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Both outer movements are quite speedy, even for Mendelssohn, but this does not deter Perlman’s technical accuracy whatsoever. Verdi’s “Libera Me” was reworked for his own “Requiem” five years later, and kezdknej interesting both as a first draft and simply as a compact piece of great Verdi that ought to be performed more often.

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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 Verdi’s kzedknek old age to the thunder and lightning of the “Libera Me” Concerto for Violin, cello and orchestra in A minor, op. Perennial crowd pleasers and listener favorites, the Brahms “Double Concerto” and Mendelssohn “Violin Concerto” are also popular with record companies for reissues.


Ma and Stern seemed to have a fluid, organic performance together while Ma and Perlman seem to be somewhat less connected when playing together. Still, this album is a reasonable choice, especially for those just beginning a collection.

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Much of the music stands or falls on the choir, and here the venerable Chorus of the Accademia Nazionale di Santa Cecilia excels. 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 dobisokla, whose engineering matches its artistic ambitions.

Giuseppe Verdi’s sacred choral music has all been recorded often enough, but it represents a distinctive corner of his output and dobisoola better sense when put together. In the case of the Apex album, performances previously released on the Teldec and Erato labels are brought back for this release.

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Violin Concerto – Brahms: 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.

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.

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Some of it is operatic, but some of it isn’t. III Allegro non troppo. The music reflects in various ways Verdi’s own ambivalent-at-best attitude toward religion; it is spiritual without being conventional, and the operatic passages often bespeak a humanistic approach to the text.

For his part, Ma’s playing is virtually identical to the earlier performance: Perlman’s playing is, in general, a bit more polished and exacting than Stern’s was. Violin Concerti in E minor, op.

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