Qobuz Store wallpaper
Categories:
Cart 0

Your cart is empty

Gil Shaham|Beethoven, Brahms: Violin Concertos

Beethoven, Brahms: Violin Concertos

Gil Shaham, Eric Jacobsen and The Knights

Digital booklet

Available in
logo Hi-Res
24-Bit 96.0 kHz - Stereo

Unlimited Streaming

Listen to this album in high quality now on our apps

Start my trial period and start listening to this album

Enjoy this album on Qobuz apps with your subscription

Subscribe

Enjoy this album on Qobuz apps with your subscription

Digital Download

Purchase and download this album in a wide variety of formats depending on your needs.

“It was a lot of D major – and not much else on the programme”. So said Brahms of the 1879 premiere of his Violin Concerto in D Major, after his friend and the concerto's dedicatee Joseph Joachim insisted on opening the concert with Beethoven's Violin Concerto of 1806, also in D Major. Fast forward to Gil Shaham's pairing of them in this second recording with The Knights under Eric Jacobsen (who are a welcome sight on any billing), and with performances such as these there's no danger of feeling remotely over-saturated by D Major or anything else. In fact I'm not sure when a recording of either of these two warhorses hit so many of the right buttons in one fell swoop. Add the fact that Shaham is, I believe, the first major violinist to even dare to pair them back to back on the same programme (Milstein's 1953/4/5 readings of the two with Steinberg and the Pittsburgh were paired for EMI's “Great Recordings of the Century series”, but were originally released separately), and there's even some programming gold for period authenticity fans.

It is of course the Beethoven which comes first, taken at a relatively brisk set of tempi and yet never with the sense of feeling hurried. Warm, sweet-toned Shaham nails his colours to the mast from his opening bounds, where his personality-rich combination of sprightly greyhound speed and subtle rubato is almost Szell-like; and from here it's a story of silkily singing freedom of line, playful rubato, and the odd carefully placed playful portamento and bounce. The tone, phrasing and overall architecture of his first movement cadenza (interestingly the Kreisler crowd favourite rather than the Joachim) is to die for. His Rondo (featuring what sounds, reviewing without access to the sleeve notes, like Shaham's own cadenza in the optional first slot, in addition to the Kreisler for the main one later) opening is especially striking for the way he's playing two contrasting characters off against each other, the first low-register thematic statement coming darkly husky, then its upper-register repeat super-sweet and light and noticeably dropping from piano to pianissimo. From The Knights meanwhile it's a nimbly buoyant, always elegant Classical sound, flowing constantly forwards (except for their own deliciously teasing rubato hesitations), Jacobsen cruising everyone smoothly through the first movement's transitions, and always with the impression that they're bouncing off Shaham. Also each other, such as the woodwind passings in the Rondo.

That awareness of each other is even more noticeable across the Brahms. Also immediately striking is its first movement's unusual pace, because at 19'25” it's a good three minutes faster than the average, and some listeners will find Shaham's semiquaver sextuplets rather uncomfortably fast. Sill, it's hard not to be ultimately won over by his delectable tone (glowing up top, smouldering down below), the degree to which he and the orchestra are engaging with each other as if this were chamber music, and the sheer passion shining out from every ardently rendered phrase; and speaking of ardency, their not-so-adagio Adagio (7'38”, compared to Isabelle Faust's 8'50” and Hilary Hahn's 9'31”) is straightforwardly ravishingly rapturous. Plus, funnily enough, while their final Allegro giocoso is the one they take at a more at standard tempo, it's also an unusually flowing one, when so often this movement can sound disappointingly lumbering. Here, by contrast, it has a beautifully natural, long-lined singing quality to its merriness, making for a zinging end to one of the most exciting – revisionary in its thinking, in fact – core repertoire concerto recordings to hit this critic's ears in quite a while. © Charlotte Gardner/Qobuz

More info

Beethoven, Brahms: Violin Concertos

Gil Shaham

launch qobuz app I already downloaded Qobuz for Windows / MacOS Open

download qobuz app I have not downloaded Qobuz for Windows / MacOS yet Download the Qobuz app

You are currently listening to samples.

Listen to over 70 million songs with an unlimited streaming plan.

Listen to this album and more than 70 million songs with your unlimited streaming plans.

1
Violin Concerto in D major, Op. 61: I. Allegro ma non troppo
00:21:19

The Knights, Orchestra, MainArtist - Ludwig van Beethoven, Composer - PUBLIC DOMAIN, MusicPublisher - Gil Shaham, MainArtist, AssociatedPerformer - Eric Jacobsen, Conductor, MainArtist

2021 Canary Classics LLC 2021 Canary Classics LLC

2
Violin Concerto in D major, Op. 61: II. Larghetto
00:08:36

The Knights, Orchestra, MainArtist - Ludwig van Beethoven, Composer - PUBLIC DOMAIN, MusicPublisher - Gil Shaham, MainArtist, AssociatedPerformer - Eric Jacobsen, Conductor, MainArtist

2021 Canary Classics LLC 2021 Canary Classics LLC

3
Violin Concerto in D major, Op. 61: III. Rondo. Allegro
00:09:52

The Knights, Orchestra, MainArtist - Ludwig van Beethoven, Composer - PUBLIC DOMAIN, MusicPublisher - Gil Shaham, MainArtist, AssociatedPerformer - Eric Jacobsen, Conductor, MainArtist

2021 Canary Classics LLC 2021 Canary Classics LLC

4
Violin Concerto in D Major, Op. 77: I. Allegro non troppo
00:19:25

The Knights, Orchestra, MainArtist - Johannes Brahms, Composer - PUBLIC DOMAIN, MusicPublisher - Gil Shaham, MainArtist, AssociatedPerformer - Eric Jacobsen, Conductor, MainArtist

2021 Canary Classics LLC 2021 Canary Classics LLC

5
Violin Concerto in D Major, Op. 77: II. Adagio
00:08:05

The Knights, Orchestra, MainArtist - Johannes Brahms, Composer - PUBLIC DOMAIN, MusicPublisher - Gil Shaham, MainArtist, AssociatedPerformer - Eric Jacobsen, Conductor, MainArtist

2021 Canary Classics LLC 2021 Canary Classics LLC

6
Violin Concerto in D Major, Op. 77: III. Allegro giocoso ma non troppo vivace — Poco più presto
00:07:38

The Knights, Orchestra, MainArtist - Johannes Brahms, Composer - PUBLIC DOMAIN, MusicPublisher - Gil Shaham, MainArtist, AssociatedPerformer - Eric Jacobsen, Conductor, MainArtist

2021 Canary Classics LLC 2021 Canary Classics LLC

Album Description

“It was a lot of D major – and not much else on the programme”. So said Brahms of the 1879 premiere of his Violin Concerto in D Major, after his friend and the concerto's dedicatee Joseph Joachim insisted on opening the concert with Beethoven's Violin Concerto of 1806, also in D Major. Fast forward to Gil Shaham's pairing of them in this second recording with The Knights under Eric Jacobsen (who are a welcome sight on any billing), and with performances such as these there's no danger of feeling remotely over-saturated by D Major or anything else. In fact I'm not sure when a recording of either of these two warhorses hit so many of the right buttons in one fell swoop. Add the fact that Shaham is, I believe, the first major violinist to even dare to pair them back to back on the same programme (Milstein's 1953/4/5 readings of the two with Steinberg and the Pittsburgh were paired for EMI's “Great Recordings of the Century series”, but were originally released separately), and there's even some programming gold for period authenticity fans.

It is of course the Beethoven which comes first, taken at a relatively brisk set of tempi and yet never with the sense of feeling hurried. Warm, sweet-toned Shaham nails his colours to the mast from his opening bounds, where his personality-rich combination of sprightly greyhound speed and subtle rubato is almost Szell-like; and from here it's a story of silkily singing freedom of line, playful rubato, and the odd carefully placed playful portamento and bounce. The tone, phrasing and overall architecture of his first movement cadenza (interestingly the Kreisler crowd favourite rather than the Joachim) is to die for. His Rondo (featuring what sounds, reviewing without access to the sleeve notes, like Shaham's own cadenza in the optional first slot, in addition to the Kreisler for the main one later) opening is especially striking for the way he's playing two contrasting characters off against each other, the first low-register thematic statement coming darkly husky, then its upper-register repeat super-sweet and light and noticeably dropping from piano to pianissimo. From The Knights meanwhile it's a nimbly buoyant, always elegant Classical sound, flowing constantly forwards (except for their own deliciously teasing rubato hesitations), Jacobsen cruising everyone smoothly through the first movement's transitions, and always with the impression that they're bouncing off Shaham. Also each other, such as the woodwind passings in the Rondo.

That awareness of each other is even more noticeable across the Brahms. Also immediately striking is its first movement's unusual pace, because at 19'25” it's a good three minutes faster than the average, and some listeners will find Shaham's semiquaver sextuplets rather uncomfortably fast. Sill, it's hard not to be ultimately won over by his delectable tone (glowing up top, smouldering down below), the degree to which he and the orchestra are engaging with each other as if this were chamber music, and the sheer passion shining out from every ardently rendered phrase; and speaking of ardency, their not-so-adagio Adagio (7'38”, compared to Isabelle Faust's 8'50” and Hilary Hahn's 9'31”) is straightforwardly ravishingly rapturous. Plus, funnily enough, while their final Allegro giocoso is the one they take at a more at standard tempo, it's also an unusually flowing one, when so often this movement can sound disappointingly lumbering. Here, by contrast, it has a beautifully natural, long-lined singing quality to its merriness, making for a zinging end to one of the most exciting – revisionary in its thinking, in fact – core repertoire concerto recordings to hit this critic's ears in quite a while. © Charlotte Gardner/Qobuz

About the album

Improve this page

Qobuz logo Why buy on Qobuz...

On sale now...

Recomposed By Max Richter: Vivaldi, The Four Seasons

Max Richter

Philip Glass: Piano Works

Víkingur Ólafsson

Philip Glass: Piano Works Víkingur Ólafsson

Beethoven : 9 Symphonies (1963)

Herbert von Karajan

Beethoven : 9 Symphonies (1963) Herbert von Karajan

Nevermind

Nirvana

Nevermind Nirvana
More on Qobuz
By Gil Shaham

Mozart: Violin Concertos

Gil Shaham

Schubert: Schubert for Two

Gil Shaham

Dvorák for Two

Gil Shaham

Dvorák for Two Gil Shaham

Paganini For Two

Gil Shaham

Paganini For Two Gil Shaham

Beethoven, Brahms: Violin Concertos

Gil Shaham

Playlists

You may also like...

Old Friends New Friends

Nils Frahm

Schubert: Winterreise

Mark Padmore

Schubert: Winterreise Mark Padmore

Souvenirs d'Italie

Maurice Steger

Souvenirs d'Italie Maurice Steger

BACH: The Art of Life

Daniil Trifonov

BACH: The Art of Life Daniil Trifonov

Exiles

Max Richter

Exiles Max Richter
In your panoramas...
Nelson Freire, a Humble Virtuoso

A child prodigy in his native country, the Brazilian pianist who passed away in November 2021 kept his distance from the noisy fanfare of fame. His enormous hands and his natural and virtuoso technique always assisted his full, powerful and mellow sound. Here Qobuz looks back at the career of a musician that for a long time was the “best-kept secret in the world of the piano”.

10 Versions of Berlioz’s Symphonie Fantastique

As a proper manifesto of French romanticism, Berlioz’s Symphonie fantastique marked the 19th century as much as Stravinsky’s The Rite of Spring impacted the 20th. Composed in Paris − which at the time was a global crucible for artistic creation − these two masterpieces catapulted musical language into another dimension. On December 5th, 1830 the revolutionary work of 27-year-old Hector Berlioz deeply moved the musicians present in the small room of the old academy of music, among whom were Meyerbeer and Liszt, who were impressed by the extraordinary audacity of this piece presented just three years after Beethoven’s death.

Max Richter, Neo-classical Activist

With the release of his new album Exile, a reflection on exile with the Baltic Sea Orchestra, the iconoclast and prolific pioneer of the neo-classical movement confirms his status as one of the most ideologically committed artists out there. Melding classical and electronic music, physical and emotional worlds, he produces instrumental works of rare evocative power.

In the news...