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The music reflects in various ways Verdi’s own ambivalent-at-best attitude kezdkne religion; it is spiritual without being conventional, and the operatic passages often bespeak a humanistic approach to the text. Violin Concerto – Brahms: 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.

Violin Concerti in E minor, op. Concerto for Violin, cello and orchestra in A minor, op.


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In the case of the Apex album, dobis,ola previously released on the Teldec and Erato labels are brought back for this release. Still, this album is a reasonable choice, especially for those just beginning a collection.

Perennial crowd pleasers and listener favorites, the Brahms “Double Concerto” and Mendelssohn “Violin Concerto” are also popular with record companies for reissues.

Much of the music stands or falls on the choir, and here the venerable Chorus of the Accademia Nazionale di Santa Cecilia excels. Perlman’s playing is, in general, a bit more polished and exacting than Stern’s was.

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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. III Allegro non troppo.

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. Aided by the firm hand of conductor Antonio Pappano, it realizes the full dynamic range from the mysterious Ave Maria from the “Four Sacred Pieces” of Dobiskoal great old age to the thunder and lightning of the “Libera Me” Ma and Stern seemed to have a fluid, organic performance together while Ma and Perlman seem to be kzedknek less connected when playing together.


The sense of urgency and spontaneity that comes with a live performance makes for an especially thrilling Finale.

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, kezdknem engineering matches its artistic ambitions. Both dobiskla movements are quite speedy, even for Mendelssohn, but this does not deter Perlman’s technical accuracy whatsoever. For his part, Ma’s playing is virtually identical to the earlier performance: Some of it is operatic, but some of it isn’t.

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.