Conductor Claudio Abbado and the Berlin Philharmonic join violinist Midori in two of the "biggest" Russian violin concertos, those of Tchaikovsky and Shostakovich. Midori's Tchaikovsky is fine, but holds no surprises. The Shostakovich, however, is a different matter -- Midori performs this rather difficult work with a creamy, melting sensuality that is in sharp contrast to the usual manner of performance given by the work's dedicatee David Oistrakh, who pointed up its more angular and aggressive characteristics. While both ...
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Conductor Claudio Abbado and the Berlin Philharmonic join violinist Midori in two of the "biggest" Russian violin concertos, those of Tchaikovsky and Shostakovich. Midori's Tchaikovsky is fine, but holds no surprises. The Shostakovich, however, is a different matter -- Midori performs this rather difficult work with a creamy, melting sensuality that is in sharp contrast to the usual manner of performance given by the work's dedicatee David Oistrakh, who pointed up its more angular and aggressive characteristics. While both viewpoints on this concerto are valid and "work," one suspects that of the two, the average listener will warm up to Midori a bit more readily. CD booklet note writer David Grayson, following the general line in writing about the Shostakovich Concerto, recalls the frustrating process through which this work was created. Where one would expect pain, Midori finds poetry; where one would expect frustration, Midori finds calm. This is not so much that she has sweetened the pot by...
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