{"product_id":"huberman-beethoven-brahms-violin-concertos-193444-pasc421","title":"HUBERMAN Beethoven \u0026 Brahms: Violin Concertos (1934\/44) - PASC421","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e  Violin Concerto in D major, Op. 61\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e  Violin Concerto in D major, Op. 77\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio and live recordings · 1934 \u0026amp; 1944\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 76:23 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eBronislaw Huberman, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVienna Philharmonic Orchestra \u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eGeorge Szell, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonic-Symphony Orchestra of New York \u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eArtur Rodziński, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\n\n\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is essential listening for anyone interested in performance style history, the violin, or these great concertos578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThese classic performances have been reviewed before in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nwith those reviews ranging from positive to enthusiastic. The Beethoven\nis a 1934 British Columbia studio recording, and the Brahms is a New\nYork Philharmonic live broadcast from January 23, 1944. One particularly\nunusual feature of the Brahms is a cadenza I have never encountered\nbefore, credited to one Hugo Heerman. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThat, however, is not the most unusual\naspect of these performances. It is the playing itself that is unusual.\nHuberman was never a universally accepted violinist, but to those of us\nwho loved his playing the flaws were insignificant. What were those\nflaws? A tone that can at times turn thin or coarse, occasional\nroughness in fingerwork, and occasional intonation trouble.\nInterestingly, though, when one listens to his mid-1920s acoustical\nrecordings such as the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCarmen Fantasy\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e one marvels at the technical ability and accuracy at blazing speeds. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBut what Huberman had was an\nextraordinary musical imagination, and he applied it to every phrase.\nThere is a well-known story of his performance of the Brahms when the\nviolinist was 14, that reduced Brahms to tears. The legend is that\nafterwards, when Brahms wrote a touching inscription in Huberman’s\nmusic, the young violinist complained that the audience applauded after\nthe cadenza, to which Brahms replied, “Then you should not have played\nit so beautifully.” (One presumes Huberman performed the Joachim cadenza\nin 1895). \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis is clearly violin playing from\nanother age, an age when performers were willing to risk a level of\nindividuality that would be frowned upon today. It would take any\nlistener with even middling experience and knowledge only a few minutes\nto distinguish between performances by Heifetz, Kreisler, Szigeti,\nHuberman, and Milstein. That would be far less likely in today’s music\nworld. Huberman’s performances are deeply personal, with turns of phrase\nand touches of dynamic shadings that no one else might think of. He\nuses a liberal amount of portamento (sliding from one note to the next),\na performance tool that was more common in his time than it is in ours,\nand he uses less vibrato than did his colleagues. His phrasing is\nhighly individualistic, and the playing is so alive and in-the-moment\nthat it is impossible for you not to be fully engaged by the\nperformances. Not one phrase is tossed off without a clear sense of\nwhere it fits in the overall scheme of the piece. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIt must also be noted that both\nperformances gain from remarkable conducting. Szell and Rodziński were\nnot conductors who saw their roles as simple accompanists, but rather as\nfull-fledged musical partners, attentive to both detail and overall\nsweep. If I were ordered to use a single word as a descriptor of these\nperformances, that word would be “urgency.” They have about them an\nurgency that communicates a sense that “we must play these pieces right\nnow, and in this way, because we believe so passionately in what the\nmusic has to say and we simply \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emust \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003esay it.” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIf you want more detail descriptions, you can go to the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eArchive\nand read reviews of the Beethoven by John Bauman (16:5), John W. N.\nFrancis (7:5), and Mortimer Frank (13:5), and of the Brahms by Mortimer\nFrank (7:2) and Lynn René Bayley (37:2). \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis new Pristine remastering\nsurpasses all prior versions of both recordings, in fullness of\norchestral sound particularly. The EMI LP transfers of the Beethoven\nhave always sounded remarkably good for a 1934 recording, and there is a\ngood Naxos edition as well, but Andrew Rose has somehow managed to find\na new level of richness of color for both Huberman and the Vienna\nPhilharmonic. The Brahms has undergone an even more major improvement\nover its Music \u0026amp; Arts incarnation. The original source is probably\nan off-the-air recording, rather than a master, and a number of labels\nhave issued it, but never with as little distortion and as wide a\nfrequency range as it has here. The XR ambient stereo version simply\ngives the recording a sense of space that the pure mono version lacks.\nThis is essential listening for anyone interested in performance style\nhistory, the violin, or these great concertos. (That should cover just\nabout everyone)! \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:3 (Jan\/Feb 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC421.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBronislaw Huberman's legendary Beethoven and Brahms concerto recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"As\nsoon as Brahms heard the sound of the violin, he pricked up his ears,\nduring the Andante he wiped his eyes...\" Max Kalbeck, 1896\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eIt was Mark Obert-Thorn who introduced me to the violinist Bronislaw\nHuberman with his transfers for Pristine of the complete Mozart and Bach\nrecordings (PASC397) that we issued in 2013. So when I was browsing\nthrough a large collection of LPs donated to Pristine and discovered a\ncouple of discs dedicated to Huberman I resolved to see what I might be\nable to do with them.  \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eNot for the first time I've found that working from EMI's excellent\nanalogue LP transfers has produced excellent results I would struggle to\nmatch from their shellac discs, and here the Beethoven has come up\nmagnificently - bar the occasional intrusion of slight peak distortion\nat the very top end you might easily think this a recording from the\n1950s rather than the first half of the 1930s. Huberman's playing and\ntone truly shines, and the Vienna Philharmonic's playing is fully\nrounded and truly magnificent. This is one of the great recordings of\nthe Beethoven Concerto, and in this XR remastered version has surely\nnever sounded this fabulous before.\u003c\/p\u003e\u003cp\u003eThe Brahms hails from a live recording made in 1944, some 48 years\nafter Huberman's playing of the work had won praise and tears from its\ncomposer. Once again I've been able to make major and significant\nimprovements to the sound quality - again battling against high end peak\ndistortion whilst trying to preserve and highlight as much of\nHuberman's tone as possible. This is a masterful performance indeed -\nand here once again it is available in unprecedented sound quality that\ndoes full justice to the playing.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eViolin Concerto in D major, Op. 61 \u003c\/span\u003e\u003cbr\u003e\u003cb\u003eVienna Philharmonic Orchestra  -  George Szell\u003c\/b\u003e\u003cbr\u003e\n\u003cp\u003eRecorded 18-20 June, 1934\u003cbr\u003eColumbia 78s LX.509-512\u003cbr\u003eMatrix Nos. WHAX.30-38\u003c\/p\u003e\n\u003cbr\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS  \u003c\/b\u003eViolin Concerto in D major, Op. 77\u003c\/span\u003e\u003cb\u003e \u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York  -  Artur Rodziński\u003c\/b\u003e\u003cbr\u003e\n\u003cp\u003eRecorded 23 January 1944\u003cbr\u003eLive at Carnegie Hall, New York\u003cbr\u003eBroadcast recording\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003eBronislaw Huberman\u003c\/b\u003e - violin\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC421.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC421.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e1896 - playing for Brahms\u003c\/b\u003e: Max Kalbeck tells of Brahms’s response to the young Huberman's performance of the Violin Concerto: ‘\u003cem\u003eAs\nsoon as Brahms heard the sound of the violin, he pricked up his ears,\nduring the Andante he wiped his eyes, and after the finale he went into\nthe green room, embraced the young fellow, and stroked his cheeks.\u003c\/em\u003e’\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eAs a 14-year-old he played Brahms’s Violin Concerto to the composer,\nwho was stunned and allegedly wanted to write a rhapsody especially for\nhim. For his Viennese concerts at around the same time (1896), the\naudience included the likes of Dvorák, Mahler, Bruckner and Johann\nStrauss. Two years earlier the legendary diva Adelina Patti had invited\nhim to take part in her farewell gala in London, which he did, to great\nacclaim. When Europe was in turmoil in the 1930s and with Hitler’s\nGermany out of bounds he would regularly, and passionately, promote the\nideal of a ‘Pan-Europa’ movement. Even Furtwängler’s heartfelt pleas for\nhim to return fell on deaf ears. With Europe’s Jews being thrown into\nexile, or worse, he founded what was eventually to become the Israel\nPhilharmonic, Arturo Toscanini conducting the first concerts (without\nfee). Polish-born Bronisław Huberman (1882-1947) constituted a model\ncombination of nobility, impulse and intellect. He was a musical\nmaverick who brooked no compromise and whose few recordings prove the\npoint with a vengeance... \u003c\/p\u003e\u003cp\u003eIn 1937, just before the Anschluss, Huberman left Vienna and took\nrefuge in Switzerland. A year later his career nearly ended when the\naircraft he was travelling in crashed in Sumatra: his wrist and two\nfingers of his left hand were broken. Miraculously, after intensive and\npainful retraining he was able to resume performing. His surviving\noff-air recordings date from this later period, including\nthe Tchaikovsky Concerto under Eugene Ormandy – identical in all but\nsmall details to the 1929 version under William Steinberg – and, most\nvaluably, the Brahms Concerto with Artur Rodziński on the rostrum (Music\n\u0026amp; Arts, A\/03). To hear Huberman quietly glide back into the main\nbody of the first movement after the cadenza is to understand why Brahms\nreacted the way he did. How sad that he died before writing that\nrhapsody. And what a scoop it would have been, a Brahms rhapsody played\nand recorded by its dedicatee....\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eRob Cowan\u003c\/b\u003e, Gramophone, March 2014 - \u003cem\u003eIcons: Bronislaw Huberman (excerpts)\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":44064782254170,"sku":"wpb1789304906832","price":13.73,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":44064782286938,"sku":"wyi1789304906833","price":9.7,"currency_code":"USD","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":44064782319706,"sku":"tpx1789304906834","price":9.06,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":44064782352474,"sku":"ipm1789304906835","price":6.89,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/huberman-beethoven-brahms-violin-concertos-193444---pasc421_1.jpg?v=1789304916","url":"https:\/\/vestorawear.shop\/products\/huberman-beethoven-brahms-violin-concertos-193444-pasc421","provider":"My Store","version":"1.0","type":"link"}