New Year’s Eve Concert 1996 – Dances and Gypsy Tunes The fascinating Russian virtuoso violinist, Maxim Vengerov (winner of the Echo Klassik) lends radiance to the gala performance under the baton of Claudio Abbado. Johannes Brahms’Hungarian Dances and Gipsy Songs; Maurice Ravel’s Tzigane and La Valse and Hector Berlioz’s Hungarian March make this New Year’s Eve with the Berliner Philharmoniker unforgettable. New Year’s Eve Concert 1997 – A Tribute to Carmen The program of the Berlin Philharmonic bore the title «Dances of Life, Love, and Death», and it was hardly coincidental that it was meant as an homage to Carmen. The recording of the Berlin Philharmonic Orchestra’s traditional New Year’s Eve Concert, conducted by Claudio Abbado, offers not only a cross section of worldfamous melodies from George Bizet’s opera, but also famous dance music that was intensely or subtly influenced by it.
Ivan Fischer's version of these ever-popular classics is as valid an essay in stylistic restoration as the most scholarly period-instrument performance of Bach or Handel… The transcriptions have been reworked and in one or two movements an improvised cimbalom part has been added, played by a well-known Hungarian musician, Kalman Balogh. Not a record for purists perhaps, but I found the results invigorating and thought-provoking.- S.J. Gramophone, March 1987.
I haven't enjoyed a set of performances of the Hungarian Dances so much since I played them with the local youth orchestra at the age of 14. In a way, Ivan Fischer's version of these ever-popular classics is as valid an essay in stylistic restoration as the most scholarly period-instrument performance of Bach or Handel. - S.J. Gramophone, March 1987.
Leonidas Kavakos tackles a pillar of the violin repertoire in a disc that establishes him as a concerto soloist for Decca Classics. His first concerto disc for Decca features the Brahms Violin Concerto, for which he is joined by one of the world’s greatest orchestras and conductors, the Gewandhausorchester Leipzig and Riccardo Chailly. Leonidas is also accompanied by pianist Péter Nagy for Brahms’ timeless Hungarian Dances (No.s 1, 2 ,6 and 11) and Bartók’s energetic Rhapsodies and Romanian Folk Dances – two great composers hugely influenced by Hungarian folk music.
The old model for creating a hit classical recording – big-name soloist plus big-name conductor in major repertory work – is not so common anymore, but this live Brahms recording from the Staatskapelle Berlin under Venezuela's Gustavo Dudamel, with Argentine-Israeli-Palestinian-Spanish pianist Daniel Barenboim as soloist, shows that there's life in the concept yet. One could point to the virtues of pianist and conductor separately: it's a rare septuagenarian who can combine power and clear articulation of detail the way Barenboim does, and Dudamel builds a vast sweep in, especially, the Piano Concerto No. 1 in D minor, Op. 15. But it's the way that the two work together that really makes news. Chalk it up to shared South American heritage or to whatever the listener wants, but the way the orchestra and piano define separate spheres and work them together is extraordinary. Again, it is in the Piano Concerto No. 1 and its Beethovenian drama that their mutual understanding is most evident, but there is a sense of great variety powerfully unified throughout.