Brahms & Tchaikovsky: Violin concertos

Jed Distler

Artistic Quality:

Sound Quality:

Though Erica Morini recorded both of these warhorses in the studio (the Tchaikovsky twice, in fact), these previously unreleased live performances reveal the extent to which audiences inspired her. In both concertos, for example, Morini brings a wider range of inflections and subtle tempo adjustments to the lyrical slow movements. She also proves more bracing and flexible throughout the Brahms concerto’s outer movements, with tensile, chamber-like support from George Szell (the New York Philharmonic horn section really cooks in the finale!). The Tchaikovsky benefits from cleaner engineering but is hampered by a recorded balance that nearly obliterates Jascha Horenstein’s serviceable orchestra during Morini’s too-closely-miked solo lines. Moreover, her intonation above the staff is a shade less secure than in her RCA Victor studio recording (hold on to its Biddulph reissue if you have it). Allan Evans’ annotations make an eloquent and superbly researched case to rescue Morini’s posthumous reputation from obscurity.


Recording Details:

Reference Recording: Heifetz/Reiner (RCA)

PETER TCHAIKOVSKY - Violin Concerto in D Op. 35
JOHANNES BRAHMS - Violin Concerto in D Op. 77

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