2023 Approaching 60,000 reviews and more.. and still writing ...	Search MusicWeb Here

Searching Musicweb Monthly index Recordings of the Year Label index Masterwork index Series index Search engines Review Archive Classical Downloads Jazz Concerts Nostalgia Books Film music Resources Composer pages Tony Duggan's Mahler National Discographies Mark Morris's Guide to C20th Composers Ralph Moore's Surveys Online books Piano Trio Survey Cello Concerto Project Pot Pourri - Early MusicWeb Gerard Hoffnung Arthur Butterworth's columns Philip Scowcroft's British light music Interviews Programme notes MusicWeb Listening Studio Talking about Books Other material Articles Seen & Heard Message Board About Musicweb About Musicweb Contact Musicweb Contributors What they say about us Visitor stats Site Map

Founder: Len Mullenger                                    Editor in Chief:John Quinn

BUY NOW  Crotchet   AmazonUK   AmazonUS

Yehudi Menuhin – Great Violinists Ludwig van BEETHOVEN (1770-1827) Violin Sonata No.7 in C minor Op.30 No.2 Violin Sonata No.9 in A Kreutzer Op.47 Rondo in G WoO 41 Franz SCHUBERT (1798-1828) Rondo in B minor Yehudi Menuhin (violin) Hephzibah Menuhin (piano) Recorded in London, 1934-38 NAXOS 8.110775 [78.14]

Recordings of the Menuhin siblings are coming thick and fast, so fast that not even this reviewer can quite keep up with them. This is my second encounter with Ward Marston’s transfers of the C minor and Kreutzer sonatas on this site. He’s previously produced a double CD set for Biddulph which includes them, as well as a Bach Sonata and two Brahms – the first and third. For a précis of my reactions to these youthful, if decidedly robust and occasionally superficial Beethoven traversals, you should read my comments there. The Schubert sports some ripely expressive and succulent tone from Yehudi – his portamenti are daringly constant and the prayerful colours he conjures are warmed by a rapid vibrato with a bewitching palette. Hephzibah proves once again a young musician of imagination and temperament – as well as firm technical address. Now to the question of transfers. An A/B comparison shows that Marston seems to have employed the same master he used for the Biddulph. There was a fractional dropout in the Biddulph Kreutzer that is not reproduced in this Naxos. The ticks and pops there are minimalised here. The main difference however is that there is a greater forward presence in the Naxos and that the surface crackle has been better managed here. There is still a relatively high level of shellac noise but it’s well integrated and not obtrusive and the violin emerges with commendable clarity. Of course one needs to be guided by the repertoire but point-by-point comparison of the two Beethovens favours the Naxos. Jonathan Woolf   Error processing SSI file

Return to Index

Error processing SSI file