremendous popularity is his violin concerto. Hints of the sweep and grandeur of the film genre can still be heard in the concerto, but never to the point where Korngold's music sounds trite or unpolished. Rather, Korngold casts the violin in a decidedly Romantic style while still managing to include snippets of previous film scores, making for an easily accessible listening experience. Contrasting sharply with Korngold's increasing popularity is Lithuanian composer Balys Dvarionas. Like Korngold, his Violin Concerto of 1948 is very much in the neo-Romantic tradition, with highly lyrical solo lines and impressively rich orchestral tuttis. Why this concerto exists in obscurity is a mystery as it is entirely satisfying. Performing on this BIS album is violinist Vadim Gluzman and Residentie Orkest den Haag under Neeme Järvi. Both Gluzman and Järvi turn out spectacular performances. Gluzman's playing is fiery, intricate, untiringly lyrical, and powerfully lyrical; he gives listeners a performance that is every bit as musically fulfilling as it is technically polished. Järvi leads the orchestra through a noticeably exciting accompaniment, particularly in the energized outer movements of the Dvarionas concerto. Highly recommended on all levels, this album is sure to please.
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Classical - Released July 1, 2016 | BIS

Hi-Res Booklet Distinctions 5 de Diapason
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Classical - Released April 1, 2005 | BIS

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Classical - Released April 1, 2004 | BIS

Booklet
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Classical - Released April 1, 2003 | BIS

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Classical - Released January 1, 2008 | BIS

Hi-Res Booklet
This BIS SACD juxtaposes two extremes of the violin repertoire. On the one hand, we have the Glazunov A minor Violin Concerto, a composition that, despite its highly successful premiere, has fallen somewhat out of favor in modern concert halls. On the other end of the spectrum is Tchaikovsky's Violin Concerto, which had a somewhat shakier initial premiere but has since secured its position as one of the most popular, often performed, and frequently recorded concertos in the entire repertoire. Both of these concertos are historically tied to the great violinist and pedagogue Leopold Auer, whose 1690 Stradivarius violin is heard on the present recording in the hands of violinist Vadim Gluzman. Gluzman honors not only these two concertos, but also Auer's tradition of performance excellence. His interpretation of both concertos combines the best qualities of dazzling technical precision; solid intonation; a deep, rich, and guttural sound quality perfectly in line with the Russian tradition; and fresh, energetic musical interpretations. The Glazunov concerto's many technical hurdles are cleared easily and actually brought together in a much more musically satisfying fashion than previous recordings of the work in memory. The Tchaikovsky concerto is given new life and energy in Gluzman's hands -- not an easy task with a composition recorded as frequently as this one. The recorded sound of the album is exceptional, even capturing the occasional and satisfying string buzz, ferule click, and production noises, which only serve to exemplify the energy with which Gluzman performs.
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Classical - Released December 1, 2008 | BIS

Hi-Res Booklet
Sweden's BIS label has done excellent work in reviving the virtuoso music that lots of listeners would have known 100 years ago but that was stamped out by self-serving modernism. This release by Ukrainian-born Israeli violinist Vadim Gluzman and his wife, pianist Angela Yoffe, contains a few of the hits but also unearths some more unusual items. The music comes from various periods, and the program avoids the tedium that can come from hearing all encores. Several pieces were arranged by violinists themselves, and these give a flavor of the old performance economy in which players were higher up in the hierarchy. Nikolay Medtner's Fairy Tale for piano. Op. 20/1, was arranged by Jascha Heifetz, whose cool, awesomely precise style Gluzman's own somewhat resembles. Ernesto Halffter's Habanera, apparently for orchestra originally (it comes from a film score), appears in a version by Polish-Mexican violinist Henryk Szeryng, and the unexpected adaptation of themes from Fiddler on the Roof is by the violinist's own father, Michael Gluzman. Kreisler's La Gitana, Ernest Bloch's Nigun, and Ravel's Tzigane are repertory pieces, but the Szeryng arrangement and the Prelude No. 1, Op. 14, of Samuel Gardner, are world premieres, and other works like Franz Ries' La Capricciosa or Zino Francescatti's Polka are hardly better known but plenty challenging. The engineering is up to the usual high BIS standards, and this recording is both a great deal of fun and a worthwhile investigation. Notes are in English, German, and French.
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Classical - Released January 1, 2006 | BIS

Hi-Res Booklet