Bruch: Violin Concerto No. 1 in G minor, Op. 26, etc.

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These are exceptionally strong and positive performances, vividly recorded. When it comes to the two main works, Kennedy readily holds his own against all comers. His view of the Mendelssohn... — Gramophone Classical Music Guide, 2010 More…

Catalogue No: 7496632
Label: Warner Classics
Length: 70 minutes

Excerpt, Bruch: Violin Concerto No. 1 in G minor, Op. 26

Work length8:35

$1.30

$1.70

Nigel Kennedy (violin)
English Chamber Orchestra
Jeffrey Tate
Recorded: 1987-12-20
Recording Venue: 19-20 December 1987, Abbey Road Studios, London

Excerpt, Bruch: Violin Concerto No. 1 in G minor, Op. 26

Work length9:25

$1.30

$1.70

Nigel Kennedy (violin)
English Chamber Orchestra
Jeffrey Tate
Recorded: 1987-12-20
Recording Venue: 19-20 December 1987, Abbey Road Studios, London

Excerpt, Bruch: Violin Concerto No. 1 in G minor, Op. 26

Work length7:15

$1.30

$1.70

Nigel Kennedy (violin)
English Chamber Orchestra
Jeffrey Tate
Recorded: 1987-12-20
Recording Venue: 19-20 December 1987, Abbey Road Studios, London

Schubert: Rondo for violin and strings in A major, D438

Work length16:12

Album only

Nigel Kennedy (violin)
English Chamber Orchestra
Jeffrey Tate
Recorded: 1987-12-20
Recording Venue: 19-20 December 1987, Abbey Road Studios, London

Mendelssohn: Violin Concerto in E minor, Op. 64

Work length29:08

Album only

Nigel Kennedy (violin)
English Chamber Orchestra
Jeffrey Tate
Recorded: 1987-12-20
Recording Venue: 19-20 December 1987 / No. 1 Studio, Abbey Road, London

I. Allegro molto appassionato -

Track length13:27

Album only

II. Andante

Track length9:01

$1.30

$1.70

III. Allegretto non troppo - Allegro molto vivace

Track length6:40

$1.30

$1.70

Reviews
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Reviews

2010

These are exceptionally strong and positive performances, vividly recorded. When it comes to the two main works, Kennedy readily holds his own against all comers. His view of the Mendelssohn has a positive, masculine quality established at the very start. He may at first seem a little fierce, but fantasy goes with firm control, and the transition into the second subject on a descending arpeggio (marked tranquillo) is radiantly beautiful, the more affecting by contrast with the power of what has gone before.
Kennedy is unerringly helped by Jeffrey Tate's refreshing and sympathetic support. Though it's the English Chamber Orchestra accompanying, there's no diminution of scale. With full and wellbalanced sound, the piece even seems bigger, more symphonic than usual. In the slow movement Kennedy avoids sentimentality in his simple, songful view. The coda is always a big test in this work, and Kennedy's and Tate's reading is among the most powerful and exciting on record.
The Bruch brings another warm and positive performance, consistently sympathetic, with the orchestra once more adding to the power.
Kennedy's more than a match for rival versions, again bringing a masculine strength which goes with a richly expressive yet unsentimental view of Bruch's exuberant lyricism as in the central slow movement. Thoroughly recommended.

Bruch: Violin Concerto No. 1 in G minor, Op. 26, etc.

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