Russian Violin Concertos
Aram Khachaturian (1903-1978)
Violin Concerto in D minor (1940)
Sergey Prokofiev (1891-1953)
Violin Concerto No. 1 in D Op. 19 (1917)
Alexander Glazunov (1856-1936)
Violin Concerto in A minor Op. 82 (1905)
Julia Fischer (violin)
Russian National Orchestra/Yakov Kreizberg
rec. 2004, Moscow, Russia
Pentatone PTC5187110 [79]
This recording, first releaed on an SACD in 2004 (review), was reissued in 2016. The present reissue is a standard stereo CD. It was Julia Fischer’s debut album. Her collaboration with Yakov Kreizberg, whom (like many other musicians) she found the most sympathetic of colleagues, helped bring it about. He shared her admiration for the Khachaturian concerto, and supported the plan to record this rather undeservedly neglected piece. She had found it a hard work to sell to concert promoters, who doubtless would have preferred yet another rendition of the Tchaikovsky concerto. But both artists clearly believed in every bar of the work, all of its thirty-three minutes; the other two works each play for just over twenty minutes.
The music does not outstay its welcome even in the fifteen-minute first movement. The composer brings a good sense of form and symphonic direction to the work. There is also the appeal of the Armenian flavour of its material, sounding folkloric at times, even oriental. Fischer, a persuasive advocate, brings plenty of virtuosity to her solos, not least the first movement cadenza about half way in. There is poetry too, as in her treatment of the second subject, and of the whole of the touching Andante sostenuto, with more Armenian colouring. Other violinists might have bigger tone (David Oistrakh premiered the concerto), but Fischer’s commitment brings its own rewards. Kreizberg gets fine playing from the Russian National Orchestra, who might well have played the piece more often than most orchestras, and everyone dazzles in the finale. One understands why this is believed to be Khachaturian’s best piece, even if Spartacus may be his best-known work.
Prokofiev’s First Violin Concerto may be the most familiar work of this programme, both in concert and on disc. Fischer’s booklet note mentions its irony, even sarcasm, and its lyricism, which she says she aims to focus upon. She does justice to all its moods, since relishing those contrasts are essential to the success of any performance. But this is a mainly lyrical concerto, and its then unusual structure of two slow outer movements framing a central scherzo influenced some other string concertos. Fischer’s approach is quite intimate, even confiding at times. Her slender, pure tone whispers the music’s secrets in our ears. Kreizberg ensures that the orchestra reflects this mood. There is also playfulness in the manner Fischer treats the first movement’s quizzical second theme, and humour in the acrobatics of the scherzo. The finale has an engaging warmth whenever the violin’s lower register is employed. The affecting recall of the work’s opening melody, wreathed in the soloist’s dreamlike trills, leads to an evocative close.
Glazunov’s Violin Concerto is probably the main work that still gives the composer a tentative hold on the repertoire, even if may not be heard very often in concert. It is in one movement, here on three tracks for the main sections, Moderato, Andante (closing with the composer’s own cadenza), and Allegro. Julia Fischer again gives a very satisfying interpretation, poised and lyrical for much of the work. She responds with some delightful dance-like playing to the liveliness of the finale, with its high-stepping main theme.
The stereo sound is good, with a convincing concert-hall balance between violinist and orchestra. If one want surround sound, the 2016 reissue remains available. The two-page booklet note contains only Julia Fisher’s own recollections of encountering these works, and of working with Kreizberg; he died in 2011 aged just 51. If this generous and probably unique coupling appeals, these are very satisfying performances.
Roy Westbrook
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