Beethoven: Violin Concerto, Op. 61 & Romances Nos. 1 - 2

by James Leonard This is super-virtuoso Maxim Vengerov's first recording of Beethoven's violin concerto and Romances, and while it has all the virtues of his previous recordings of concertos by Prokofiev, Shostakovich, Tchaikovsky, and Glazunov, it also has all their flaws. Naturally, these flaws aren't technical. Vengerov has a faultless technique along with impeccable intonation and his performances here are utterly seamless. The flaws are interpretative because while a flawless technique and impeccable intonation are good things to have -- where would Grumiaux be without them? -- Vengerov's technique is a goal in itself when, of course, the true goal of any performance should be the music itself. One is never unaware of how effortless Vengerov's technique is, but one is hardly aware of the music, and while this might serve in lighter violin concertos -- say, Vieuxtemps' -- in Beethoven's soaring lyrical masterpiece, Vengerov's virtuosity is virtually beside the point. Also, it must be said, Mstislav Rostropovich's heavy-handed accompaniments don't help matters. Never a more than competent conductor even in the Russian repertoire with which he's most often associated, Rostropovich is almost a caricature in non-Russian repertoire. With the consummately professional London Symphony Orchestra, Rostropovich drives the tempos too hard, pushes the dynamics too far, and pulls the balances toward the highest and lowest ends of the orchestra, thereby thoroughly distorting the shape and sound of the music. In a sense, Rostropovich is less an accompanist than a full partner; unfortunately, he is not a particularly persuasive partner. EMI's sound is very big and very loud, but still deep and detailed.