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█████ ▄2█▀▀≤ ▓ .···. P R E S E N T S .···. ▓ │▀▀▀≥▄▄ █████
█████≥▀ ▀ ▀ ≥██████
█████▀ Beethoven: Violin Concerto - "Kreutzer" Sonata ▀█████
████▀ ▀████
███▀ ▀███
≥▓▓▓ ARTiST..[ Agerich - Repin - Vienna Philharmonics - Muti ▓▓▓▓█
≥▓▓▓ TiTLE...[ Beethoven: Violin Concerto - "Kreutzer" Sonata ▓▓▓▓█
████ GENRE...[ Classical GRABBER.[ EAC ████
████ LABEL...[ Deutsche Grammophon ENCODER.[ Lame 3.97 ████
████ YEAR....[ 2007 QUALiTY.[ avg. 174kbps ████
████ SOURCE..[ CDDA MODE....[ Joint-Stereo ████
████ PLAYTIME[ 84:07 min REL.DATE[ 12.30.2009 ████
████ TRACKS..[ 06 RiPPER..[ TEAM OMA ████
████ SiZE....[ 108,4 MB SUPPLiER[ TEAM OMA ████
████ ████
████ ████
████ ▄▀▀██≥▄ 2███▀▀▄ ████
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█████▀ ▀█████
████▀ ▀████
███▀ NR. TRACK. TiME. ▀███
≥▓▓▓ ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ ▓▓▓▓█
≥▓▓▓ ▓▓▓▓█
████ CD1 ████
████ ████
████ 01 Vadim Repin - Vienna Philharmonics - Riccardo 25:28 ████
████ Muti - Concerto For Violin And Orchestra In D Majo ████
████ 02 Vadim Repin - Vienna Philharmonics - Riccardo 10:01 ████
████ Muti - Concerto For Violin And Orchestra In D Majo ████
████ 03 Vadim Repin - Vienna Philharmonics - Riccardo 10:20 ████
████ Muti - Concerto For Violin And Orchestra In D Majo ████
████ ████
████ CD2 ████
████ ████
████ 01 Vadim Repin - Martha Agerich - Sonata For Piano 14:46 ████
████ And Violin No.9 In A Major: 1. Adagio Sostenuto - ████
████ 02 Vadim Repin - Martha Agerich - Sonata For Piano 14:35 ████
████ And Violin No.9 In A Major: 2. Andante Con Variazi ████
████ 03 Vadim Repin - Martha Agerich - Sonata For Piano 08:57 ████
████ And Violin No.9 In A Major: 3. Rondo- Presto ████
████ ∙∙∙∙∙∙∙∙∙∙∙∙ ████
████ TOTAL: 84:07 ████
████ ████
████ ████
████ ▄▀▀██≥▄ 2███▀▀▄ ████
████ ■ ██≥█ .···. R E L E A S E N O T E S .···. ≥███ ■ ████
████ · 2██≥ ▓██≥▄ · ████
█████ ▄2█▀▀≤ ▓ ▓ │▀▀▀≥▄▄ █████
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█████▀ ▀█████
████▀ ▀████
███▀ ▀███
≥▓▓▓ ▓▓▓▓█
≥▓▓▓ ▓▓▓▓█
████ . . . in the quasi-religious Adagio . . . ████
████ that's where Mr. Repin comes into his own in a ████
████ deeply moving performance. The Vienna ████
████ Philharmonic under Riccardo Muti plays the ████
████ first movement for grandeur and majesty. Mr. ████
████ Repin contributes a very detailed commentary ████
████ on his fiddle . . . ████
████ Record Review / Lawson Taitte, Dallas Morning ████
████ News / 29 September 2007 ████
████ ████
████ Repin plays with pure intonation, a warm, ████
████ round sound, and lots of imagination. His ████
████ violin is always rising or falling, with more ████
████ or less vibrato, as he explores the hills and ████
████ valleys of Beethoven's sunniest music outside ████
████ the Sixth Symphony. The first movement, based ████
████ on a melody as simple as a nursery rhyme, is ████
████ made fascinating by his subtle changes in ████
████ texture -- a series of marcato tugs here; a ████
████ lilting, songlike phrase there -- always in ████
████ strict time. He is never sentimental or fussy. ████
████ The music comes first, and he serves it well. ████
████ Riccardo Muti, Repin's choice for conductor, ████
████ gets extraordinarily precise, forceful playing ████
████ from the Vienna Philharmonic. This is a ████
████ warm-hearted orchestra to begin with, and the ████
████ combination of its golden, generous sound with ████
████ Muti's cool command and marbled grandeur is a ████
████ fresh, vivid, winning experience. The ████
████ recording in the Vienna Musikverein captures ████
████ all the fine grain of soloist and orchestra ████
████ within a resonant envelope. ████
████ Record Review / David Perkins, News & Observer ████
████ (Raleigh) / 01 October 2007 ████
████ ████
████ The Vadim Repin disc may become a classic . . ████
████ . he has depth in a performance full of ████
████ romantic-era emotionalism, seconded by his ████
████ glamorous collaborators, including conductor ████
████ Riccardo Muti . . . and the always ████
████ electrifying Martha Argerich . . . Repin . . . ████
████ shows his emotions as much as he acts on them. ████
████ Record Review / Philadelphia Inquirer / 07 ████
████ October 2007 ████
████ ████
████ . . . Repin has made a very conscious choice ████
████ to exploit the work┐s reflective nature and ████
████ has delivered a performance crafted with great ████
████ care, abundant warmth and loads of heart. From ████
████ the very opening, his tone is sweet and ████
████ although perfectly balanced with the ████
████ orchestra, consistently understated so as to ████
████ give the music pride of place above his own ████
████ considerable ability to play it. Even the ████
████ first movement cadenza (by Fritz Kreisler) is ████
████ played with the utmost dignity and respect. ████
████ This is some of the sweetest, most expressive ████
████ violin playing that I have heard in years. The ████
████ second movement is heartrendingly calm and ████
████ gentle, again marked by Repin┐s sweet and ████
████ supple tone and his spot-on intonation . . . ████
████ Vadim Repin maintains his self-control, giving ████
████ credence to Yehudi Menuhin┐s quote that Repin ████
████ is "simply the best, the most perfect ████
████ violinist I have ever heard." High praise ████
████ indeed, but if this performance is evidence, ████
████ such praise is well deserved. I┐ve heard ████
████ perhaps twenty recordings of this concerto, ████
████ and I cannot recall one that has held my ████
████ attention so thoroughly, or one that has made ████
████ me want immediately to listen a second time. ████
████ Muti and Repin are a match made in heaven and ████
████ are to be commended for the exquisite good ████
████ taste with which they present this war-horse! ████
████ . . . Repin in particular has thought this ████
████ music through completely and put his own stamp ████
████ on it, a stamp that stands to become more and ████
████ more collectible as this fine artist matures! ████
████ Record Review / Kevin Sutton, MusicWeb ████
████ International (Coventry) / 29 October 2007 ████
████ There's no doubting the beauty of his tone, ████
████ especially in pianissimo, and the manner in ████
████ which he never attempts to impose his presence ████
████ on the music's overall texture is admirable . ████
████ . . ████
████ Record Review / Misha Donat, BBC Music ████
████ Magazine (London) / 01 November 2007 ████
████ ████
████ A fascinating study in comparisons, and an ████
████ auspicious DG debut for Vadim Repin and ████
████ Riccardo Muti. Muti's conducting of the ████
████ Concerto is . . . always flexible and ████
████ accommodating of his soloist, while the Vienna ████
████ Philharmonic's playing is consistently warm in ████
████ texture . . . Repin's refined expressiveness ████
████ and Argerich's powerhouse pianism happily ████
████ relate . . . I count Repin among the most ████
████ accomplished and musically sincere of ████
████ violinists . . . ████
████ Record Review / Rob Cowan, Gramophone (London) ████
████ / 01 November 2007 ████
████ ████
████ The solo playing has a lyrical ardour, ████
████ expressive range and technical assurance that ████
████ are well-nigh miraculous . . . there's no ████
████ doubt about Repin. Here is a player at the ████
████ very summit of his career, performing with an ████
████ authority, depth of understanding and ████
████ unostentatious virtuosity that left me gasping ████
████ in wonder on more than one occasion. His ████
████ playing has a range of colour, subtlety of ████
████ nuance rhythmic vitality and clarity of ████
████ articulation that's quite marvellous . .. one ████
████ of the most remarkable accounts of the solo ████
████ part to have come my way in along time. In ████
████ conception it's a big account in the grand ████
████ tradition, using the Kreisler cadenzas. The ████
████ slow movement is poetically done, and the last ████
████ movement has a rhythmic spring in its step ████
████ from the start that is most exciting . . . The ████
████ "Kreutzer" Sonata makes for a splendid ████
████ coupling -- and comes on a second CD. This new ████
████ sonata recording by Repin and Martha Argerich ████
████ is a major event and neither of these great ████
████ artists disappoints. Argerich is at her most ████
████ agile when necessary and draws a wonderfully ████
████ exciting range of sounds from the piano. ████
████ Repin's playing has many of the same virtues ████
████ as Argerich's: a sense of reinventing the ████
████ music while never distorting it and an ████
████ unerring feeling for its trajectory, as well ████
████ as a superb ear for colour and of musical ████
████ character. The result is a first movement that ████
████ is utterly gripping, by turns fiery and ████
████ songlike, including a good deal of playing, ████
████ that is so committed that the word 'tigerish' ████
████ comes to mind, for want of any better ████
████ description . . . there's the most marvellous ████
████ light and shade too . . . the Repin/Argerich ████
████ "Kreutzer" is Desert Island stuff . . . ████
████ Record Review / Nigel Simeone, International ████
████ Record Review (London) / 01 November 2007 ████
████ ████
████ . . . Vadim Repin's infallible ear and ████
████ flawless technique make it the most ████
████ beautifully considered version of Beethoven's ████
████ concerto to appear for years. And with Martha ████
████ Argerich joining him for the Kreutzer, this is ████
████ a really brilliant disc. ████
████ Record Review / Michael Church, Independent ████
████ (London) / 17 November 2007 ████
████ ████
████ Repin gets deluxe treatment in a two-CD ████
████ Beethoven package on Deutsche Grammophon of ████
████ the Violin Concerto (with Riccardo Muti and ████
████ the Vienna Philharmonic) and the "Kreutzer" ████
████ Sonata (with pianist Martha Argerich). These ████
████ are muscular performances, aggressive and ████
████ astounding. ████
████ Record Review / Mark Swed, Los Angeles Times / ████
████ 09 December 2007 ████
████ ████
████ His playing is always sensuous here, and the ████
████ Vienna Philharmonic is at its crushed-velvet ████
████ best. Repin and Muti bring out the work's ████
████ lyricism . . . This is one of the most ████
████ beautiful traditional interpretations of the ████
████ concerto that I have heard . . . In Sonata 9, ████
████ Repin picks the best living pianist as his ████
████ partner, Martha Argerich . . . Anyone looking ████
████ for a beautiful interpretation of both works ████
████ would do well to get this . . . Excellent ████
████ sound . . . ████
████ Record Review / Magil, American Record Guide / ████
████ 01 January 2008 ████
████ ████
████ His account is wonderfully thoughtful and ████
████ expressively supple, without a hint of the ████
████ glossy surfaces such a lineup might suggest. ████
████ Muti's contributions are a model of tact and ████
████ discrimination, and the Vienna players are at ████
████ their most engaged and consistently musical. ████
████ The account of Beethoven's largest-scale ████
████ violin sonata is a true meeting of minds, too ████
████ . . . The piano's first entry is positively ████
████ explosive, and from then on the two musicians ████
████ fire ideas at each other in a truly ████
████ exhilarating way . . . it is a uniquely ████
████ exciting one. ████
████ Record Review / Andrew Clements, The Guardian ████
████ (London) / 18 January 2008 ████
████ ████
████ Repin, on his first recording for Deutsche ████
████ Grammophon, stresses the nobility of the work. ████
████ The Novosibirsk native plays with virtuosic ████
████ technique and enormous respect for this great ████
████ concerto . . . Repin spins a beautiful melodic ████
████ line [in the Larghetto] . . . Conductor ████
████ Riccardo Muti clearly shares his soloist┐s ████
████ views and leaves us in no doubt that we are ████
████ listening to a masterpiece as he draws mighty ████
████ . . . finely blended sonorities from the ████
████ Vienna Philharmonic . . . In the Sonata Repin ████
████ has the advantage of being partnered by Martha ████
████ Argerich. Together they┐re a dream team. They ████
████ opt for a grand, no-holds-barred approach in ████
████ this quasi-symphonic music in which Repin ████
████ really comes alive. ████
████ Record Review / Patrice Lieberman, The ████
████ Bulletin / 07 February 2008 ████
████ ████
████ Elegance, feeling, and perfection are a given ████
████ with Vadim Repin┐s performances -- and his ████
████ rendition of the Beethoven Violin Concerto is ████
████ no different from that. Repin plays his ████
████ Beethoven with brio, confidence, and great ████
████ dignity. He does not give into the work or ████
████ surrender to its mysteries, he subdues it with ████
████ sheer skill and the forcefulness of his ████
████ musicality. ████
████ This is not to be mistaken with forcefulness ████
████ of tone. The opposite rather is the case: ████
████ Repin does not -- neither live nor through a ████
████ recording engineer┐s tricks -- aim for a ████
████ particularly big tone . . . ████
████ Vadim Repin┐s is a middle of the road romantic ████
████ approach -- and among the very best in that ████
████ spectrum. His tone, like a needle through ████
████ leather -- round, steady, deliberate -- ████
████ reminds more of Nathan Milstein, even though ████
████ Repin professes to ┐always thinks about ████
████ Menuhin in terms of this work┐. ████
████ ████
████ Record Review / Jens F. Laurson, Weta FM Blog ████
████ / 17 February 2008 ████
████ Riccardo Muti and the Vienna Philharmonic ████
████ Orchestra lend heaven-storming support for his ████
████ dΘbut recording in that work for Deutsche ████
████ Grammophon . . . Repin sounds not only ████
████ authoritative in these solos, but poetic as ████
████ well. In the first movement's tranquillo, for ████
████ example, the orchestra may be working out the ████
████ four-note motive, but Repin still holds the ████
████ listener's attention, whatever the precise ████
████ nature of the role he plays . . . He makes ████
████ Kreisler's cadenza sound particularly ████
████ idiomatic, with just enough portamentos, even ████
████ in the double-stopped sections, to suggest the ████
████ composer's genial warmth. In the slow ████
████ movement's G-Major section, at its outset a ████
████ pure accompanied violin solo, Repin is a ████
████ spellbinder, suspending his audience in time, ████
████ with the orchestra pizzicatos resonating ████
████ warmly far beneath . . . Repin and Argerich ████
████ represent the forces of nature more directly. ████
████ When Argerich lands on the low c# three dozen ████
████ measures into the piece, she inspires all the ████
████ certainty anyone could imagine in a world of ████
████ shadow, as do both in their interchanges . . . ████
████ I've never heard the "Kreutzer" Sonata played ████
████ quite like this, and it's raised the bar for ████
████ future performances . . . Repin doesn't seem ████
████ to have worried about size, assuming full ████
████ partnership -- yet the recorded sound ████
████ accommodates both violinist and pianist. These ████
████ readings deserve a most urgent recommendation ████
████ for the high voltage Sonata and an extremely ████
████ strong one for the multifaceted Concerto, by ████
████ turns lithe and majestic. If I were to buy ████
████ only one new recording this year, this would ████
████ probably be it. ████
████ Record Review / Robert Maxham, Fanfare ████
████ (Tenafly, NJ) / 01 March 2008 ████
████ ████
████ ████
████ URL: n/a ████
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