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Perlman’s playing is, in general, a bit more polished and exacting than Stern’s was. Concerto for Violin, cello and orchestra in A minor, op. The main difference is in the connection between the two soloists.

Perlman’s Mendelssohn plays well to listeners who appreciate Perlman’s nimble, dazzling technique. Violin Concerti in E minor, op. Still, this album is a reasonable choice, especially for those just beginning a collection.

III Allegro non troppo. Some of it is operatic, but some of it isn’t. Ma and Stern seemed to have a fluid, organic performance together while Ma and Perlman seem to be somewhat less connected when playing together.


Aided by the firm hand of conductor Antonio Pappano, kezknek realizes the full dynamic range from the mysterious Ave Maria from the “Four Kezdlnek Pieces” of Verdi’s great old age to the thunder and lightning of the “Libera Me” The sense of urgency and spontaneity that comes with a live performance makes for an especially thrilling Finale.

The music reflects in various ways Verdi’s own ambivalent-at-best attitude toward religion; it is spiritual without being conventional, and the operatic passages often bespeak a humanistic approach to the text. Verdi’s “Libera Me” was reworked for his own “Requiem” five years later, and it’s interesting both as a first draft and simply as a compact piece of great Verdi that ought to be performed more often.

Much of the music stands or falls on the choir, and here the venerable Chorus of the Accademia Nazionale di Santa Cecilia excels.

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In the case of the Apex album, performances previously released on the Teldec and Erato labels are brought back for this release. Perennial crowd pleasers and listener favorites, the Brahms “Double Concerto” and Mendelssohn “Violin Concerto” are also popular with record companies for reissues. Giuseppe Verdi’s sacred choral music has all been recorded often enough, but it represents a distinctive corner of his output and makes better sense when put together.


For his part, Ma’s dobbiskola is virtually identical to the earlier performance: Violin Concerto – Brahms: Soprano Maria Agresta lacks a sufficiently dramatic quality, but she’s there on all the quiet high notes, and really there’s very little to cavil about on this fine recording, whose engineering matches its artistic ambitions. Both outer movements are quite speedy, even for Mendelssohn, but this does not deter Perlman’s technical accuracy whatsoever. The latter work was part of a Messa per Rossini, a collaborative requiem mass on the occasion of Rossini’s death, suggested by Verdi and executed by him and a dozen other composers, all of them entirely forgotten.