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Bach, J.S.: Violin Concertos - Bwv 1041, 1042, 1043, 1060
Nimbus Apr 2005
CD
$16.99

Bach J.s.: Violin Concertos Bwv 1041-43
Naxos Apr 1990
CD
$19.99

Bach: Violin Concerti / Elmar Bach: Violin Concerti, Arco Ensemble

Artek

$16.99 Sep 28, 2010

BACH Violin Concertos: in a, BWV 1041; in E, BWV 1042; in g, BWV 1056; in d for Two Violins, BWV 1043 1 • Elmar Oliveira (vn, cond); 1 Eva Gruesser (vn); Arco Ens • ARTEK 0054 (63:24)

After reviewing Elmar Oliveira’s brilliant performance of Schumann’s Violin Concerto in conjunction with our interview, I have to admit that reviewing this CD of Bach’s violin concertos proved rather difficult for me. The reason is not due to any shortcomings found in Oliveira’s playing or the excellent support he receives from the Arco Ensemble. To paraphrase Shakespeare, the fault, dear reader, lies not in the music-making but in what we’ve come to expect of it. Reflexively, I found myself wanting to reject Oliveira’s approach, not for what it is but for what it isn’t.

In recent times, we’ve become so habituated to hearing this music performed on period instruments, that even when it’s performed on modern instruments, we demand that the players adopt the manners and style of performance informed by historical practice. Examples may be heard in two modern-instrument recordings of these Bach concertos by Hilary Hahn with the Los Angeles Chamber Orchestra and Julia Fischer with the Academy of St. Martin in the Fields. Both embrace almost identical approaches: rapid tempos, minimal vibrato, short bow strokes, pointed phrasing, terraced dynamics, and surgically precise articulation. Yet, impressive as their performances are as pure execution, Hahn and Fischer’s versions both strike me as virtually devoid of emotional expression and warmth.

Elmar Oliveira’s readings of these concertos are not what I would call big-band Bach— from a group photo, the Arco Ensemble appears to be composed of 18 string players—but they are what I would call older-school Bach. Tempos are brisk enough, but more moderate than the lightning speeds adopted by so many modern-day ensembles; and the result is that one can actually hear and appreciate the intricate contrapuntal interplay between voices in the orchestra, and the intra -play between ripieno and soloist.

For Oliveira’s part, vibrato, long bow strokes, graduated dynamics, and songful phrasing are part and parcel of the art of making beautiful music and making the music sound beautiful. Time and again, as I listened to these performances, the violinist who came to mind was Arthur Grumiaux, whose patrician style Oliveira’s elegant, refined, aristocratic playing and warm tone very much reminds me of.

The more I listened to Oliveira’s Bach, the more I realized what I’ve been missing in so many recent versions both on period and modern instruments. There’s real feeling in these performances. Just listen to the slow movement of the D-Minor Concerto for Two Violins, in which Eva Gruesser is Oliveira’s perfectly matched partner. Of all the movements in these concertos, this one, with its intertwining solo voices overlapping each other with poignant dissonances, may just be the most touching; only the slow movement of the Violin and Oboe Concerto comes close. Interestingly, that concerto, which is a frequent discmate to the three standard violin concertos, is not included here. Instead, Oliveira has chosen to include the G-Minor Concerto, BWV 1056, which is generally more familiar in its F-Minor version for harpsichord.

The sheer beauty and affability of these performances will invite me back to them often, more often I daresay than will a number of impersonal and impassive accounts of recent vintage on both period and modern instruments. Oliveira proves once again, if proof be needed, that Bach belongs to no one school of playing, and that pure, heartfelt music-making transcends all ages. This is very strongly recommended.

FANFARE: Jerry Dubins

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Bach: Violin Concerti / Elmar Bach: Violin Concerti, Arco Ensemble
Artek Sep 2010
CD
$16.99

Bach: Violin Concertos, Partita No 2 / Heifetz, Et Al
IDIS Nov 2005
CD
$16.99

VIOLIN CONCERTOS
SONY Oct 1995
CD
$14.99

Glazunov: Concerto For Violin And Orchestra In A Minor
Nimbus Mar 2016
CD
$20.99

Bach: Concertos Vol 1 / Suzuki, Terakado, Wakamatsu, Et Al

BIS

$21.99 Apr 01, 2000

This new recording from the Bach Collegium Japan contains the three violin concertos by Bach which have been preserved in their original form (BWV 1041-3) and another, for violin and oboe (BWV 1060), which has survived only in a version for two harpsichords and strings. But since Bach has left us arrangements of all four works for one or two harpsichords, it seems probable that BWV 1060 was also originally a work for two melody instruments, the writing suggestive of an oboe with violin.

Though plenty of recordings exist of these concertos played on period instruments, few if any entirely satisfy my sensibilities. Solo violinist Ryo Terakado, who customarily leads the Bach Collegium Japan, perhaps comes as close as any to fulfilling hopes and expectations. His playing in the A minor and E major Concertos is clearly articulated with eloquently shaped phrases – the Andante of the A minor work provides a good instance of these virtues. His tone, furthermore, has a sweetness in the upper register which is all too often lacking in performances by his period instrument rivals. In the D minor Concerto for two violins, Terakado is joined by Natsumi Wakamatsu, another member of Bach Collegium Japan. Their partnership, evenly balanced and animated in the outer movement dialogue, is rewarding, while the lyrical Largo ma non tanto is sensitively played with alluring inflections.

The oboist in the remaining work (C minor) is the Belgian virtuoso Marcel Ponseele. He is one of the finest Bach oboe players around and nowhere here does he disappoint. In short, this version of the violin concertos, as well as that for violin and oboe, is comfortably my first choice.

-- Nicholas Anderson, BBC Music Magazine

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Bach: Concertos Vol 1 / Suzuki, Terakado, Wakamatsu, Et Al
BIS Apr 2000
CD
$21.99

Symphony in B minor & Violin Concerto

CPO

$18.99 Mar 20, 2026

Hans Koessler is a composer whose name is well known, even if his work is not widely familiar. In this case, his partial renown is due to the fact that this Bavarian composer taught the next generation of Hungarian musicians-including Bartók, Kodály, and Dohnányi-in Budapest and was ultimately awarded the noble title "von." Although some students complained behind his back about his professorial stringency, Koessler's own works tell a different story. The great creative power, poetic sensitivity, and tonal confidence of his B minor symphony are complemented in the violin concerto by remarkable formal originality-there are probably few works of this genre that unfold their eloquence as a powerful passacaglia.

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Symphony in B minor & Violin Concerto
CPO Mar 2026
CD
$18.99

Mix & Match

Mendelssohn: Concerto per violino e orchestra in mi minore,

MV Cremona

$17.99 Aug 16, 2024

This CD offers a beautiful live performance of the Concerto for violin and orchestra op. 64 from Felix Mendelssohn Bartholdy with the Italian violinist Christian Joseph Saccon and the prestigious Orchestra of Padua and Veneto conducted by Maffeo Scarpis. Saccon trained at the great Venetian school of Luigi Ferro, then continued his studies by attending masterclasses with the most important European masters: Tibor Varga, Corrado Romano, Franco Gulli, Uto Ughi and Giuliano Carmignola. He plays a Marino Capicchioni violin from 1942 that belonged to Maestro Salvatore Accardo. It was the famous violinist Ferdinand David who commissioned the Concerto for violin and orchestra op. 64 from Felix Mendelssohn Bartholdy. The first performance took place at the Gewandhaus in Leipzig on 13 March 1845 with David as soloist. The performance was conducted by the Danish composer Niels Gade as Mendelssohn was in poor health at the time. The concerto, performed again in October of that year, with David as soloist under the baton of Mendelssohn himself, was a resounding success. Since then, the concerto has become a staple in concert programmes. In June 1846, the concerto was performed at the Philharmonic Society in London. Mendelssohn personally selected the Genoese violinist Camillo Sivori, a pupil of Paganini, as soloist. On 3 October 1847, it was performed by a young protege of Mendelssohn, the young Hungarian violinist Joseph Joachim, who would go on to become a favourite collaborator of Brahms. The concerto is an elegant and skilfully crafted composition, where brilliance and buoyancy conceal the work's constructive genius. The Orchestra of Padua and Veneto conducted by Maffeo Scarpis interprets also the Symphony n.4 "Italiana" op.90 by Mendelssohn with fresh vigor in a brilliant live performance. It is surely one of the most celebrated compositions by Mendelssohn. The CD is completed by a precious bonus track with the pieces played by Saccon as an encore of the live concert: Capricci n.11 and n.24 by Niccolo Paganini, in which Saccon show all his virtuoso skills.

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Mendelssohn: Concerto per violino e orchestra in mi minore,
MV Cremona Aug 2024
CD
$17.99

Bach: Violin Concertos / Eschkenazy, Ogrintchouk, Concertgebouw Chamber Orchestra

PENTATONE

SACD

$21.99 Oct 30, 2012

Bulgarian violinist Vesko Eschkenazy is one of the very good guys of the classical music world and much loved in The Netherlands, from where I am currently writing my reviews. The team of performers brought together for this Pentatone recording is highly promising, with support from leading soloist Tjeerd Top in the Double Concerto, someone I remember from his time as a student at the Royal Conservatoire in The Hague, and oboist Alexei Ogrintchouk who now teaches there, as well as having increasing numbers of distinguished recordings under his belt, including more Bach from BIS.

There is very little to criticise here, and these are all very fine performances. The sound is pretty crisp supporting an historically informed approach with brisk tempi, a discretely balanced harpsichord helping things along and admirable transparency of texture and articulation. Perhaps the orchestral sound could be a little better defined, with the strings behind the soloists sounding a bit generalised even in SACD mode, but this is a minor point. Brisk tempi means we don’t have the same kind of profundity in the beautiful Largo, ma non tanto second movement of the Double Concerto, but we’ve moved on from the kinds of romantic atmosphere beloved of David and Igor Oistrakh. This is a kind of mixture between worlds, with fairly rich vibrato in the solo lines to go along with the early-music flavour of the general approach. Comparing with Monica Huggett and Alison Bury with Ton Koopman on the Erato label shows very similar timings but a far lighter, chamber-music sonority and a reluctance to play with legato lines. Tighter rhythms and a livelier sonic picture can be found on the BIS label, where Masaaki Suzuki’s Bach Collegium Japan make a superb job of these concertos on BIS-CD-961, showing how the orchestra can play a more pro-active role while almost turning the soloists into consort members rather than giving them their more usual prominence.

So much of what will turn you on in such recordings is a question of taste, and to my ears there is nothing which offends in this Pentatone Bach recording. BWV 1043 doesn’t quite bring a tear to the eye as it can do with some versions, but I still like it a great deal. The solo violin concertos BWV 1041 and BWV 1042 move along decently, though the rhythms might have been a bit more bouncy in the outer movements. The first movement of BWV 1041 for instance, has an intensely narrative feel which Suzuki obtains in his BIS recording, but which is a touch soggy here - a sensation which comes from that rather generalised backing to the soloist. Timings are a little longer, but not in any extreme way. I love Eschkenazy’s restraint in the Andante of BWV 1041, and his gorgeously humane solo lines are ultimately the main selling point of this particular set.

The final D minor concerto BWV 1060, the one reconstructed from a C minor concerto for two harpsichords works well in this recording, with Ogrintchouk’s rich oboe tone mixing very nicely with the strings and Eschkenazy’s partnering solo, brought down a little in the balance to combine on an equal footing and keep a realistic balance with the orchestra.

To conclude, this is a highly desirable recording of the Bach violin concertos, but alas won’t become my all-time favourite. I enjoy the period sound and all of the solo playing, but the somewhat anonymous orchestral backing detracts a little from the overall effect. It’s a different prospect, but Masaaki Suzuki’s more inclusive ensemble is more satisfying to my ears, though admittedly fitting less into conventional expectations of the ‘concerto’ format. In the end, there is no real problem with this recording other than that there are so many others jostling for our attention. The SACD aspect is an attraction, but doesn’t solve that mildly beige orchestral tapestry which prevents me from making this a list of purely admiring superlatives.

-- Dominy Clements, MusicWeb International

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Bach: Violin Concertos / Eschkenazy, Ogrintchouk, Concertgebouw Chamber Orchestra
PENTATONE Oct 2012
SACD
$21.99

Schumann & Mendelssohn: Violin Concertos

Naxos

$19.99 Apr 17, 2026

Felix Mendelssohn's Violin Concerto in E minor, composed over an extended period and in collaboration with it's dedicatee Ferdinand David, was an instant success at it's premiere. The concerto's glorious melodic invention and innovative character have made it one of the most beloved works in the classical canon. Dramatic in mood and troubled in it's history, Robert Schumann's Violin Concerto is regarded by soloist Albrecht Menzel as revealing the composer's inner world, from the deepest anguish to the heights of exhilaration.

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Schumann & Mendelssohn: Violin Concertos
Naxos Apr 2026
CD
$19.99

Mix & Match

Violin Concertos
DUX Jan 2008
CD
$21.99

Brahms: Concerto for violin and cello, Op. 102 in A minor &

Nimbus

$23.99 Jan 02, 2026

Towards the end of his life, Johannes Brahms declared more than once that he was retiring from composing - luckily for us, he never quite followed through. Not because he had run out of inspiration - Brahms was at the height of his powers - but because he felt a growing pull toward the intimacy of chamber music, piano pieces, and songs, which brought him deeper personal satisfaction than grand orchestral forms. Still, Brahms returned once more to orchestral writing in 1887 with the Double Concerto in A minor, Op. 102 - his last orchestral work. The reason was personal: a gesture of reconciliation toward his estranged friend, the great violinist Joseph Joachim. This concerto, written for Joachim and cellist Robert Hausmann, symbolises renewed harmony - not just musically, but emotionally. The two solo instruments engage in a rich, expressive dialogue throughout. Mozart wrote his Sinfonia Concertante in E-flat major for violin and viola in the summer of 1779 - a true synthesis of symphony and concerto. This work is expansive and noble in character, full of brilliant writing for both soloists. Mozart, himself an accomplished violinist, clearly understood how to write for the instrument with flair and sensitivity. One striking feature of the work is that the viola part is written in D major, requiring the instrument to be tuned a semitone higher (a practice known as scordatura). Common in the Baroque era, scordatura was still occasionally used in Mozart's time to achieve a brighter, more penetrating sound. The autograph of the piece is lost; only later copies have survived - except for the original drafts of the cadenzas. On this recording, the viola part is performed by a cellist, playing in the original viola position without octave transposition. © Jaromír Havlík

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Brahms: Concerto for violin and cello, Op. 102 in A minor &
Nimbus Jan 2026
CD
$23.99

Mix & Match

Glazunov: The Seasons, Violin Concerto
Naxos Aug 1997
CD
$19.99

Felix Mendelssohn & Bruch: Romantic Violin Concertos / Pochekin, Tewinkel, Württemberg Philharmonic Reutlingen

Haenssler Classic

$10.49 ~~$20.99~~ Save 50% Apr 01, 2022

Mikhail Pochekin writes of this new release: “Both violin concertos have in common that they were composed with great violinists in mind. With Mendelssohn it was the violin virtuoso Ferdinand David. There’s an interesting exchange of letters about the E Minor Violin Concerto and the friendship shared by Mendelssohn and David, which is a highly informative and compelling read. And the Bruch Concerto is unthinkable without Sarasate. Both works are based on a similar foundation. What the works have in common, however, is that they are two completely different masterpieces, each of which tells a completely different “story”. This combination creates many moments full of suspense, at least that’s what I hope when people listen to this album!”

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Felix Mendelssohn & Bruch: Romantic Violin Concertos / Pochekin, Tewinkel, Württemberg Philharmonic Reutlingen
Haenssler Classic Apr 2022
CD
~~$20.99~~ $10.49

Mendelssohn: Violin Concertos / Tianwa Yang, Gallois, Sinfonia Finlandia

Naxos

$9.99 ~~$19.99~~ Save 50% Feb 26, 2013

Violinist Tianwa Yang turns her attention to one of the great 19th century violin concertos, coupled with two of Mendelssohn's youthful yet astonishingly mature works.

REVIEW:

Young violinist Tianwa Yang has exceptional technique, and her vision in the great E minor concerto is unfailingly intelligent. The first movement is taken a touch on the slow side, giving the music added weight and seriousness. In the finale, too, Yang refuses to rush or indulge in empty showmanship, while the Andante’s singing melodies do just that. If there is any down side to her interpretation, it is this: older, wiser violinists such as Nathan Milstein shape the many moments of passagework to more purposeful effect, just as a masterful singer understands that coloratura expresses virtuosity but also can be phrased and articulated so as to heighten the emotion and intensity of the phrase. Yang isn’t quite in that league yet, but there is absolutely nothing wrong with the playing as such. The accompaniments, similarly, won’t compare to the best versions featuring major orchestras, but they offer distinguished contributions nonetheless.

What makes this disc such a smart one, though, is the inclusion of the youthful D minor concerto and the F minor violin sonata. Most Mendelssohn discs couple another major violin concerto (usually Bruch’s or Tchaikovsky’s), and God knows we don’t need another recording of those works any more than we need another Mendelssohn E minor concerto. Both youthful works are vintage early Mendelssohn, and he was not a composer who invariably got better with age. Yang plays them very well indeed, and there’s far less competition here than in the more famous companion pieces. Pianist Romain Descharmes accompanies very sympathetically, and both in the concertos and the sonata the engineering is very clean and well-balanced. In sum, the couplings make this disc worth acquiring even if you’d never think of buying another version of the E minor concerto. As for Yang, she remains an artist to watch.

-- David Hurwitz, ClassicsToday.com

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Mendelssohn: Violin Concertos / Tianwa Yang, Gallois, Sinfonia Finlandia
Naxos Feb 2013
CD
~~$19.99~~ $9.99

Khachaturian, A.I.: Violin Concerto / Concerto-Rhapsody for

Naxos

$19.99 May 26, 2009

Armenia' greatest composer Aram Khachaturian received both acclaim and criticism from the Soviet regime, including the USSR State Prize for his three Concerto-Rhapsodies. "A concerto is music with chandeliers burning bright; a rhapsody is music with.

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Khachaturian, A.I.: Violin Concerto / Concerto-Rhapsody for
Naxos May 2009
CD
$19.99

Pre-order

Brahms: Double Concerto in A minor for Violin, Cello and Orc
DUX Oct 2026
CD
$24.99

Naxos Bach Edition 2 - Bach: Violin Concertos / Müller-brühl

Naxos

$19.99 Jan 01, 2000

Bach's three surviving violin concertos--the A minor, E major, and D minor ("double")--have long enjoyed standard repertoire status, and their continued popularity with audiences has made them fair game for almost every violinist of note with a recording contract. Fortunately for listeners, these works generally have been treated extremely well and the catalog consistently offers numerous fine performances, on both period and modern instruments. These new performances, featuring three outstanding young violinists, are part of Naxos' ongoing traversal of the "complete orchestral works of Bach", and they easily hold their own among the far more illustrious competition. Kolja Blacher, who performs the solo concertos, is a brilliant and commanding presence who makes Bach's not-to-be-taken-lightly lines really sing and dance and occasionally spark. His colleagues, Christine Pichlmeier and Lisa Stewart, deliver a D minor "double concerto" that's both agile and lyrical. The interplay is a real dialogue, especially rich through the second movement suspensions and dissonances, and especially exciting in the stretto-filled third movement.

Most Bach violin recordings fill out the program with one of the harpsichord concerto reconstructions--that is, a piece that modern scholarship suggests originally was a violin concerto but that Bach later reworked and for which the violin original is now lost. Here we get the D minor concerto BWV 1052, a famous harpsichord piece that is rarely performed in this version, and that in the hands of Blacher and his Cologne partners sounds every bit like it belongs with the rest of Bach's violin masterpieces.
--David Vernier, ClassicsToday.com

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Naxos Bach Edition 2 - Bach: Violin Concertos / Müller-brühl
Naxos Jan 2000
CD
$19.99

Mendelssohn & Schumann: Violin Concertos & Phantasy / Graffin, Rousi, Orchestra di Padova e del Veneto

Cobra

$9.49 ~~$18.99~~ Save 50% Oct 14, 2016

The programming Philippe Graffin is always surprisingly remarkable. He is a master in making a logical connection between unknown or forgotten repertoire and "main" repertoire, and also a master in breaking new ground, on this release by introducing a cadenza of his own. For this release, on the one side, he has chosen the often-recorded Violin Concerto in E Minor by Mendelssohn with the cadenza written by himself, and on the other side, included the not-often recorded and controversial Violin Concerto in D Minor. Philippe Graffin has established an indisputable reputation for his interpretations of the French repertoire. Philippe made his first recording with Yehudi Menuhin conducting the Royal Philharmonic Orchestra and his many highly acclaimed recordings since then bear witness to a questing mind and include many world premieres. He has rediscovered original settings of Chausson's Poeme and Ravel's Tzigane and has championed the forgotten violin concertos of Faure and the English composer Coleridge-Taylor.

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Mendelssohn & Schumann: Violin Concertos & Phantasy / Graffin, Rousi, Orchestra di Padova e del Veneto
Cobra Oct 2016
CD
~~$18.99~~ $9.49

Mendelssohn: Violin Concertos, Violin Sonata In F Minor / Tianwa Yang

Naxos AudioVisual

$16.99 Mar 26, 2013

Note: This Blu-ray Audio Disc is only playable on Blu-ray Disc players and not compatible with standard CD or DVD players.

Filled with Mendelssohn’s signature freshness and lightness of touch, the Violin Concerto in D minor and the Sonata, Op 4 are youthful products but written with an assurance which is startling in its maturity. The substantial earlier concerto gives a foretaste of the originality and soaring inspiration which has made the Violin Concerto, Op 64 one of the most enduring works of its age. Acclaimed as “an unquestioned master of the violin” (American Record Guide), Tianwa Yang has quickly established herself as a leading international performer and recording artist, with highly acclaimed discs of works by Sarasate, Piazzolla and Wolfgang Rihm.

Sound format: PCM Stereo / DTS-HD Master Audio 5.1

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Mendelssohn: Violin Concertos, Violin Sonata In F Minor / Tianwa Yang
Naxos AudioVisual Mar 2013
CD
$16.99

Mozart: 6 Concerti per il violino

Oehms Classics

$15.99 ~~$31.99~~ Save 50% Feb 25, 2014

The musical world is familiar with the 5 violin concerti up to K. 219; on the other hand, the Concerto K. 271a can't be definitively attributed to Mozart. It's dated approximately 1777 and was designated as the seventh of his violin concerti. This is an ingenious meeting of the soloist Mirijam Contzen, who has herself written all the cadenzas for the concertos, Reinhard Goebel and the bavarian chamber philharmonic. An absolute must for lovers of the violin, and especially for lovers of Mozart.

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Mozart: 6 Concerti per il violino
Oehms Classics Feb 2014
CD
~~$31.99~~ $15.99

Mendelssohn - Bruch - Vaughan Williams

BIS

SACD

$21.99 Nov 21, 2025

Following his recordings of Tchaikovsky and Barber concertos (BIS-2440), honoured with a "Diapason d'or", Gramophone's "Editor's Choice" and BBC Music Magazine's "Concerto Choice", and Nielsen and Sibelius (BIS-2620), awarded Gramophone's "Editor's Choice", Swedish-Norwegian violinist Johan Dalene now takes on three of the most popular concertante works for violin in the entire repertoire, composed in three different eras. Felix Mendelssohn's Concerto in E minor needs no introduction: this masterpiece from the composer's mature period is one of the best known and most beloved works in all of classical music thanks to it's freshness, originality of writing, and magnificent themes. Max Bruch's First Violin Concerto, another pillar of the violin repertoire, is appreciated for it's natural lyricism and memorable melodies. In these two works, Johan Dalene is accompanied by the Swedish Radio Symphony Orchestra, conducted by it's concertmaster Malin Broman (Mendelssohn) and by Gemma New (Bruch). Imbued with a serene, meditative spirit and a sense of communion with nature, Ralph Vaughan Williams' The Lark Ascending concludes the program. However, the work is not performed here in it's well-known orchestral version, but rather with choir in an arrangement by Paul Drayton. The Swedish Radio Choir is conducted by it's director Kaspars Putnins, a musical partnership whose recordings on BIS have earned numerous awards.

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Mendelssohn - Bruch - Vaughan Williams
BIS Nov 2025
SACD
$21.99

Mix & Match

Tchaikovsky & Glasunov: Violin Concertos / Pletnev, Pochekin

Profil

$19.99 Jan 07, 2022

This recording features the works of composers who were outstanding personalities in the musical life of their country during their lifetime: The Violin Concerto in D major, op. 35, by Tchaikovsky and the Violin Concerto in A minor, op. 82, by Glazunov. Each of the two composers wrote only one concerto for violin and orchestra respectively, as did Beethoven or Brahms as well. The two concertos by Tchaikovsky and by Glazunov each quickly gained admirers in the West. The image of Tchaikovsky is well-known, who closely emulated Western European music, especially music originating in Italy, France and Germany. Glazunov, who had no conservatory training, acquired his skills as a composer with Rimsky-Korsakov. He was one of the members of the “Mighty Handful” of five composers who banded together in Saint Petersburg in 1862 and called themselves novators, or innovators. They championed and strongly supported a national style of Russian classical music. There were therefore contrasts in style at the time. Yet Tchaikovsky, who was accused of “Western leanings”, was also an adherent of other contemporary Russian composers and his stance towards the innovators was generally positive, though differentiated. And Glazunov, the pupil of Rimsky-Korsakov? The attitude he upheld was based on the maxim: “I am possessed by music.”

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Tchaikovsky & Glasunov: Violin Concertos / Pletnev, Pochekin
Profil Jan 2022
CD
$19.99

Khatchaturian: Cello Concerto In E Minor & Violin Concerto In D Minor
Orfeo Mar 2004
CD
$20.99