Beethoven - Violin Concerto Op. 61 / Remastered (reference rec.: Nathan Milstein, Erich Leinsdorf)

Album available // Beethoven: Violin Concerto, Op. 61 by Nathan Milstein
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Ludwig Van Beethoven (1770-1827) Violin Concerto, Op. 61 by Nathan Milstein
00:00 Violin Concerto in D Major, Op. 61 - I. Allegro ma non troppo (Remastered 2022)
21:43 Violin Concerto in D Major, Op. 61 - II. Larghetto (Remastered 2022)
31:10 Violin Concerto in D Major, Op. 61 - III. Rondo, Allegro (Remastered 2022)

Violin: Nathan Milstein
Philharmonia Orchestra
Conductor: Erich Leinsdorf
Recorded in 1961
New mastering in 2022 by AB for CMRR
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The baroque and classical concerto, which was the object of much attention throughout the 18th century, especially in Italy, the violin's home country, completed its long virtuoso journey with Mozart and his concertos of 1775, brilliant works with a youthful spirit, if not, in view of the master in question, youthful. There followed a fairly long period of rest, more favorable to the perfection of the new symphony, before the archetypal romantic concerto appeared with Beethoven's Opus 61, followed by other works, less numerous than those dedicated to the piano, but signed by the greatest names of romanticism, including Mendelssohn (the Paganini Concertos, more classical in form, being a case apart, because of the limited role of the orchestra).

Important modifications, not only in the field of the violin concerto, are then implemented, thematically, structurally, but above all in the balance between the soloist and the orchestra, the latter definitively becoming symphonic and no longer a simple harmonic support, taking up in ritornello the themes treated brilliantly by the virtuoso. This evolution of the romantic concerto towards the "symphony with principal violin" will continue until the Brahms Concerto (1879). The violin, in Beethoven as in his successors, will be just as virtuosic as before, and even more so, at the same time deeply integrated into the orchestral fabric. The pure virtuosos, of 'Paganinian' obedience, will not always appreciate this too equal sharing of skills between soloist and orchestra, such as Sarastre who, about Brahms' concerto, will say: ''Do you believe me to be so tasteless as to stand on the platform as a listener, violin in hand, while the oboe plays the only melody of the whole work?''

Beethoven's Concerto in D Major, Op. 61, reflects one of the happiest periods in the composer's life. Contemporary with the Fourth Symphony and the Razumovsky Quartets, it was inspired, among other positive events, by Beethoven's secret engagement to Therese of Brunswick. The work, almost a love song, was premiered in December 1806 by Franz Clement at the 'Theater an der Wien' in Vienna, which had witnessed the premiere of Mozart's 'The Magic Flute' in 1791, but had been rebuilt in the meantime and inaugurated in 1801 (Beethoven lived in the adjoining buildings in 1803 and composed 'Fidelio' there). The characteristic of this concerto comes from the fact that the orchestra, whose density is important, rarely opposes the soloist. The soloist, on the contrary, reinforces the orchestral discourse and its expression, which he permanently subordinates to his natural virtuoso gifts. Never before has this instrument known greater glory in its concertante role.

Mendelssohn: Violin Concerto in E minor, Op. 64 by Nathan Milstein:    • Violin Concerto in E minor, Op. 64 - ...  

Ludwig Van Beethoven PLAYLIST (reference recordings):    • Ludwig Van Beethoven (1770-1827)