Jean Sibelius (1865-1957)
Violin Concerto in D minor, Op. 47 (1905)
Samuel Barber (1910-1981)
Violin Concerto, Op. 14 (1939)
Renaud Capuçon (violin)
Orchestre de la Suisse Romande/Daniel Harding
rec. 2020, Victoria Hall, Geneva, Switzerland
Erato 9029 505852 [57]

Here is yet another recording of the Sibelius Violin Concerto – they seem to be appearing on disc every few minutes! The competition is very strong, so for a new account to be worthwhile, it should have something fresh to say. Unfortunately, Renaud Capuçon and Daniel Harding just seem to treat the work, with little subtlety, as a big Romantic virtuoso piece. Granted, some of this has to do with the close, in-your-face recording. Capuçon’s tone is gorgeous, his technique beyond reproach. It is just that his style is not a good fit for the work. The tempi are normal, and the musicians are exciting enough in the finale, but everything is laboured despite good playing.  Also, the sound lacks the necessary clarity.

I compared this with three of the recordings in my collection: Cho-Liang Lin and Esa-Pekka Salonen (CBS/Sony), Pekka Kuusisto and Leif Segerstam (Ondine), and Hilary Hahn and Salonen (DG). Lin’s account had long been my favorite before I heard the others. Now I prefer Kuusisto and Hahn, who capture the nature of the piece as well as any I have heard. If I have a slight preference for Hahn’s outstanding account, it also has much to do with Salonen and the Swedish Radio Symphony’s performance. DG gives them state-of-the art recording: everything can be heard clearly and in perfect balance. In comparison, Capuçon and Harding disappoint.

Their performance of the Barber concerto, on the other hand, has everything the Sibelius lacks. The recording even sounds better, even if both apparently were recorded at the same time and place. (One wonders why it took five years to release this disc.) Capuçon’s big tone is perfect for this work. Harding and his orchestra are impressive, too. They build the climax of the first movement unerringly; the oboe solo opening the slow movement is beautiful; and Capuçon dazzles in the moto perpetuo finale.

If this were the only recording of this lovely concerto, I would be quite happy, but there also is considerable competition for this work.  For comparison, I chose Isaac Stern’s classic account with Leonard Bernstein (Sony) and Kyoko Takezawa’s with Leonard Slatkin (RCA); both are at least equal to this new one. My first port of call remains Stern and Bernstein recorded in 1964, which still sounds terrific. In fact, one can hear the orchestral part, especially the piano, better than in any of these recordings.

I expect that fans of Renaud Capuçon, a violinist for whom I have great admiration, will want this disc. Others should be directed to the many choices available for these pieces. Perhaps the best feature of this production are the cogent notes on the works by Nordic music specialist Andrew Mellor.

Leslie Wright

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