Khachaturian/Tchaikovsky Orchestral Works
View record and artist detailsRecord and Artist Details
Composer or Director: Aram Il'yich Khachaturian, Pyotr Ilyich Tchaikovsky
Label: EMI
Magazine Review Date: 3/1985
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: EL270108-4

Tracks:
Composition | Artist Credit |
---|---|
Concerto for Violin and Orchestra |
Aram Il'yich Khachaturian, Composer
Aram Il'yich Khachaturian, Composer Israel Philharmonic Orchestra Itzhak Perlman, Violin Zubin Mehta, Conductor |
Souvenir d'un lieu cher, Movement: No. 1, Méditation in D minor |
Pyotr Ilyich Tchaikovsky, Composer
Israel Philharmonic Orchestra Itzhak Perlman, Violin Pyotr Ilyich Tchaikovsky, Composer Zubin Mehta, Conductor |
Composer or Director: Aram Il'yich Khachaturian, Pyotr Ilyich Tchaikovsky
Label: EMI
Magazine Review Date: 3/1985
Media Format: Vinyl
Media Runtime: 0
Mastering:
DDD
Catalogue Number: EL270108-1

Tracks:
Composition | Artist Credit |
---|---|
Concerto for Violin and Orchestra |
Aram Il'yich Khachaturian, Composer
Aram Il'yich Khachaturian, Composer Israel Philharmonic Orchestra Itzhak Perlman, Violin Zubin Mehta, Conductor |
Souvenir d'un lieu cher, Movement: No. 1, Méditation in D minor |
Pyotr Ilyich Tchaikovsky, Composer
Israel Philharmonic Orchestra Itzhak Perlman, Violin Pyotr Ilyich Tchaikovsky, Composer Zubin Mehta, Conductor |
Author: Ivan March
The present performance is first rate. Perlman is on spiffing form and headily enjoying himself, and while Mehta is not a subtle accompanist he is thoroughly committed and makes a good deal of the rhythmic energy of the piece and sees that the obbligato decorations of the violin solo from the woodwind come over responsively. The recording is a bit studioish. I would have liked more resonance. But it is very faithful and the forwardly-balanced soloist is truthfully caught. The opening tutti of the finale is a little fierce but it suits the piece.
By the side of the Khachaturian the Glazunov Meditation sounds old fashioned, yet it is agreeable and played with an engaging warmth. But it is the second subject of the Khachaturian (especially as reprised with clarinet at the end of the first movement) that remains hauntingly in the memory.'
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