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Years
ago I had listened to a recording of Jascha Heifetz playing the
Vieuxtemps' Fifth Concerto and, as usual, he raced through it with
lightning speed full of panache and total mastery. However, it was
not until I had heard Elmar Olivero - the Tchaikovsky winner - that
I actually bothered to find out more about the music of Vieuxtemps.
There was something in his playing that immediately drew my attention
to the music. I think it must have been the combination of violin
wizardry together with the pathos of Chausson thrown in, together
with the fact that all this was thrown in within 19 minutes. Other
concertos seem by comparison, very long (eg. the Beethoven or Brahms
concertos).
Henri
Vieuxtemps' music is unfortunately not as famous as his other famous
virtuoso violinist counterparts - Paganini,
Wieniawski or even Sarasate - but one thing bears mention: Vieuxtemps
was trained by a close rival of Paganini who after hearing him offered
him a full scholarship. Thus, having Charles de Beriot as his teacher,
Vieuxtemps' music is deeply steeped in the Franco-Belgian violin
school. Vieuxtemps was an instant sensation from his debut at the
age of thirteen and soon learnt composition under Anton Reicha,
a friend of Beethoven and a teacher of Liszt. It is said that Schumann
greatly praised him and Paganini hailed him as a violinist to watch.
(I suppose the modern-day equivalent would be for us to pick a violinist
like Sarah Chang to watch out for).
In his later years Vieuxtemps became Professor of Violin at the
Brussels Conservatoire where he taught the gifted Eugène Ysaÿe.
However, a massive stroke halted much of his composing. He still
boasts seven concerti, two cello concerti, fantasias for violin
and orchestra, an orchestral overture, sonatas, caprices, cadenzas
and many variations on various themes. Looks like his portfolio
has more (range) than what Paganini composed.
This
CD contains three of the Violin Concertos, Nos. 2, 4 and 5 (the
most famous one). Violin Concerto No.2 in F-sharp minor, op.19
begins in true Paganini fashion, a long tutti run-up before the
violin makes a solo entry as the cadenza starts at the beginning.
The punctuated strings against a background of brass give the entry
a much needed boost and Markov is clearly up to the task from the
initial heroic entry.
One
is clearly reminded of Paganini's Second Concerto, as if this is
a mini-variation on it. However, unlike Paganini's work, which races
in with his diabolical antics, Vieuxtemps explores the material
and the violinist is made to show off his technique through double-stops
and a virtuoso fantasy. It is not long before the soloist is asked
to display his technique with flashes of virtuosity prevalent in
the compositions of the violin-masters. Markov is straight away
put to the test and should be given high marks for his depth of
tone and clear intonation. Lawrence Renes does not rush through
the Allegro thus allowing the violinist more leeway to dictate
the pace. I am unable to make a comparison with another recording
because this concerto is so rarely recorded and I am not familiar
with other versions.
Clearly,
the influences of Paganini and Ysaÿe are here. Paganini's orchestration
is very evident, and these works can be easily passed off as his
if one had not heard hig (Paganini's) six surviving concertos. In
fact, (Paganini's) La Campanella bears very close resemblance
in style, balance and even melody. The cadenza, although shorter,
also sounds like a movement from Ysaÿe's
solo violin sonatas. Vieuxtemps' Second Concerto ends on a high
note as the violin bows away with the orchestral tutti in the background.
The
Violin Concerto No.4 in D minor, op.31 displays a kind of
inner struggle quite similar to the opening of Tchaikovky's Violin
Concerto, which is also in D. In fact Tchaikovsky characterised
this concerto as "beautiful, poetical, very effective and excellently
orchestrated." One tends to get this feeling of an inner struggle
as the music sounds so much like a prelude to the grand opening
of a tragic opera.
The opening sounds like a second (slow) movement characteristically
beginning Andante rather than the usual Allegro. This
is built-up to the entry of the violin which comes in with a grand
flurry. With long deep bow-strokes Markov (left), is able to draw
a deep tonal grasp from his violin which is essential to make the
phrases linger. He is then made to display his skill in scale progressions
across the registers with a passage catapulting from the tip of
the violin to the bridge, showcasing his finger-dexterity. With
his skills, Markov puts the listener very much at ease.
The
harp featured in the second movement reminds one immediately of
the Scottish Fantasy by Max Bruch. (It is quite seldom that
the harp is featured in concertos). In fact while this is only a
guess, some of the thematic structures sound quite similar to those
of Bruch and it would not be surprising if Vieuxtemps was indeed
influenced by that composer, or vice versa.
The Violin Concerto No.5 in A minor, op.37 "Gretry", is the
most famous and is often played. As mentioned in the opening of
this review, Jascha Heifetz (right) and Elmer Olivero have made
outstanding recordings on BMG/RCA (09026-61745-2) and Melodiya respectively
and if I am not mistaken I have heard a good recording by Kyung-Wha
Chung on Decca. This piece steps away from the traditional classical
three-movement concerto and ends up as one interesting continuous
single-movement concerto.
As
usual there is a long build-up before the soloist makes a quiet
entry, with the violinist once again displaying running descending
arpeggios. There is a lot of restraint needed in this concerto and
while I have to say that the recording is clear, the microphones
seem to have been deliberately put close enough to allow the violinist
more prominence, rather than having him straining to bring out the
notes as he might need to in a concert hall. Markov is put through
all the tests of double-stops, harmonics, vibrato and intense bowing,
all this further enhanced by a good violin - sounds like a Stradivarius.
One
disappointment with this disc is that there is no mention of Alexander
Markov's credentials in the notes. In my opinion he may be a relative
unknown in the recording arena but is no stranger to the music.
His filigree and bowing are well-executed with strong control of
tempi. One thing I noticed was that the phrasing seemed more rounded
in comparison to Jascha Heifetz's playing in the Fifth Concerto.
The latter seems more sharp, cutting phrases with staccato passages
whereas Markov played with more legato.
The
virtuoso section at 10'05" could have been taken with slightly less
restraint which I felt was a bit cramped, whereas Kyung-Wha Chung
uses moments like this to lash out and give the audience a good
sense and premonition of the cadenza that is to come. Markov's is
well-executed with firm control as he digs deep within the soul
of the music to bring out the salient tension needed.
One
cannot but notice how the slower movements resemble Ysaÿe's difficult
solo violin sonata passages. There is one distinct passage at 2'15"
which sounds like a section from the Introduction and Rondo Capriccio
by Saint-Saëns for solo violin and orchestra. The third movement
Allegro con fuoco must be the shortest finale movement at
1'04" minutes(!) but it wraps up the whole concerto in a grand manner,
just like how it began.
This
is a really interesting disc for those who enjoy the virtuoso concertos
of the likes of Paganini, or the character
of Saint-Saëns'. Three short concertos on one disc lasting 65 minutes
also provides good value.
Johann
D'Souza cannot figure out why we couldn't
get a medal in shooting in the recent Commonwealth Games, considering
that three quarters of the male population in Singapore are shooters
(ie. had experience in the Army). However he supports the Prime
Minister's view to bring foreign talent to represent us in sports
- one day we will have a world champion.
301:
27.9.1998
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