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Classical - Released January 1, 2010 | Deutsche Grammophon (DG)

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Classical - Released January 1, 2008 | Deutsche Grammophon (DG)

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Classical - Released January 1, 2002 | Decca Music Group Ltd.

Is there room for another Tchaikovsky concerto? Is there room for one of the most over-played concertos in the standard repertoire? If there is, this is the one. Violinist Vadim Repin performs the concerto with cheeky brilliance, playing it with a smile in his tone like a character out of Noël Coward. Valery Gergiev goes right along with Repin, engaging in clever repartee right down to the last laugh at the end of the Allegro vivacissimo. Even the sorrowful Canzonetta seems to be smiling through its tears in Repin and Gergiev's performance. Is there room for even one Myaskovsky concerto? Is there room for even one of the most rarely played concertos at the far fringes of the repertoire? If there is, this is the one. Repin and Gergiev perform the work with the fervor of true believers. From the brooding melancholy of the opening Allegro through the lyrical nobility of the Adagio e molto cantabile to the dashing Allegro scherzando, Repin and Gergiev's interpretation testifies to the greatness of Myaskovsky's concerto. Although the darkly Romantic music of Myaskovsky has never caught on outside Russia, this performance compels belief. © TiVo
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Concertos - Released March 6, 1998 | Warner Classics International

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Concertos - Released August 22, 2006 | Warner Classics International

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Classical - Released January 1, 1997 | Warner Classics

Classical - Released October 10, 2020 | UMG Recordings, Inc.

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Violin Concertos - Released April 20, 2018 | Onyx Classics

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Recorded live in Vienna’s Musikverein, this album captures a special evening which saw the new Concerto for 2 violins & orchestra ‘Shadow Walker’ by Mark Anthony Turnage performed by Vadim Repin and Daniel Hope with the Borusan Istanbul Philharmonic under Sascha Goetzel. The second half of the concert was an electrifying Symphony fantastique. « I've been drawn to compose double concertos before, such as Dispelling the Fears for two trumpets, and in Shadow Walker I've again been intrigued by the possibilities of interplay between the two soloists. The idea of shadowing can take many musical forms, such as through canonic writing and the imitation of intervals, though I haven't gone as far as composing a fugue. The string sound of Vadim Repin and Daniel Hope should blend particularly well, almost like two aspects of the same identity. There isn't a strict hierarchical relationship with one violin the shadow of the other — it is much more equal and fluid » Mark Anthony Turnage. (Onyx)
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Classical - Released January 1, 2007 | Deutsche Grammophon (DG)

Now this is the way to re-launch a violinist: a two-disc set of Beethoven's two most virtuosic works for violin -- the concerto and the "Kreutzer" Sonata -- performed with two of the finest accompanists in the world -- the Wiener Philharmoniker under Riccardo Muti in the concerto and Martha Argerich in the sonata. Still, young Russian violinist Vadim Repin has a clutch of first-class recordings for Erato to his credit, including terrific couplings of Shostakovich and Prokofiev's concertos. But he had previously stayed away from recording these two core repertoire works. Until now, that is. And it was totally worth the wait. Repin's clear intonation, sweet tone, and brilliant technique prove ideally appropriate for Beethoven's music. His concerto is quintessentially lyrical in execution, with intensely expressive but wonderfully graceful legato lines running through in all three movements. His sonata, on the other hand, is fabulously virtuosic with a searing opening Presto, a silken central Andante, and a headlong closing Presto. With old friend Muti, the Wiener Philharmoniker accompanies Repin with an effortless elegance that is as to the manor born. The always astounding Argerich has recorded the "Kreutzer" many times before, and her recording of the work with Gidon Kremer is one of the most exciting performances of anything ever made. But this performance with Repin, although very different, is surely in the same league. Repin's technique matches Kremer's and though he may not quite equal Kremer in overwhelming power, he might exceed him in sheer beauty of tone. Both works are superbly recorded with sound so clear it could hardly be said to be there at all. Anyone who knows Repin's work will have to hear these performances. And anyone who doesn't already know Repin's work will have to hear these performances. © TiVo
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Concertos - Released February 1, 1996 | Warner Classics International

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Classical - Released September 1, 1995 | Warner Classics International

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Classical - Released March 1, 2010 | Warner Classics International

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Classical - Released November 3, 2017 | Toccata Classics

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Classical - Released April 11, 2012 | Best Buy Classical

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Classical - Released June 20, 2006 | Warner Classics International