For her debut concerto album, violinist Veronika Eberle revisits a work that has endured more than two centuries, and shares a fresh interpretation featuring new cadenzas by composer Jörg Widmann.
Not only is Beethoven’s Violin Concerto a particular favorite of Veronika, it has been central to her career to date – most notably alongside Sir Simon Rattle, who has been Veronika’s long-time supporter and collaborator. When she was just 16, Sir Simon introduced her at the 2006 Salzburg Easter Festival, where she performed this very concerto to a packed Salzburg Festpielhaus.
On this album, the pair join the London Symphony Orchestra to bring this sublime masterpiece to life, and to celebrate the work that first brought Veronika to international attention.
Veronika Eberle – Violin
Sir Simon Rattle – Conductor
London Symphony Orchestra
Tracklist
Please note that the below previews are loaded as 44.1 kHz / 16 bit.Total time: 01:00:59
Additional information
| Label | |
|---|---|
| SKU | LSO5094D |
| Qualities | DSD 512 fs, DSD 256 fs, DSD 128 fs, DSD 64 fs, DXD 24 Bit, FLAC 192 kHz, FLAC 96 kHz |
| Channels | 2ch Stereo, 5.1 Channel Surround Sound, 2ch Stereo & 5.1ch Surround |
| Artists | London Symphony Orchestra, Sir Simon Rattle, Veronika Eberle |
| Composers | |
| Genres | |
| Mastering Engineer | Jonathan Stokes |
| Conductors | |
| Instruments | |
| Original Recording Format | |
| Producer | Andrew Cornall |
| Recording Engineer | Neil Hutchinson |
| Recording Location | Jerwood Hall, LSO St. Luke's in London on March 11 & 12, 2022 |
| Release Date | February 24, 2023 |
Press reviews
Positive Feedback
The Veronika Eberle performance with Simon Rattle and the LSO is an excellent performance and recording. She plays differently than Heifetz (of course!), but her playing is very attractive, very committed, highly nuanced. Rattle provides compatible and supportive orchestral support. The overall sound quality is very nice. All of which has nothing to do with why I list it here. The reason for listing this album, and the reason you should listen to it, are the new cadenzas by German composer, conductor and clarinetist Jörg Widmann.
These new cadenzas by Widmann are VERY different than the Joachim cadenzas we are so used to hearing in this work. They are very 21st century—very modern sounding. In some ways they clash, they certainly don’t go smoothly romantically into the night. And this makes them compelling, challenging, interesting. In the context of the overall concerto, they give a punch like Beethoven may have given us had he been composing in the 21st century, not the 19th. Like so much of Beethoven, these are a call to wake up, shake off the cobwebs, throw off the past. But they do this without doing a disservice to the original Beethoven composition. They are simply a very different homage to the master than that offered by Joachim. And for that, they are very much worth hearing. Just allow two or five listens through them. I’m on my third, and I think I’ll yet do another few.
The Strad
Eberle and Rattle brought a numbed stillness to the Largo, into which Widmann’s uncanny, ethereal cadenza dovetailed quite naturally, developing into a dialogue with the LSO’s leader.
The finale brought more war-music as well as tavern-band humor in the return of the double bass.
When the LSO Live album of the concert appears, it should make for essential listening.
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