[an error occurred while processing this directive]Nathan Milstein - The Last Recital NATHAN MILSTEIN violin
Beethoven Violin Sonata in A, Op.47 "Kreutzer"
J. S. Bach Chaconne from Partita No.2 in D minor
Handel: Violin Sonata in A major, Op.1 No.3
J. S. Bach: Allegro assai from Sonata No.3 in C
Sarasate: Introduction et tarantelle, Op.43
Prokofiev: Andantino and Andante assai from The tales of the old grandmother, Op.31 (arr. Milstein)
Tchaikovsky: "Maria's Aria" from Mazeppa (arr. Milstein)
Paganini: Caprice for violin solo Op.1, No.13
Liszt: Consolation No.3: Lento placido (arr. Milstein)
Georges Pludermacher piano'Live' Recording (Berwaldhallen, Stockholm, 17 June 1986)
TELDEC 4509-95998-2[69:01] full-price
by Loke Hoe-Yeong
Stockholm, Sweden, June 1986: the Grand old Master of the Violin, Nathan Milstein was due to perform at a recital, which he was to be his last. What was so special about this recital was that it was to be filmed; for his whole life, Nathan Milstein had never been filmed or televised before. Interviews with Pinchas Zukerman would also be filmed and everything then released on LD (not currently available). So after producer Christopher Nupen arranged all these, the grand old man was now set to take the stage.
Until a problem struck at the last minute. Milstein awoke on the 16 June, finding pain and stiffness in his left index finger. How was he to play a programme of such difficult pieces with just three fingers on his left hand? It was to late to cancel the evening's recital, so Milstein spent the whole day revising the fingerings for the pieces. He was able to do this because the frequent alteration of fingerings, even during a concert, was a Milstein trait. Still, playing a recital with three left hand fingers was too challenging, something unheard of!
And the result of that evening's recital was disappointing - it was way below his standard. Milstein said (as in the notes of the CD booklet), "Look what you have done to me now; I never sought publicity and hardly ever played for the television. Now, at the end of my career, I have done it. It is there forever and it is not good." Nupen, however, relates in the CD booklet article that he and his crew were "captivated by his [Milstein's] modesty, his professionalism, and his respect for the work..."
17 June, the second day: Milstein continued practising and revising the fingerings. In evening, as he appeared on stage, the audience experienced the "glorious... legendary sure-footedness" of Milstein's playing. After the last item, the audience gave a standing ovation. This is the concert recorded on this CD, and not the terrible 16 June recital.
The interpretations here are very fresh, as though he was playing the music for the first time. Which I can tell you is not so, because Milstein had been playing and performing the Bach solos, for instance, since his early teenage years.
Upon listening to the opening of the Beethoven "Kreutzer" Sonata, an experienced ear might not be very impressed. But as the music goes along, and when the climaxes soar, Milstein seemed to have warmed-up. That powerful, "extroverted" bowing style and the fantastic intonation can then be heard, and Milsteinians will then be able to say, "Ah, this must surely be Milstein as in his good old days!" Listeners would not imagine an image of an old man playing; instead, there is an impression of a young violinist full of vigour, concluding the final movement gloriously.
The opening theme of Bach's Chaconne (Milstein constantly voted this as his favourite violin work) is lacking in the tension which can be felt in Milstein's previous performances. This is understandable due to the increased difficulty in executing 3- to 4-note chords. Otherwise the rest of the piece is still well up to the standard of past performances, showing no sign of ageing. The monumental work is treated as such on Milstein's part. The Allegro assai from the C major Sonata is also offered. Similar to a "Moto Perpetuo", Milstein plays it with the relentless ticking feeling of a clock.
The Handel sonata is interpreted in a pure way, and majestically where it requires. Some listeners might prefer this to over-sensuous renditions by other violinists, relative to pieces of such genre and style.
The highlight of this recital is undoubtedly the Sarasate Introduction and Taratelle. The moderately-paced introduction may have been played too rushed. But once Milstein begins the tarantelle, sparks start to fly and I mean it. Hear how his bow literally "flies" as he plays the rapid notes up the E-string! Milstein here is back to his old-self, as though this problem of the painful index finger never existed at all!
In contrast there is the Paganini: Caprice No.13 may not be a good idea to play when you have only three fingers to use and have to play consecutive thirds, whereby the index finger would be vital. The result is slightly jagged and bumpy, but otherwise Milstein manages to get through quite well. Things are better in the middle section which is predominantly made up of rapid semiquavers.
Here is something interesting. All applause in this recital have been cut out. After the Sarasate, just instantly after Milstein plays his last note, the listener can feel something happening in the atmosphere of the recording, suggesting movement. It is the audience about to burst into applause! They were so excited and were just too eager to applaud. The recording editor must have been unable to cut away the noise of the impending applause without sacrificing the full length of the last note.
Milstein also plays some of his transcriptions. By the way, the famous ones he transcribed were the Paganiniana and Chopin's Nocturne in C-sharp minor. The transcriptions here are quite interesting, especially the Prokofiev. Most may agree that the Liszt is not entirely suitable for the violin.
The recording balance between the solo violin and the pianist is a dream. Honestly, I feel that many new recordings seem to be uncomfortably in favour of the pianist. But here, Pludermacher is an excellent pianist and an ideal recital partner combined in one. All in all, the final testament to the "Milstein miracle" is probably most miraculous one. Such style of playing does not exist anymore today. Neither is it likely that it will return.
Readers might want to note that this CD is not always available in shops here; it is very likely that they will end up ordering either through the shops or the Internet.
This Last Recital disc makes up to be Loke Hoe-Yeong's 15th Milstein disc.
Back to the Classical Index!... or read more violin features from the Inkvault archives!526: 29.6.1999 ©Loke Hoe-Yeong
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