Search - Paganini, Lalo, Kogan :: Violin Concerto 1 / Symphonie Espagnole

Fire-breathing virtuosity, undeniable conviction

Scott68 | Columbus, Ohio United States | 02/13/2003

(5 out of 5 stars)

"Ok so everyone and their brother compered themself to Heifetz back in the day but I would rather listen to Kogan anytime. He plays with such tenderness and sensitivity and then next minute with completely effortless technique. The man played like he was on fire with a conviction so undeniable it will leave you in complete awe. My only complaint is that the sound quality is not up to modern standards. Therefore, I recommend getting a second recording to compliment this one. Other great recordings include: Rabin, Kaler, Gitlis, Markov, Ashkenasi, and Grumiaux. I like the Grumiaux and Ashkenasi recordings best of all because they both play with a bit more emotion and color in phrasing, plus the beauty of tone comes through alot better on a more modern recording.Of course Lalo's Symphonie Espagnole was written for Sarasate and must have been extremely influential because it inspired Tchaikovsky to write his own. I find the intricate polyrythms refreshing, especially in a symphonic context. My favorite all time recording of the Lalo was made by Henryk Szeryng but that was only released on CD in Japan and can only be bought as a used LP basically here in the USA. Of course Kogan played Lalo brilliantly here but I have a different recording of Kogan with Kiril Kondrashin conducting The London Philharmonia Orchestra on a CD called "Artist Profile" that I seem to prefer.Even though the sound quality is not too great (but not awful), I love to listen to Kogan's authoratative and expressive playing and you will too."

The best performance of Paganini`s first ever recorded

Hiram Gomez Pardo | Valencia, Venezuela | 04/11/2004

(5 out of 5 stars)

"This version is simply overwheelming. Kogan is a supergifted violinist.( I like above Oistrakh ).His caucassian poetry, the monumental histamina and energy seem to have no limits. Believe or not Kogan makes sing the violin even in the most difficult passages. His cadenza at the end of the first movement is unbelievable. The sense of urgence, Kogan makes that Apolo and Dionisio become just one. His vibrato, the sensual brightness, doesn`t match with the fiercy, wildness and bravura that this works demands. And it`s important to make it clear because Paganini was a composer that literally exploited the instrument. And a crowd of violinist go through the legend and forget the devilness enchantment filled with nostalghia, melancholy and sorrow; in this sense I think this is the most difficult of the six concerts for violin . The references of Ivry Gitlis, Stern, Grumiaux and Accardo are okay. But all those lack of that devil madness and titanic power that in hands of Kogan the notes reveal us. Don't think it even twice. If you are a Kogan`s fan this commentary is unnecesary but if you suppose that Kogan is a simple virtuoso, try with this and you`ll change your mind just before that the first movement concludes.
I swear you."

The Paganini alone is worth it

Ming Ho Siu | Stanford, CA United States | 05/26/2006

(5 out of 5 stars)

"I actually heard the pieces here from a more comprehensive Kogan collection, but I believe the sources are the same.



Kogan's Paganini Concerto #1 is among the very best concerti he has every played and quite possibly the best recorded in history. Before listening to him, I have heard many recordings by performers ranging from Salvatore Accardo to Sarah Chang. While they're generally quite good, I have never felt very excited about the piece and I've always attributed this to the nature of the composition. To my ear, Kogan is the one who turned the piece into truly great music with his unusual combination of brilliance and lyricism. His technical flamboyancy blends perfectly with his singing lines. His tone is lean yet glowing, his tempo playful yet structured. I'm particularly impressed with his third movement. Every phrase of it is like shimmering crystals and chirping birds, and he knows where to use subtle rubatos to make the rhythm even more lively. I can't help listening to it over and over again. The only other recording of the movement I've heard that has a similar quality is by Vikoria Mullova, who is, perhaps not incidentally, a student of Kogan (though she claimed that he never had time to teach her). Once I'm used to Kogan, the other recording I have by Sarah Chang - one that received numerous acclaims when it came out - just becomes utterly unlistenable.



As for the Lalo, I think Kogan's lean and clean style is not particularly suited for French, Spanish or Gypsy music, so it is not as impressive as his Paganini, or, say, his Brahms and Tchaikovsky. Nevetheless it is still very good and worth acquiring. In any case, the Paganini alone is more than worth the price of the disc."