Kyung Wha-Chung · Favorite Concertos - Decca D266D3 (3LP box set)

$

40

ITEM DESCRIPTION:

This superb 3LP box set from Decca (D 266 D3, Dutch pressing, silver/red/blue label, stereo, booklet included) entitled “Kyung Wha-Chung · Favorite Concertos” features the great soloist in 6 concertos or conertatne works for violin and orchestra from her remarkable discography.

 

Included are the following works:

 

Beethoven: Violin Concerto in D Major Op. 61*

> with Kirill Kondrashin conducting the Vienna Philharmonic Orchestra

(rec. at the Sofiensaal, Vienna, during 17-20 September 1979 – DDD recording*)

 

Bruch: Violin Concerto No. 1 in G minor Op. 26

> with Rudolf Kempe conducting the Royal Philharmonic Orchestra

(rec. at Kingsway Hall, London, on 15 and 20 May 1972)

 

Chausson: Poème for Violin and Orchestra Op. 25

> with Charles Dutoit conducting the Royal Philharmonic Orchestra

 (rec. at Kingsway Hall, London, on 20/29 January 1977)

 

Saint-Saëns: Introduction & Rondo Capriccioso Op. 28

> with Charles Dutoit conducting the Royal Philharmonic Orchestra

(rec. at Kingsway Hall, London, on 29 January 1977)

 

Sibelius: Violin Concerto in D minor Op. 47

> with André Previn conducting the London Symphony Orchestra

(rec. at Kingsway Hall, London, during 1-3 June 1970)

 

Tchaikovsky: Violin Concerto in D Major Op. 35

> with André Previn conducting the London Symphony Orchestra

(rec. at Kingsway Hall, London, during 1-3 June 1970)

 

Wrote the eminent critic Ivan March in his review for the November 1982 issue of The Gramophone: “It was Kyung Wha Chung's Decca coupling of the Sibelius and Tchaikovsky concertos, which established her world reputation—almost overnight—as a major artist and a virtuoso whose playing combined a virtually flawless technique with quite uncommon sensibility. Her account of the Sibelius was immediately compared to that of Heifetz (RCA RL00720, 9/80) and indeed listening afresh to the work's hushed opening, and the silvery timbre at the magical entry of the soloist (against an orchestral backcloth superbly prepared by Previn) is to understand why this recorded performance made such an indelible impression. The combination of intensity and purity of line in the slow movement is matched by marvellous control in the finale. In the Tchaikovsky the approach is subtly warmer; Chung's lyrical response finds all the poetry in a work that can sound flashy, but in the right hands shows his melodic gifts at their most appealing. The Canzonetta is wonderfully engaging and the finale sparkles in a 'delightfully good-humoured way, the comments from the orchestral woodwind providing a genially fluent dialogue with the solo violin. Both performances breathe the most natu ral spontaneity and the excellent balance Previn achieves is endorsed by the Decca engineers.

 

“Again, in the Bruch G minor Concerto and in the two French concert pieces by Chausson and Saint-Saens, Chung seems uncommonly fortunate in her choice of conductors; or in fairness one must give credit to her Decca recording producers. In the Bruch Kempe provides fierily passionate surges of orchestral sound in the tuttis and thus sets the solo image in bold relief. There are other more sumptuously extrovert accounts available (Stern's for instance, with Ormandy, quite unforgettable in its sustained romantic power—CBS 61933, 9/79), but Chung's account is quite as heartfelt in a more subtle way. Her feminine perceptions bring a special individuality to the work, yet the involving vigour of the finale emphasizes the underlying strength of the playing. The partnership with Charles Dutoit in the French works is equally telling, releasing a chimerical brilliance in the masterly and hugely enjoyable Saint-Saens showpiece, and a passionate evocation in the Chausson, a really big performance this, not a pastel-shaded one, that makes the score spring to life.

 

“Having had such a degree of success so far, it is in the greatest concerto of all, the Beethoven, that the conductor/soloist relationship finally falters. Here Chung and Kondrashin fail to strike sparks from each other. Tempos in the outer movements are deliberate and TH found the performance on its original issue "too careful by hair'. There are still some wonderful moments from the soloist, notably at the end of the first movement and at the centre of the glorious Larghetto, while throughout there is a classical serenity that I find appealing. The digital recording is remarkably clear and truthful, though the upper range wants a little smoothing. (It is a case where the cassette compares favourably with the disc.) This cannot be regarded as among the greatest recorded accounts of the Beethoven but it is not without insights, and the delicacy of articulation in the finale again shows the individuality of a performer who can never entirely disappoint.”

 

Included is a 6-page, full-size, fold-out booklet with extensive liner notes in English, German, and France by Timothy Day.

 

CONDITION – PLEASE READ CAREFULLY:

The gradations of condition I use are as follows: MINT, Near-Mint, Excellent, Very Good, Good, Fair, Poor.

 

The condition of the box is GOOD. There is a fair amount of scuffing to the rear panel, as well as wear at corners, shelfwear, and aging. However, there are no corner breaks, bends, seamsplits, owners’ markings, or other defects, and the box remains solid and attractive – overall, still a decent copy.

 

The condition of the full-size fold-out booklet is EXCELLENT. It betrays a slight bit of handling, but that is all. The pages remain bright and crisp and free of any markings.

 

The condition of the 3 LPs is near-MINT throughout and the playback is superb – overall, these rate as very fine collector's copies.

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