Jean Sibelius (1865-1957)
Violin Concerto in D minor, Op. 47
Two Humoresques Op. 87
Four Humoresques Op. 89
Two Pieces, Op. 77 (Two ‘Earnest Melodies’)
Two Serenades, Op. 69 for violin and orchestra
Suite for Violin & Strings in D minor, Op. 117, JS 185
James Ehnes (violin)
Bergen Philharmonic Orchestra/Edward Gardner
rec. 2023, Grieghallen, Bergen, Norway
Chandos CHSA5267 SACD [79]

There is no shortage of recordings of Sibelius’ sole concerto, but not many include as many of his other works for solo violin and orchestra as the substantial ”fillers” here; more often than not, it is paired with another violin concerto by such as Nielsen, Prokofiev, Tchaikovsky or Beethoven, whereas this is an all-Sibelius programme. The nearest comparison in my collection is that by Anne-Sophie Mutter, who included the two Serenades and the first Humoresque in her shorter recital recorded back in 1995 with André Previn.

It is clear that James Ehnes, a superb virtuoso in his own right, is pitched against some formidable predecessors who have recorded this most technically challenging of violin concertos and I have selected six other exponents from my shelves for purposes of comparison. First, timings; I appreciate that tables demonstrating movement durations are crude and ultimately not especially enlightening as indicators of aesthetic quality but it is possible to make some mildly interesting observations about them and infer some broad conclusions:

Heifetz delivers the music very fast because he can and there is a special thrill to his admittedly flashy virtuosity. Apart from matters of tempi, another pertinent question when listening to a new recording of this piece regards the emotional temperature adopted by the soloist and conductor: are we in for flaming, gypsy passion or cool, Nordic detachment? The sheer virtuosity required to play the work almost predicates the first approach – pyrotechnics are inevitable just to get the notes out without mishap – but there is a clear difference between, for example, Mutter’s guttural, earthy timbre and Oistrakh’s or Lin’s more refined, patrician affect. The fervency of Gardner’s attack in the orchestral tutti with very prominent timpani beginning 5:25 tends to affirm the former manner but Ehnes’ sweet, precise control says otherwise. There are moments in his playing which can make the listener catch their breath, such as the delicacy of his pianissimo restatement of the soaring second main theme before the long trill signalling the coda with superb ricochet bowing and a magnificently taut conclusion. He is perhaps closest to Leonidas Kavakos and the Lahti SO under Osmo Vänskä for BIS in 1990 – a famous recording coupled with the original version – but Kavakos is much more leisurely in the Adagio and I have always found the acoustic of that, recorded in the Church of the Cross, over-reverberant and distant.

In the lyrical Adagio, Ehnes does not wear his heart on its sleeve but instead plays with rapt, concentrated intensity; again, Gardner injects heft into the orchestral interludes and to my ears there is a suspicion of mismatch between their respective intents, especially as the balance occasionally threatens to drown out Ehnes when at forte the orchestra’s bass lines are boosted. Mutter’s rendition is more sensuous, bringing out the cello-like enharmonics of her instrument; Heifetz vibrantly passionate, two minutes and more faster than anybody else, making the movement less melancholy and more dramatic – such a contrast with Ferras and Karajan who squeeze out every tear in the lushest of readings. Ehnes finds what will for many be the juste milieu – although I am a sucker for the more Romantic style. The Bergen Philharmonic, too, inevitably exhibits more Nordic restraint here. In his unusually long-breathed account, Kavakos demonstrates that it is hardly possible to overdo the schmalz here and I incline towards his more relaxed interpretative stance.

The finale is immaculately negotiated and in particular Ehnes’ playing of the passage of whistling harmonics is eerily compelling. I miss somewhat of the heft and sonority of the BPO or the Philadelphia with Lin here but while the Bergen PO might be a leaner band, they play con gusto and the emphatic conclusion hits home. Here is where Ferras and Karajan will be a bit leaden to some ears; I, too, prefer greater propulsion, despite the grandeur of their collaboration.

There are so many ways to play this marvellous music; I have a special affection for Ferras’ distinctive, shimmering tone. The sheer passion and élan of the showman Heifetz’ playing, the power and elegance of Lin and the wild abandon of Mutter are all compelling, too, but some will understandably prefer the subtler interpretation Ehnes gives here.

I am not especially enthused by all the Humoresques, Serenades etc. which could be said to constitute the “bonuses” but in fact make up nearly two-thirds of the well-filled programme. In fact, I think Mutter manages to impart more character than Ehnes to No. 1 – which of course he plays very well,  but Mutter and Previn sound freer and have more fun with the piece –  and that is the point of that whimsical genre. The second Serenade is the more soulful, rapturous piece and again I think Mutter finds a greater depth of emotion and expression. I was not familiar with the Four Humoresques but they are widely varied in mood and highly demanding of the soloist, without being especially memorable – although the third features a striking reappearance of the enharmonic feature which so adorns the finale of the concerto. The ‘Earnest Melodies’ indulgently envelope the listener in long, spun melodies and the little Suite is a charming, light-hearted and inconsequential triptych of pastoral scenes, neatly played, concluding with ‘In the Summer’, a remarkably adept moto perpetuo display from Ehnes over a minute and a half.

We may take excellent sound for granted on the Chandos label. Balances are especially good; we can hear every note of Ehnes’ playing, as the solo line generally sits high while the orchestral accompaniment stays grounded, punctuated by occasional flashes of sunlight from the flutes. Anyone who wants Sibelius for solo violin collected on one disc need not hesitate – although my own attachment to a more overtly Romantic interpretation still prevails.

Ralph Moore

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