Yehudi Menuhin plays Wieniawski's Scherzo Tarantelle
Henryk Wieniawski (10 July 1835 – 31 March 1880) was a Polish violinist and composer.
He was born in Lublin, Congress Poland, Russian Empire. His father, Tobiasz Pietruszka, had converted to Catholicism. His talent for playing the violin was recognized early, and in 1843 he entered the Paris Conservatoire. After graduation, Wieniawski toured extensively and gave many recitals, where he was often accompanied by his brother Józef on piano. In 1847, Henryk Wieniawski published his first opus, a Grand Caprice Fantastique, the start of a modest but important catalog of 24 opus numbers.
Henryk Wieniawski was considered a violinist of genius and wrote some of the most important works in the violin repertoire, including two extremely difficult violin concertos, the second of which (in D minor, 1862) is more often performed than the first (in F♯ minor, 1853). His "L'Ecole Moderne, 10 Etudes-Caprices" is a very well-known and required work for aspiring violinists. His Scherzo-Tarantelle, Op. 16 and Légende, Op. 17 are also frequently performed works. He also wrote two popular mazurkas for solo violin and piano accompaniment (the second one, Obertas, in G Major), using techniques such as left-hand pizzicato, harmonics, large leaps, and many double stops. Wieniawski has been given a number of posthumous honors. His portrait appeared on a postage stamp of Poland in 1952 and again in 1957. A 100 Złoty coin was issued in 1979 bearing his image.
Scherzo Tarantelle
Listening to a performance of Henryk Wieniawski's Scherzo-tarantelle Op. 16 for violin and piano -- an electrifying, virtuosic walk on a tight-rope -- it is not hard to believe the stories of hard drinking and heavy gambling that have always surrounded the brilliant Polish-born violinist-composer: here is a piece of music whose every measure fully lives up to Wieniawski's personal motto, "Il faut risquer" (I must risk it). Life by that motto was not always kind to Wieniawski, and the rise and fall of both his career and his health were just about as rapid as the left-hand fireworks contained within this four-and-a-half-minute showpiece. Just 21 when Scherzo-tarantelle was first published (1856), Wieniawski was already the well-known author of over a dozen charming salon pieces for violin and piano, and very possibly the most famous violinist of the post-Paganini generation. But just six years later he would peak as both performer and composer (with the fabulous Concerto No. 2 in D minor, Op. 22), thereafter starting a long decline towards his premature death.
With Scherzo-tarantelle, Wieniawski proves himself a master of miniature. Neither profundity of thought nor musical innovation were of any real concern to the composer (though with the Second Concerto he managed to achieve a good bit of both); he instead put his considerable skill towards impeccable craftsmanship and, most importantly, potent, immediate expression of all the violin's myriad characters.
After the violinist has plowed his or her way through an opening Presto filled -- as one expects in the traditional Italian tarantella -- with hectic, running eighth notes, there is an immediate change to the major mode for a Tranquillo whose sweeping, voluptuous violin melody is immediately restated by the piano, now accompanied by the violin. After a brief reunion with the music of the opening section, the composer reaches once again into his well-stocked bag of melody for a graceful cantabile. Scherzo-tarantelle is rounded off with a reprise of the Presto, now truncated and reshaped at the very end to hint, tantalizingly but insincerely, at a change to G major
Yehudi Menuhin: The Complete 1951 Japanese Victor Recordings
On this CD:
Sonata for solo violin No. 1 in G minor, BWV 1001
Composed by Johann Sebastian Bach
with Adolph Baller, Yehudi Menuhin
Partita for solo violin No. 2 in D minor, BWV 1004 Sarabande
Composed by Johann Sebastian Bach
with Adolph Baller, Yehudi Menuhin
Partita for solo violin No. 3 in E major, BWV 1006
Composed by Johann Sebastian Bach
with Adolph Baller, Yehudi Menuhin
Sonata for violin & continuo in G minor, B. g5 ("The Devil's Trill")
Composed by Giuseppe Tartini
with Adolph Baller, Yehudi Menuhin
Sonata for violin & piano No. 5 in F major ("Spring"), Op. 24
Composed by Ludwig van Beethoven
with Adolph Baller, Yehudi Menuhin
Sonata for violin & piano No. 9 in A major ("Kreutzer"), Op. 47
Composed by Ludwig van Beethoven
with Adolph Baller, Yehudi Menuhin
Hungarian Dance for piano, 4 hands, in G minor, WoO 1/1
Composed by Johannes Brahms
with Adolph Baller, Yehudi Menuhin
Slavonic Dance No. 1 for violin & piano in G minor (transcription of Dvorák's Slavonic Dance No. 2, Op. 46/2)
Composed by Fritz Kreisler
with Adolph Baller, Yehudi Menuhin
Negro Spiritual Melody for violin & piano (arr. from Dvorak's Symphony No. 9) Negro Spiritual Melody
Composed by Fritz Kreisler
with Adolph Baller, Yehudi Menuhin
Perpetuum Mobile, for violin & orchestra
Composed by Ottokar Novacek
with Adolph Baller, Yehudi Menuhin
Work(s) Spanish Dance in E minor
Composed by Enrique Granados
with Adolph Baller, Yehudi Menuhin
Romanza Andalusa
Composed by Pablo de Sarasate
with Adolph Baller, Yehudi Menuhin
Spanish Dances: Malagueña y Habanera, for violin & piano, Op 21
Composed by Pablo de Sarasate
with Adolph Baller, Yehudi Menuhin
Habañera from Bizet's "Carmen"
Composed by Pablo de Sarasate
with Adolph Baller, Yehudi Menuhin
Vocalise-Étude en forme de Habanera, for voice & piano
Composed by Maurice Ravel
with Adolph Baller, Yehudi Menuhin
Scherzo-tarantelle, for violin & piano in G minor, Op. 16
Composed by Henryk Wieniawski
with Adolph Baller, Yehudi Menuhin
Caprice Viennois for violin & piano/orchestra, Op.2
Composed by Fritz Kreisler
with Adolph Baller, Yehudi Menuhin
Romanian Folk Dances (7) for violin & piano (arranged by Zoltán Szekely from piano version), Sz. 56, BB 68
Composed by Bela Bartok
with Adolph Baller, Yehudi Menuhin
This review is from: Yehudi Menuhin: The Complete 1951 Japanese Victor Recordings
While this CD is not for those who must hear only the most modern sound, or are allergic to surface noise, for the rest of us, and particularly for younger listeners, it is something not to be missed. Here we have the great Yehudi in top form joined by Adolph Baller, one of the best chamber music pianists of the twentieth century, in a program consisting of some of the greatest of violin works (Beethoven sonatas, Bach unaccompanied sonatas), Bartok (the Rumanian Dances), and encore pieces -- Brahms-Joachim Hungarian Dance, Kreisler, and Wienawski (Scherzo-Tarantelle). All are played with brilliance and splendid musicanship. The Menuhin-Baller partnership sets a standard. Those who have heard Menuhin only when he was past his prime are in for a real treat. Only the Kreisler pieces disappoint (the opening siciliana of the Tartini Devil's Trill too slow for my taste), but no one has played quite like Kreisler, and this is still a wonderful tribute to the great Austrian (Caprice Viennois) as a composer.
The Great Violin Concertos: Bach / Mozart / Beethoven / Mendelssohn / Brahms / Bruch
On this CD:
Concerto for 2 violins, strings & continuo in D minor ("Double"), BWV 1043
Composed by Johann Sebastian Bach
Performed by Bath Festival Orchestra
with Christian Ferras
Conducted by Yehudi Menuhin
Violin Concerto No. 3 in G major, K. 216
Composed by Wolfgang Amadeus Mozart
Performed by Bath Festival Orchestra
Conducted by Yehudi Menuhin
Violin Concerto No. 5 in A major ("Turkish") K. 219
Composed by Wolfgang Amadeus Mozart
Performed by Bath Festival Orchestra
Conducted by Yehudi Menuhin
Violin Concerto in D major, Op. 61
Composed by Ludwig van Beethoven
Performed by Vienna Philharmonic Orchestra
Conducted by Constantin Silvestri
Violin Concerto in E minor, Op. 64
Composed by Felix Mendelssohn
Performed by London Philharmonia Orchestra
Conducted by Efrem Kurtz
Violin Concerto in D major, Op. 77
Composed by Johannes Brahms
Performed by Berlin Philharmonic Orchestra
Conducted by Rudolf Kempe
Violin Concerto No.1 in G minor, Op. 26
Composed by Max Bruch
Performed by London Philharmonia Orchestra
Conducted by Walter Susskind
This review is from: The Great Violin Concertos: Bach / Mozart / Beethoven / Mendelssohn / Brahms / Bruch
I have to admit that in this recording Yehudi is not as sharp as he is in earlier ones, but the fine-tuned expressiveness has not been lost. I would buy this cd simply for the Bruch Violin Concerto, if nothing else, which is a dangerous undertaking to listen to at all, as one is liable to forget to breathe. The Brahms is definitely worth finding a different recording of, however, the 1949 EMI classics is much better.
The most important thing to remember about this album, however, is that Menuhin has never been, and never claimed to be, the best technical player ever. It is his unique interpretation and earnestness that people really fall in love with, and that, he still has.
DVD's
CD's
Yehudi Menuhin: The Great EMI Recordings [Box set]
This review is from: Yehudi Menuhin: The Great EMI Recordings
I am extremely happy I got this big box of Yehudi Menuhin performances. The music is absolutely fantastic. However, audiophiles should be aware that a full 20 of the 50 music CDs in this set are mono recordings. Sound quality is not the strong suit of many of these older discs. However, many others really do sound terrific for mono -- as good as mono can sound. They have been cleaned up well. I haven't yet been distracted by loud hisses or record needle noise.
The bulk of the recordings are from the 1950s through 1970s, and there are even a couple from the 1980s. The sound is very nice indeed on the later recordings.
(Almost) all the major repertoire violin concertos are here, many in multiple versions that show how Menuhin's approach developed over time. I really enjoy putting on different versions of the Beethoven concerto, for example, they each have something different to offer. Apart from the Beethoven and the Mendelssohn, with four versions each, the duplication of works on this set is really not too bad at all, although there is some.
The set includes Menuhin's 1932 recording of the Elgar concerto with Elgar conducting. Again, the sound suffers a bit, but it really has been cleaned up quite well and it is an exciting performance. The set also includes a nice complete cycle of Mozart's five violin concertos from the early 1960s.
Another historical highlight is the Beethoven concerto from 1947 with Wilhelm Furtwängler and the Lucerne Festival Orchestra. Menuhin's agreement to appear with Furtwängler was an incredibly important gesture that perhaps more than any other single event helped "rehabilitate" the conductor's image after WWII, when he was under tremendous fire for having stayed in Germany to direct the Berlin Philharmonic under the Nazis. Menuhin worked frequently with Furtwängler after that, and this set includes a second Beethoven concerto and Romances 1 and 2 from 1953, a Brahms concerto from 1949, and a Mendelssohn concerto from 1952.
The set includes plenty of Sir Adrian Boult as conductor (of Bruch, Berkeley, Williamson, Vaughan Williams, Tchaikovsky and Sibelius). Also a great Berg concerto with Pierre Boulez conducting in 1968.
The selection of chamber works is extensive, including all the Beethoven violin sonatas, all the Bach sonatas and partitas (from 1935), and a wide range of other sonatas, trios and the two Brahms string sextets. Accompanying him on a large number of sonatas is his sister, Hephzibah Menuhin.
The last musical disc in the set are his terrific jazz recordings with Stéphane Grappelli from the mid-1970s, featuring above all tunes by Gershwin and Grappelli.
Finally, I love documentaries as well, so I was very pleased with the "bonus" 51st disc, which contains a musical biography of Menuhin based on interviews conducted with him in 1995.
If you love violin works, this set is for you! Unless you are a real stickler for the latest in sound technology. If you have even a medium tolerance for mono and the "muted" sound of some older recordings, I'm sure you'll enjoy the set. Even if you only listened to the 30 stereo discs, however, it still might be worthwhile to get this set, especially at the $62 price effective so far during much of September 2009.
There are two good sources for the track listing. One is a customer image submitted to Amazon on this page, which contains a legible track listing taken from the side of the box. Combine that with a track list on the EMI Classics website that contains remastering information -- but sadly not the names of the works or the composers.
