Aaron Rosand (violin)
In Memoriam
rec. live, 1972-2001
Rhine Classics RH-029 [4 CDs: 304]

Aaron Rosand (1927-2019) studied with Leon Sametini in Chicago and later with Efrem Zimbalist at the Curtis Institute in Philadelphia. He made his New York debut in 1948. He was never taken on by any of the major labels but recorded for a number of smaller ones, most notably Vox. He achieved more success in his career abroad than in his native country, he himself maintaining that his career had been blighted by Isaac Stern.

The 4 CDs document several concerts and recitals from the USA, The Netherlands, Tokyo and Rome captured between 1972 and 2001. Sources vary, but the majority are stereo broadcasts.

Audio restorations are by Emilio Pessina and booklet notes come courtesy of Gary Lemco.

In a repertoire centred mainly on romantic violin music, Rosand had a technique to match the very best. His tone was rich and warm, achieved with a vibrato that ranged from slow to medium. He was also a master of the colouristic palette and wasn’t averse to the employment of slides and portamenti to achieve expressive effects.

The set opens with a scintillating account of Vieuxtemp’s Souvenir d’Amérique on ‘Yankee Doodle’, showcasing Rosand’s complete command of this virtuosic music. Sarasate’s Malagueña is stylish and suave.

I read that one well-known critic described Joachim’s Violin Concerto No. 2 in D Minor “in the Hungarian Manner“, Op.11 as “the Holy Grail of Violin Concertos”. If ever there was a piece of music that grossly overstays its welcome, this one qualifies hands down. Apart from some brief moments of inspiration in the finale, I don’t hear anything memorable in this concerto at all. Apparently, Joachim wrote two more concertos, and I don’t really know if they are any better. Nevertheless, this is not to detract from Rosand’s 1974 Netherland’s performance. He proves himself an ardent champion of this marathon score, having commercially recorded it for Vox in the early 1970s. All told, if enthusiastic applause is anything to go by, the Dutch audience seemed to like it very much.

Wieniawski’s popular Second Concerto has had many significant outings in the recording studio by such stellar exponents as Heifetz, Elman, Rabin, Stern and Perlman. This traversal from Suntory Hall, Tokyo with the NHK Symphony Orchestra under Ferdinand Leitner can hold its head high in such distinguished company. The date is 17 June 1983. For me, it’s the highlight of the collection. Rosand fully embraces the work’s romantic sensibilities in a reading brimming over with ardent fervour. The slow movement is particularly radiant, both eloquent and expressive to a degree I’ve seldom heard.

In a stereo broadcast from 12 November 1982 we have a technically spectacular version of Paganini’s Violin Concerto No 1. The violinist is partnered by Herbert Blomstedt and the Minnesota Symphony Orchestra. Rosand employs a full spectrum of violinistic devices including crisp spiccatos, sparkling ricochets, treacherous double-stops negotiated with consummate ease and polish and luminous harmonics, all to spectacular effect. It’s a real edge-of-the-seat performance. There are some issues with sound quality which slightly affects the orchestral balance, most noticeable in the opening tutti.

The recording of the Prokofiev Second Violin Concerto dates from 1988, and Rosand’s vibrant and burnished tone is just what is needed in this work. The performance captures the passionate lyricism of the opening movement and the rhythmic gruffness of the finale. Sitting centre-stage is an ardently phrased slow movement. The violinist offers two encores by Ysaÿe and Bach. Peter Maag is at the helm of the Orchestra Sinfonica RAI Roma for the Prokofiev.

CDs 3 and 4 each present complete and varied recitals. The first dates from June 1983 at NHK, Tokyo. Rosand’s pianist is Geir Henning Braaten. The opener is a Handel Sonata in D minor in the Leopold Auer edition. The playing is stylish and lively, with the concluding Vivace dance-like. Beethoven’s Kreutzer Sonata is full-bloodied, with the slow introduction preparing the ground for the turbulent intensity and drama that follows. Many emotions are spotlighted, including combat, fury, wit and ardent lyricism. The second movement theme is magically realized, with the variations imaginatively characterized, whilst the finale has sufficient effervescence and bite. A selection of shorter pieces follow. Ysaÿe’s Violin Solo Sonata No 6 is impressive by any standards, with intonation spot on. Then come four Heifetz transcriptions, of which the Prokofiev March and Khachaturian Sabre Dance are surefire showstoppers. I did, however, feel that Saint-Saëns’ ubiquitous Introduction and Rondo Capriccioso was staid and pedestrian and lacked the Heifetz magic.

On the final disc is a recital given at Pacific University, Azusa, California in 2001 with pianist Gerald Robbins. Once again, the curtain rises on another Respighi arrangement. This time it’s a Vivaldi Sonata in D major, given an idiomatic and classically poised rendering. I’ve never heard Bruch’s Scottish Fantasy accompanied on the piano before, and I must say that it works very well. The work is a blend of memorable and haunting melodies tightly woven into a score of immense attractiveness. Rosand and Robbins deliver it with rapt intensity and a real sense of fantasy. Bach’s mighty Chaconne has nobility and grandeur, with the double and triple stop chords smoothly articulated. Four Heifetz transcriptions follow, again ending with the Sabre Dance. Ravel’s Tzigane is a no-holds-barred affair, brimming over with savagery and raw intensity. It’s a thrilling tour-de-force, exhibiting Rosand’s violinistic arsenal to perfection.

These lovingly restored aural documents reveal a performer at the top of his game. The booklet contains a cache of very fine photos both in colour and black and white. Before coming to this set, I wasn’t really that familiar with Rosand’s playing. What I’ve discovered here is some outstanding playing, which is both pleasing and stimulating, and will certainly strongly appeal to the artist’s admirers.

Stephen Greenbank

Previous review: Jonathan Woolf (October 2024)

Contents
CD1
VIEUXTEMPS Souvenir d’Amérique, on ‘Yankee Doodle’, Op 17
HUBAY Hejre Kati, Op 32 (“Scènes de la Csárda”: No 4)
HUBAY Der Zephyr, Op 30/5 (from “Blumenleben”)
SARASATE Malagueña, Op 21/2
Stephen Glover, piano | 5.V.1972
JOACHIM Violin Concerto No 2, Op 11 “Hungarian”
Gelderland SO | Leo Driehuys | 22.V.1974
WIENIAWSKI Violin Concerto No 2, Op 22
NHK SO | Ferdinand Leitner | 17.VI.1983

CD2
PAGANINI Violin Concerto No 1, Op 6 (Cadenza: Sauret / Rosand)
Minnesota SO | Herbert Blomstedt | 12.XI.1982
PROKOFIEV Violin Concerto No 2, Op 63
bis/encores, announce by Rosand:
YSAŸE Solo Sonata, Op 27/2: IV. Les Furies
BACH Violin Solo Partita No 2 BWV 1004: IV. Gigue
OS RAI Roma | Peter Maag | 7.V.1988

CD3
HÄNDEL Violin Sonata in G minor, Op 1 No 10, HWV 368 (ed. Auer)
BEETHOVEN Violin Sonata No 9 in A major, Op 47 “à Kreutzer”
YSAŸE Violin solo Sonata No 6, Op 27/6
4 HEIFETZ transcriptions:
• MENDELSSOHN / HEIFETZ Sweet remembrance, Op 19/1
• PROKOFIEV / HEIFETZ March, Op 33
• BRAHMS / HEIFETZ Contemplation, Op 105/1
• KHACHATURIAN / HEIFETZ Sabre Dance from “Gayaneh”
SAINT-SAËNS Introduction et Rondò Capriccioso, Op 28
bis/encores, announce by Rosand:
CHOPIN / MILSTEIN Nocturne in C-sharp minor
BRAHMS / JOACHIM Hungarian Dance No 4
Carl ENGEL / Efrem ZIMBALIST Sea Shell
Geir Henning Braaten, piano | VI.1983

CD4
VIVALDI / RESPIGHI Sonata in D major, RV 10
BRUCH Scottish Fantasy in E-flat major, Op 46
BACH Ciaccona (from Violin Solo Partita No 2 BWV 1004)
4 HEIFETZ transcriptions:
• RAVEL / HEIFETZ Valses nobles et sentimentales (Nos 6-7)
• PONCE / HEIFETZ Estrellita
• Flausino VALE / HEIFETZ Ao pe’ da fogueira (Preludio XV)
• KHACHATURIAN / HEIFETZ Sabre Dance from “Gayaneh”
RAVEL Tzigane “Rhapsodie de Concert”
bis/encores, announce by Rosand:
BRAHMS / HEIFETZ Contemplation Op 105/1
FALLA / KOCHANSKY Jota (from “7 Popular Spanish Songs”)
CHOPIN / MILSTEIN Nocturne in C-sharp minor
Gerald Robbins, piano | 28.I.2001