Pierre Wissmer (1915-1992)
Violin Concerto no.1 (1942)
Violin Concerto no.2 (1954)
Violin Concerto no.3 (1987)
Oleg Kaskiv (violin)
Sinfonia Varsovia/Aleksandar Marković
rec. 2023, Studio 52 of Polish Radio, Warsaw
Claves 50-3080 [64]
Pierre Wissmer is a name familiar to me. Several years ago I purchased a box set, issued by Integral Classic, of the composer’s nine symphonies. Long since deleted, these compelling works are now available as downloads from Naxos and I would highly recommend them. His three violin concertos I hadn’t encountered before until this new release from the Swiss label Claves came along.
Wissmer was Swiss, he hailed from Geneva. His studies took place in Paris – composition at the Paris Conservatoire with Jean-Jules Roger-Ducasse, counterpoint at the Schola Cantorum with Jean-Yves Daniel Lesur and conducting at the École Normale de Musique with Charles Munch. On his return to Switzerland he taught at the Geneva Conservatory and was a director at Luxembourg Radio Television. Later, he went to live in France, assuming teaching duties at the Schola Cantorum and the École National de Musiqueat Le Mans. His compositional oeuvre consists of nine symphonies, several concertos, ballets, music for radio programmes, chamber music and vocal pieces.
The First Concerto dates from 1942 and received its premiere two years later at Geneva Radio. It’s structured in three linked movements and bears a dedication to the French organist and composer Jehan Alain who tragically died in action in 1940 at the young age of only 29. The work is tonally anchored and is suffused in melodic charm. The opening movement is sunny and carefree, with Wissmer’s orchestration providing a colourful wash. The middle movement has more of a modally orientated thrust. The violin participates in a dialogue with the orchestra in a rather wistful way. A roll of cymbals ushers in the third movement, and we return once again to a mood of joyous abandon in a dance reminiscent of a jig. The movement gives Kaskiv the opportunity for virtuosic display, which he achieves admirably.
In 1954 the composer progressed to his Second Violin Concerto, cast in more serious vein. It had to wait five years for its premiere. This time there are three separated movements. Wissmer had moved on in the intervening years by freeing his music from tonality. The first movement is spiky, angular and percussive. Once again the orchestration is colourful and the solo writing is imaginatively etched. The Concerto has a beautiful hushed and dreamlike slow movement. I can best describe it as serene and intimate. Kaskiv lovingly shapes the lyrical line with warmth and tenderness. The Concerto ends with an uplifting finale of exuberance and jubilation.
The Third Concerto dates from the end of the composer’s life. He wrote it in 1987 and it received its premiere a few months before his death in 1992. Wissmer’s compositional language had furthered advanced. There’s much harshness and tension in the first movement, which is vividly conveyed in this excellent reading. The central movement is doleful, and Kaskiv’s soulful playing conveys the nostalgia embedded within. The orchestration appears sparse and diaphanous. The spirited final movement offers a feeling of abandon and release.
The liner notes, in English, German and French provide interesting discussion and context around the three concertos featured. Oleg Kaskiv’s radiant tone, flawless intonation and deep commitment render musically enriched performances, aided and abetted by the sympathetic support of Aleksander Marković and the Sinfonia Varsovia.
Stephen Greenbank
If you purchase this recording using a link below, it generates revenue for MWI and helps us maintain free access to the site
