Reference recordings: Goldmark Violin Concerto

April 26, 2006 at 05:47 AM · I am interested to hear thoughts on which recordings of the Goldmark Violin Concerto No. 1 in A Minor, Op 28 are considered to be reference or suggested recordings. Currently I believe Nathan Milstein's 1995 Testament recording of the best available on disc. What are your top choices?

Thank you.

Replies (20)

April 26, 2006 at 06:22 AM · we have discussed this topic in the past.

And I agree with you.

Milstein owned the piece throughout his career.

April 26, 2006 at 07:31 AM · Milstein's Goldmark is absolutely the definitive interpretation/recording for any violinist.

But I also really enjoyed Vengerov's Goldmark, and especially Chang's when she was 15. I believe it was her most critally acclaimed album when released, and it really stands a testatment of time. I mean, 15? come on!

I also heard salerno-sonnenburg perform it live at Interlochen summer festival. It was very emotional...

April 26, 2006 at 12:10 PM · Milstein's is unquestionably the definitive performance (as well as one of his all time best). But I also like the Gimpel and the Perlman.

Sandy

April 26, 2006 at 01:42 PM · There is an old live broadcast recording with Milstein that is jaw dropping. He was known for his live performances and there is a extra edge to the performance that is not heard on the studio recording.

April 27, 2006 at 04:42 AM · kevin, would you happen to know where I could find that broadcast?

April 29, 2006 at 02:02 AM · Hi,

Patrick, it is available in a box set on the MUSIC&ARTS label, with other live performances by Milstein.

Cheers!

April 29, 2006 at 03:16 AM · Well, I reallly like Dylana Jenson's live recording. Great playing.

April 30, 2006 at 07:06 AM · I really enjoyed Joshua Bell's recording. It felt amazingly clean and smooth, but I have yet to hear the Milstein.

April 30, 2006 at 09:05 AM · Ms. Dylana Jensen has a lovely live recording. I am going to buy it.

May 1, 2006 at 03:26 AM · I was lucky enough to attend a concert in Long Beach Calif,as a young boy, when Milstein played the Goldmark. I agree he has been the standard bearer of this piece in my mind for the last 40+ years. Ups, just gave away my age--oh well. I also feel Heifetz owns the Bruch Scottish Fant--just watched a video again this evening of Heifetz playing this piece--wow.

May 1, 2006 at 06:56 AM · Joshua Bell's redition of the Goldmark concerto is what got me hooked on classical music. I'm not joking. I heard it last summer and I was mesmerized! It's amazing!

June 8, 2006 at 05:06 PM · Somewhere there is a recording of the Goldmark by Bronislaw Gimpel. It is paired with the Dvorak. Unfortunately, Gimpel's intonation is iffy but he has a marvelous sense of how this piece should go and he plays t piece for all it is worth as opposed to Bell who plays it very well but seems to not think much of the piece. To me he plays the piece so that all of its deficiencies show as opposed to playing it so that it sounds as good as it can. Gimpel makes judicious cuts. They are helpful and make the piece more cohesive.

June 8, 2006 at 05:16 PM · Remember that Milstein had 2 versions of Goldmark, one lest know live with Walter. I've 2 more fine recordings: Ricci and Peter Rybar.

June 8, 2006 at 05:23 PM · There's a great recording by Sarah Chang with conductor James Colon.

June 8, 2006 at 05:52 PM · Yes I agree with a few comments earlier about Milstein really having a special touch for this piece. Heifetz also made a beautiful recording of the second movement.

April 1, 2009 at 09:43 PM ·

I am joining this a little late  :)  I ahve the Milstein, with is incomparable, the Tzu, which is hgh up on my list, the Chang, which I find lacking in something, the Perlman, disappointingly thrusting, Rybar, interesting, Hu, too coarse and un-thought-through, Bell, a bit 'easy listening', Ricci -- well, abrasive as always, in his way, andI  am about to receive the now legendary Jenson version. I hear Bell throwing in a bit more of the cadenza than Melstein and others do, but only Hu, Rybar and Gimpel play the cadenza as written. I find the full cadenza more satisfying, and especially like the bridge at the end, and wondered why the other performers, especially Milstein, chose to truncate it. The thoughts of others on this would be welcome.

April 1, 2009 at 11:28 PM ·

I know I am going against a heavy current. But Nai-Yuan Hu on Delos label gets my nod over Milstein. I recognize that Milstein's playing is more brilliant, but his version which I heard first left me feeling indifferent to the piece and still does. And Hu's made me listen to it over and over and like what I heard every time.

April 20, 2009 at 10:53 AM ·

Here the musicnotes of this violinconcerto, so you read the musicnotes of the soloist.

Karl Goldmark (1830-1915) Violinconcerto no.1 in A minor opus 28 movement 1 (begin): Allegro Moderato

Karl Goldmark (1830-1915) Violinconcerto no.1 in A minor opus 28 movement 1 (end): Allegro Moderato

Karl Goldmark (1830-1915) Violinconcerto no.1 in A minor opus 28 movement 2 + 3 (begin): Andante + Moderato-Allegretto

Karl Goldmark (1830-1915) Violinconcerto no.1 in A minor opus 28 movement 3 (end): Moderato-Allegretto

May 20, 2009 at 06:07 PM ·

Yes, the Hu is growing on me. However, I recently got hold of the Gimpel and I have to say it blew me away. His intonation is criticised, but I think his feeling for the piece is the deepest of all I've listened to, and I now have every recording available. Only one very weird thing: he playes the full cadenza in the Finale, and I awaited the bridge that takes us from this to the whole enchilada, and he -- stops. And then tutti and he come in together. I have to assume it was deliberate, but why, why, why? The bridge has been noted with words of praise, and he makes it a little chasm. I amn stumped. Still, aside from that, wonderful. Milstein -- funnily, the more I hear it, the less I like it. He doesn't seem to respect the piece. Okay, it's not Bach's partitas, but it is an honest and often moving 'B' list concerto that deserves as much attention as any other. Perlman's version was done to say 'anything you can do I can do' from Perlman to Milstein. Milstein seems to have introduced the truncated Finale cadenza, and for that, much pity.

May 21, 2009 at 10:23 PM ·

Just want to say thank you to Sam for his sidebar communication and to Bram for posting threse YouTube links.

The links give the short-Finale cadenza that seemed to rule until a few current violinists, including Hu, decided to play the whole thing. Again, once I heard the full cadenza, I just liked it so much more. Goldmark knew what he was doing, and it's clear he really loved the violin.

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