Arvo Pärt (b. 1935)
Fratres (version for violin, string orchestra and percussion)
Spiegel im Spiegel
Johann Sebastian Bach (1685-1750)
Violin Concerto in E major BWV1042
Violin Concerto in A minor BWV1041
Concerto for Two Violins, Strings and Continuo in D minor BWV1043
Arabella Steinbacher (violin)
Christoph Koncz (violin, BWV1043)
Peter von Wienhardt (piano, Spiegel)
Stuttgarter Kammerorchester
rec. 2022, Kirche Peter und Paul, Reutlingen-Gönningen, Germany
Reviewed as a digital download from a press preview
Pentatone PTC5187017 [68]
The first thing that grabbed my ears on putting on this new release from the exciting German violinist Arabella Steinbacher was the very forward, almost rock music-like sound. It doesn’t lack warmth or detail but it is very much in your face. It has been quite a while since I regularly listened to that modern classical pop hit, Fratres, and this account, in the very attractive version with string orchestra and percussion, has considerable clout and reminded why it created such a splash at the time before it became ubiquitous on TV and film. For a piece normally played with glacial constraint, Steinbacher gives us a ferociously emotive account.
The Bach concertos are given a similarly vigorous shakeup. The close sound reminded me of the kind provided for those CBS albums of Isaac Stern and Pinchas Zukerman playing these works. Everything is painted with bold, deft strokes but not so much in the way of shading. Like those older recordings, Steinbacher and her excellent Stuttgart band are unafraid of emotions. The languorous slow movement of the E major concerto, my favourite thing on this disc, is unashamedly open hearted.
The manners are that peculiar hybrid of historically informed and modern that leaves me unsure as to what counts as historically informed any more! If we are measuring historical accuracy in terms of how abrasive the violin sound is then Steinbacher is definitely the modern side of Isabelle Faust’s terrific, dancing set but some way off Oistrakh father and son’s chocolatey tone.
If Faust dances, then Steinbacher’s characteristic quality is energy. Rather like the veritable photo album of pictures of her included in the sleeve notes – do people really want this many images of the performer? – at no point in this recording is the spotlight ever off the soloist.
Another word that comes to mind is deft. Steinbacher exudes enormous confidence and her interpretive choices reflect someone at ease with how she wants the music to go and is very relaxed undergoing the close scrutiny of the forward sound. The slow movement of the A minor is full of classy touches that had me purring with pleasure for this is not a unsubtle set of performances if that doesn’t contradict my earlier comments – just because Steinbacher paints in bold colours doesn’t make her unsubtle any more than Matisse is unsubtle.
The downside of this is that Steinbacher rather eclipses her partner, Christoph Koncz, the Concerto for Two Violins. More problematic still, I found their handling of the sublime main theme of the slow movement a little short breathed and consequently broken up into sections. Listen to Andrew Manze and Rachel Podger in this movement to hear how historically informed manners and gorgeous melody can go hand in hand together.
To close, Steinbacher goes back to Pärt and another of his early “hits” Spiegel im Spiegel. The first thing to notice about this is that it is very slow – taking over a minute longer than most rivals and nearly 3 whole minutes more than the exemplary Tamsin Little. It is fair to say that Steinbacher’s imperious manner just about pulls it off though her pianist audibly struggles with such plain arpeggios stretched out so long over time. I am not sure this piece has dated well and it rather outstays its welcome however beautifully Steinbacher plays it.
The combination of Bach and Pärt was always going to be an easy fit, not least when the pieces chosen are at the more obvious end of the Estonian’s output. In bold sound and with lively thoughtful performances, this is a good choice for those who want these Bach concertos played in a modern but non dogmatic way. As for me, I will be sticking to Podger and Manze or Isabelle Faust in the Bach and Tamsin Little in the Pärt.
David McDade
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