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1 of 2 found the following review helpful:
 No guts, no glory Jan 31, 2009
I am afraid that this performance of the Beethoven, in spite of several virtues, is simply too underpowered. In addition, there is nothing special about the recording; rather, it makes the orchestra seem like a burly blob that comes in from time to time to disturb Bell's reverie. In the slow movement a bassoon drowns out Bell, who I thought was supposed to be the soloist.
In much of his playing Bell employs a stylistic device that seems to be trendy (Vadim Repin is among the others who do it) but that frustrates me greatly: instead of following through and sustaining a phrase, he lets it drop off toward the end. It's cute, and it defies the normal expectation and is therefore something of a novelty. There is a similar type of phrasing in Baroque music, which is supposed to be historically informed; and it produces a sing-songy, repeatedly-sighing undulation that can almost make one seasick after a while; but fortunately this performance only hints at that more extreme practice. Well, Beethoven was neither a Baroque composer nor prone to sighing, as far as I know; so I don't think the technique works well with his music at all; and it further weakens an already anemic approach to this concerto. Then at the very end of the piece there is a reversal of all the preceding reticence, in which the tempo is broken in order to deliver two emphatic closing chords. Finally, I am somewhat amazed that Joshua Bell's only recording of this is with a third-rate orchestra like the Camerata Salzburg. Maybe when he gets around to recording it with a world-class orchestra, he'll give a world-class performance.
For me the performance lacked necessary tension; but if relaxed is your thing, you might like this; and there are moments of poetry. Bell's playing is accurate (mostly), personal, and gentle; but I am not sure that that last attribute is a very good fit for Beethoven. I do give the interpretation credit for being different; and the cadenzas are interesting, too.
It is certainly desirable to have new performances that make the attempt to say something fresh about well-worn classics; but if you are looking for a first recording of the Beethoven concerto, one of the towering achievements of mankind, my suggestion is to get the Heifetz (with Charles Munch and the Boston Symphony) Heifetz: Beethoven & Brahms Concertos (Beethoven: Concerto for violin in D; Brahms: Violin Concerto in D Op77)--it's a well-deserved classic now more than fifty years old that has been re-issued over and over again in practically every medium that has existed since its original release on tape and LP. Another reviewer on this site makes the case for the "Living Stereo" reissue Beethoven: Violin Concerto; Mendelssohn: Violin Concerto [Hybrid SACD] in which the entire disc is Heifetz/Munch/Boston; and this would be a way to get the same repertoire as on the Bell/Norrington disc. I believe that no library should be without at least one Heifetz recording of all the major violin concertos; but if there is one for which Heifetz is absolutely essential, it is the Beethoven. Heifetz's Mendelssohn is a wonder, of course; but there are many other versions I prefer; so I suggest pairing the Heifetz Beethoven with the Brahms, which I believe, like the Beethoven, benefits from Heifetz's intensity more than the Mendelssohn.
For many of us, one recording of the Beethoven violin concerto cannot possibly say all that needs to be said about the piece; and I would encourage the reader to seek out other performances (of which I'd guess there are easily twenty that surpass the Bell/Norrington). The Stern/Bernstein Beethoven: Violin Concerto, for example, brings out details that are lost at the rather fast tempi that Heifetz takes and that Bell and Norrington simply don't seem to have the energy to deliver.
I have only heard the Beethoven performance from this disc, which I found so disappointing that I felt compelled to write this review. I can easily imagine that the style of these performers suits the Mendelssohn rather better, as many of the reviews on this site point out. I have accordingly given the disc three stars even though the Beethoven performance only deserves two.
1 of 1 found the following review helpful:
 Amazing interpretations Dec 24, 2008
I bought this cd simply because I had no other by Mr. Bell in my library. It languished unheard because I had many other recordings of various composers played by other artists of which I thought I was more fond. On a whim one day I decided to give these 2 concerti a listen to see what was there. To say I was pleasantly astounded by both is understating.
I found that Bell of course was completely entitled to the legendary status he is widely considered to possess. His mastery of skill and brilliance of interpretation of these two standards haunts me each time I've finished playing the cd. He emotes precisely what I believe the two masters of musical genius originally intended.
The guidance of the highly talented Roger Norrington with the beautiful contrapuntal accompaniment of the Camerata Salzburg make this one of my most favorite editions of Mendelssohn and Beethoven's violin showcases I've ever heard.
How does one put the music of genius into words thst the eyes can interpret artistically? That idea is nonsensical. These works can only be understood as books for the ears. A story told as by a novelist except that these writers are musicians instead.
The grace of the Mendelssohn is brought to the forefront of the cerebral aesthetic in a manner I've seldom if ever heard before. The music here flows freely, perfectly attuned, relaxing but effervescent as Mendelssohn's works are mostly known for.
This music never offends; it moves in a way that one is not aware of the logic behind the musical strands but yet is revealed marvelously at the end of the piece.
Movement blends effortlessly into movement and Bell wonderfully offers the blend well. As a student of Beethoven's music, it is clear that Mendelssohn is Beethoven refined - as if the latter were ever possible.
Saying that Bell is only strengthened in his virtuosity in this piece by the Camerata enforces the effect of the mixture of the orchestration of the Mendelssohn with the solos Bell delivers with ease. 30 minutes is too short a time. One wants more and more of the earful taste as it were of the masterpiece as presented.
And, devoting 45 minutes of eye closing, concentration on only the music, sans other distractions, and the utter joy of understanding the total genius of the Beethoven Violin Concerto, is 45 minutes of the best life has to offer.
From the opening hushed tympani of the triumphant First Movement, the paradoxical brilliance of the French-Horn-mixed-with-Violin opening of the Second Movement and the grateful summation in the ending movement of the complex emotion of the entire work, it's clear that this will always be music at its highest artistry possible.
Beethoven states a theme, and as if capitalizing a written phrase for emphasis, repeats the theme again and again, more dramatic and more forcefully each time. Themes cascade in wondrous harmony, not downward but upward, showcasing the mastery of form Beethoven always presents for us.
Bell's violin soars to the pinnacles of the highest notes possible, ascending from the lower bass quickly or slowly, depending on the rhythm of the cadence at hand.
Themes from other works are recognizable here, just like the other works repeat similar, earlier themes - a fun trick Beethoven often pulls from his musical hat repertoire.
The first movement has it all. It stands majestic. It could on its own be the entire concerto. Bell, Norrington and the Camerata play the brilliance well.
The First and Third Movements Bell plays almost with the oompah style of Lower Germany. One hears a refreshing reading of these Movements by Bell I've heard no where else.
The Second Movement lulls in its gentle beauty. One imagines fine men and ladies of the Austrian High Courts dancing their utmost refined, tip-toeing dance duets - highest society, music fit for Princes and Dukes. Once again, Bell brings all this to the fore. And it all makes for some of the most satisfying music possible.
I gush. Other listeners will gush also after buying and hearing this cd. It is a terrific work of art. Any p;ice asked is well worth the cost of the enjoyment heard. A library is incomplete without this recording. I've become a Bell fan for life. His other cds are other stories for other future times.
1 of 1 found the following review helpful:
Joshua Bell pPays Violin Concerto Dec 18, 2007
This album is well done and reminded me of the wonderful concert of his that I had the privilege to attend to. Five thumbs up for Mendelssohn
1 of 1 found the following review helpful:
Extraordinary violinist May 21, 2007
I have seen and heard Joshua Bell playing in a beethoven concert with the Orchestra of St Martins in the field. In spite of his bravura on the violin, I am looking forward for a cd of his recording with the above orchestra: superb!
8 of 10 found the following review helpful:
Joshua Bell does it once again Feb 23, 2006
If you haven't heard of Joshua Bell, take a tour on Amazon of his recordings. He is a young man with a beautiful hand on the violin. His interpretations are as wonderful as YoYo Ma on cello or Ruth Larado on piano. I sneek a CD of his in every few orders from Amazon. He makes the violin speak and becomes one with it as he plays.
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