Violin Concerto in D, Op.61 Bach
Partita in E, BWV1006 Preludio Paganini
24 Caprices for solo violin, Op.1 No.5 in A minor; No.11 in C Falla arr. Kochánski
Suite populaire espagnole Jota; Asturiana * Nováček
Perpetuum mobile *
Nathan Milstein (violin)
London Philharmonic Orchestra
Sir Adrian Boult
* Ernest Lush (piano)
Concerto recorded in the Royal Festival Hall, London on 29 September 1968; other items recorded in BBC Studios, London on 9 June 1963 (Bach) and 22 September 1957
CD No: BBC LEGENDS BBCL 4151-2 Duration: 72 minutes Reviewed: September 2004
BBC Legends Nathan Milstein
Reviewed by Colin Anderson
The timpani strokes opening the Beethoven are here rather ominous. The attention is grabbed. Sir Adrian Boults conducting of the orchestral exposition is lyrical and detailed and wide dynamic contrasts add just the right amount of tension to sustain this long movement and provide some dramatic anticipation of the soloists first entry. Russian/American violinist Nathan Milstein (1903-92) does not disappoint. His is a lyrically charged reading, one full of incident, sweet asides, and the most natural and engaging volatility. A real performance, one caught on the wing, tactfully and sympathetically accompanied. Theres plenty of muscle and emotional lift, too.
The mono recording is excellent, full and well balanced; re-mastering engineer Paul Baily has avoided, thankfully, any hint of digital murkiness or any other tonal degradation that can be a concomitant of over-zealous processing. One can enjoy the music without distraction, and this is a rendition to treasure. Milstein plays his own cadenzas, quite showy but not self-aggrandising. He is generously expressive in the slow movement but not self-indulgent. The finale sparkles: rhythmically vital but not ruthless.
As encores, the Bach movement is as poised as it is tantalising, and Milstein absorbs the extraordinary difficulty of the Paganini Caprices and makes music with them. The Falla pieces have that old-world, unforced richness of violin tone that sometimes seems a lost art Asturiana is wonderfully sultry and Nováčeks Perpetuum mobile is, once more, made shapely and articulate rather than an excuse for razzle-dazzle. Ernest Lush is the epitome of the selfless accompanist.
To complete a CD documenting great artistry, there's also an interesting conversation with Milstein courtesy of John Amis dating from 1991.