Since his first major-label recording in the early '90s of Saint-Saëns' Third Violin Concerto for Sony, violinist Julian Rachlin has made very few recordings -- a follow-up Sibelius concerto and a Tchaikovsky concerto for Sony, then, after Sony dropped him, a disc of Vivaldi for Koch-Schwann, a disc of encores for J.R., and then, aside from a guest appearance as a violist on Janine Jansen's Decca recording of the Four Seasons, nothing. Finally, in 2004, Rachlin returned to a major label with a coupling of Brahms' Violin ...
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Since his first major-label recording in the early '90s of Saint-Saëns' Third Violin Concerto for Sony, violinist Julian Rachlin has made very few recordings -- a follow-up Sibelius concerto and a Tchaikovsky concerto for Sony, then, after Sony dropped him, a disc of Vivaldi for Koch-Schwann, a disc of encores for J.R., and then, aside from a guest appearance as a violist on Janine Jansen's Decca recording of the Four Seasons, nothing. Finally, in 2004, Rachlin returned to a major label with a coupling of Brahms' Violin Concerto and Mozart's Third Concerto. By any measure, it was an outstanding disc: warm-toned, beautifully played, technically impeccable and a wholly worthy addition to the lengthy discographies of either work.By any measure, Rachlin's follow-up -- a two-disc set of sonatas Beethoven and Shostakovich -- is even better. Part of the reason for this is that Rachlin's playing is even more exposed in a recital of chamber music and thus even more impressive. But the larger part of the reason...
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