After beginning a three-album Bruch series with the little-known Violin Concerto No. 3, Op. 58, Liebeck here takes up one of the composer's most famous works, the Violin Concerto No. 1 in G minor, Op. 26. The rest of the program, though, advances the aim of Hyperion's Romantic Violin Concerto series, which is to recover forgotten works of the period. The little Romance in A minor, Op. 42 and the Serenade in A minor, Op. 75 both got started as concertos, but never came to full fruition.
A highly versatile musician, Ulf Wallin has recorded a succession of discs for BIS, including music by Schoenberg, Schnittke, Janacek and Hindemith. Lately he has focussed on Romantic composers, resulting in an acclaimed recording of Schumann's complete works for violin and orchestra (Daily Telegraph: 'It's hard to imagine more sympathetic and insightful performances of these wonderful pieces'). Supported by the eminent Deutsches Symphonie-Orchester Berlin conducted by Okko Kamu, Wallin now offers a programme spanning some 30 years of the long career of Max Bruch.
Chung's recording of two beloved Bruch (pieces) is filled with fervent youthful energy and at the same time fragile delicacy. Chung's ability to express the powerful energy not forgetting the detail always amazes me. Simply, the two Bruch recrdings are such a beauty that no word can describe.
One of the best classical cds!
Kyung Wha Chung does a wonderful job of expressing the small details of Max Bruch… All the energy is expressed, just as Bruch intended it to. A must have for all classical collections.- Amazon Reviewer
These are the best reproductions I have ever heard of these famous recordings. All credit to Mark Obert-Thorn, who created them from pre-war US Victor sets. In the early days of audio tape and long playing records, it was rumoured that the original masters of the Elgar concerto in the EMI vaults had been destroyed after a transfer to audio tape had been deemed satisfactory. True, the audio tape transfers when issued on LP sounded good enough, but many music lovers regretted that future processing work on the original masters was no longer an option. Well, here in a new century and at the price of a cup of coffee and a sandwich are miracles of sound reproduction that banish all regrets. Of all the recordings Elgar made of his music, this is the one that has the least "historic" sound to modern ears. String playing in the old-fashioned "slide from note to note" way was apparently something Elgar allowed or encouraged when he recorded his orchestral works, but it is barely evident here, and even less so in the playing of the young Yehudi Menuhin. The recording of the Bruch Concerto, an all round success, was made in London's Small Queen's Hall in 1931 and was, I believe, Menuhin's first concerto recording.