****** - Verified Buyer
4.5
As far as I know, French `introuvable' has an additional meaning `unique' (cf. la Chambre Introuvable): the EMI editors seem to make a pun of the two meanings. I guess that most music friends who opened this page on amazon.com already know what a great artist Nathan Milstein was and why his recordings are constantly reissued. I happened to buy this set in a music store for a cheaper price, but I think that some 40 dollars for 4 CDs containing extraordinary performances of the `Kreutzer' sonata (CD 3), Tartini's `Le Trille du Diable' (CD 2) and Prokofiev's concertos (CD 4) is reasonable.Discophage is of course right: the EMI likes making new compilations which intersect with the preceding ones, in this case - "The Art of Nathan Milstein" and Bruch: Violin Concerto/Mendelssohn: Violin Concerto/Prokofiev: Violin Concerto. I have both, but many people are in a better position than Discophage and me: they will get the content of this box set on CD for the first time. I really envy them: they will discover some great recordings I have almost worn out on my LP player.As mentioned by the preceding reviewer, these Milstein box set mainly consists of the reissues of his Capitol and Angel recordings made in the 1950-s, in an good mono or early stereo sound. Vivaldi on CD 1 and Prokofiev's 2nd concerto on CD 4 are in stereo sound.A few remarks about Milstein's program and his interpretations.CD 1. Vivaldi's concertos are a Milstein rarity. Here Milstein both plays the solo part and directs a chamber ensemble. I am not that bothered by the lush-sounding violin in the slow movements, missing ornamentation or the lack of period instruments. Milstein disliked great conductors and opted for a small group of string players. My main beef on him is just that Milstein the conductor is not on the level of Milstein the soloist: the ritornelli in the fast movements soon become boring. But keep in mind that some of Vivaldi's solo concertos he selected are difficult to find in *any* recording.CD 2. Tartini's G minor sonata `Le Trille du Diable' (1959) is one of Milstein's peaks. Nobody could deliver it with such a shining tone and flexible intonation. Of course, Milstein plays Kreisler's version. There is a pre-war recording of Tartini with Milstein on `Opus Kura' (OPK 2004), but it is less inspiring. Milstein's own `Paganiniana' (1954) is a pastiche on Paganini's themes, with nec plus ultra violinistic voltage. There is an earlier and equally great live recording from his 1946 Congress Library recital available on (Bridge 9046) and a later concert recording on Milstein's DVD - really impressive, too. Listening to these recordings, you realize why no other violinist desired to play this Milstein's composition.CD 3. `Kreutzer' sonata w. Artur Balsam (1957/1958) is astonishing. It is an extremely convinced reading, combining the soloist's personal creed with a demonic impetus. Milstein's accents are rather free, but they are devoid of any extra-musical matters as `literary program' or `there-is-too-much-piano-on-the-record'-considerations. Beethoven's 8th and 5th sonatas are great, too, but in this case Milstein left us another stunning versions: a live recording of the `Spring' sonata (1953) may be found on (Bridge 9066), and a studio pre-war recording of the 8th sonata may be found on Milstein's Membrane set (see my review). Both accounts of the 5th sonata with Milstein/Balsam are similar, but both Milstein's approaches to the 8th sonata with the same accompanist show completely different tempi. I like both versions.CD 4. Prokofiev's 1st concerto (1953) has been of one Milstein's favorites: he even gave a Moscow premiere of this work (w. Horowitz at the piano!). I don't find him `frail in the upper register': on the contrary, I find Milstein's upward splashes in the final movement ravishing and more nuanced than by any other virtuoso. Milstein's creed was not to force the violin: he never tried to play `con tutta la forza'. Of course, he does not need my advocacy - the recording speaks for itself. I admit that Golschmann is not the most radical interpreter of Prokofiev, though he provided a fine accompaniment for Milstein. For those who are interested in the score of this concerto, and not only in the name of the soloist, I recommend an amazing old recording with Mitropoulos/Stern: it is the most enthralling version I know. I have it on a LP, coupled with Prokofiev's 2nd Concerto w. Bernstein. Unfortunately, it is very difficult to find on CD. Comparing Milstein with his almost schoolmate Oistrakh, I can say that I rate Oistrakh's recording of Prokofiev's 2nd Violin sonata higher. The 2nd Concerto w. Milstein /Fruehbeck de Burgos (1965) is excellent: the first movement is very effective - brilliant and manlike.The transfers are fine. I have heard some complains from fellow collectionists that EMI overretouched the sources on CD 2. This is an exaggeration, but if you have Milstein LPs in a good condition, don't try to get rid of them.Heartily recommended. An easy choice for everybody who loves great music and great performers.Anton Zimmerling
