One of the most grown-up review sites around

51,000 reviews
and more.. and still writing ...

Search MusicWeb Here



International mailing

  Founder: Len Mullenger             Editor in Chief: John Quinn               Contact Seen and Heard here  

Some items
to consider

Yes we are selling
Acte Prealable again!

we also sell Skarbo

and Oboe Classics


with Eggebrecht we get all the excitement we can handle

Book 1 Book 2 Book3
Mota The Triptych: -Website

Asmik Grigorian

Breathtaking Performance
controversial staging
Review Westbrook
Review Hedley
Every lover of Salome should see this recording
Mullenger interpretation

Vraiment magnifique!

Quite splendid

Winning performances

Mahler Symphony 8
a magnificent disc

a huge talent

A wonderful disc

Weinberg Symphonies 2 & 21
A handsome tribute!

Roth’s finest Mahler yet

Mahler 9 Blomstedt
Distinguished performance


Support us financially by purchasing this from

Leningrad Recital II
Johann Sebastian BACH (1685-1750)
Chaconne from Partita No.2 in D minor, BWV 1004 [15:13]
Ludwig van BEETHOVEN (1770-1827)
Sonata for Violin and Piano No. 1 in D Major, Op. 12/1 [16:58]
César FRANCK (1822-1890)
Sonata for Violin and Piano in A major [24:48]
Belá BARTÓK (1881-1945)
6 Rumanian Folk Dances, Sz. 56 [5:09]
Niccolo PAGANINI (1782-1840)
Nel cor piů non mi sento, for solo violin [7:15]
Giuseppe TARTINI (1692-1770)
Sonata for Violin and Piano ‘Il trillo del Diavolo’ [12:31]
Ruggiero Ricci (violin)
Martha Argerich (piano)
rec. live, 22 April 1961, Great Philharmonic Hall, Leningrad
DOREMI DHR-8053 [81:55]

This is the second of a pair of concerts given in the Great Philharmonic Hall, Leningrad on 21st and 22nd April 1961. The performers are two 'stars' of their respective instruments, Ruggiero Ricci and Martha Argerich. The first evening's recital, featuring works by Beethoven, Prokofiev, Bartók and Sarasate, was released by Doremi in 2015, again in their Legendary Treasures series  (DHR 8040).

The concert here was recorded live and, though it doesn't specify, I would assume it derives from a broadcast of Leningrad radio. The audience do seem generously bronchial on this particular night, which some may find irksome at times. The programme begins with a short spoken introduction by a Russian announcer, then Ricci launches into the Bach Chaconne. It's the least successful of the items presented here. Ricci, to my mind, makes heavy weather of it. The music doesn't flow easily and it fails to convince me that's it's a well-integrated performance. In the arpeggio variation the same bowing is used throughout and a sense of tedium creeps in. Compare it with Heifetz, who varies the bowing and articulation. In a couple of the variations midway, Ricci employs some strange articulation, especially in  double stop passages, where he employs an abrasive staccato bowing more suited to Paganini. No, I'm afraid this performance of Bach's sublime masterpiece doesn't float my boat.

The violinist is next partnered by the Argentinian pianist Martha Argerich in a performance of Beethoven's Sonata for Violin and Piano in D major, Op.12, No.1. After the Bach, this reading is much more to my taste. There's a close affinity between the two artists and their performance reveals a meeting of minds. By the time this concert was staged, the two had been touring Russia, so one would imagine they had sufficient time to rehearse and get to know each other. The second movement Theme and Variations is particularly fine. The Theme is elegantly etched and each variation is exquisitely characterized.

One criticism I have of Ricci's playing regards his tone production, which can seem relentlessly over-bright at times. An example, where this problem is particularly noticeable and has a detrimental effect, is in the finale of the Franck Sonata. He employs a fast vibrato, which is incessant and unremitting, resulting in his sound coming over as tense and strident. The Bartók Rumanian Dances are far more tonally convincing and are here played with true gypsy swagger.

Ricci certainly comes into his own in a stunning performance of Paganini's Nel cor piů non mi sento Variations for solo violin. Although his repertoire was wide-ranging, the violinist became known as a Paganini specialist. Indeed, I first came across his playing, whilst at school, on a Decca LP of the composer's music, in which he was accompanied on the piano by his teacher Louis Persinger. The Variations are the perfect vehicle to showcase his impressive technical arsenal. Double stops, harmonics, left-hand pizzicatos, spiccato and ricochet bowing (the latter he could do better than anyone), are all there. The audience were obviously impressed, as there are a couple of communal gasps after some rapid, downward left-hand pizzicato scales. The recital ends with a delightful performance of Tartini's 'Devil's Trill'. The opening movement is refined and noble, with the trills in the second movement suitably crisp and incisive. 

So, the recital is something of a mixed bag.  For a 1961 radio broadcast, the sound quality is excellent. The CD is generously timed at 82 minutes.

Stephen Greenbank



We are currently offering in excess of 51,000 reviews

Advertising on

Donate and keep us afloat


New Releases

Naxos Classical

Nimbus Podcast

Obtain 10% discount

Special offer 50% off
15CDs £83 incl. postage

Musicweb sells the following labels

Altus 10% off
Atoll 10% off
CRD 10% off
Hallé 10% off
Lyrita 10% off
Nimbus 10% off
Nimbus Alliance
Prima voce 10% off
Red Priest 10% off
Retrospective 10% off
Saydisc 10% off
Sterling 10% off

Follow us on Twitter

Subscribe to our free weekly review listing

Sample: See what you will get

Editorial Board
MusicWeb International
Founding Editor
Rob Barnett
Editor in Chief
John Quinn
Seen & Heard
Editor Emeritus
   Bill Kenny
MusicWeb Webmaster
   David Barker
Jonathan Woolf
MusicWeb Founder
   Len Mullenger