Vieuxtemps/Lalo Violin Concertos
View record and artist detailsRecord and Artist Details
Composer or Director: Henry Vieuxtemps, Edouard(-Victoire-Antoine) Lalo
Label: EMI Classics
Magazine Review Date: 5/1996
Media Format: CD or Download
Media Runtime: 52
Mastering:
DDD
Catalogue Number: 555292-2
Tracks:
Composition | Artist Credit |
---|---|
Symphonie espagnole |
Edouard(-Victoire-Antoine) Lalo, Composer
(Royal) Concertgebouw Orchestra, Amsterdam Charles Dutoit, Conductor Edouard(-Victoire-Antoine) Lalo, Composer Sarah Chang, Violin |
Concerto for Violin and Orchestra No. 5 |
Henry Vieuxtemps, Composer
Charles Dutoit, Conductor Henry Vieuxtemps, Composer Philharmonia Orchestra Sarah Chang, Violin |
Author: Ivan March
Vieuxtemps’s Fifth Violin Concerto opens disarmingly, but the tutti gathers strength in Dutoit’s hands before Chang steals in silkily (at 2'04'') and proceeds to dominate the performance with her warm lyricism and natural, flowing rubato. The gentle solo appearance of the main lyrical theme (4'57'') is a delicious moment and its return towards the end of the movement is even more magical (8'47''). After the totally commanding cadenza the Adagio introduces another charming idea, in fact a purloined air by Gretry, “Ou peut-on etre mieux qu’au sein de sa famille?” which fits nicely, when presented with a simple, ravishing line and decorated with such unostentatious elan; Chang’s exquisite reprise of the main phrase (2'21'') reminds the listener how much it has in common with the lyrical theme of the first movement. The last movement is incredibly brief (1'12'') and is dispatched with captivating dash by Chang. Perhaps Vieuxtemps made a mistake in not extending it more; if he had, his concerto might have stood alongside the Mendelssohn in popular esteem. As it is, in a performance like this it remains a small-scale work to cherish, for it hasn’t a dull bar. The recording is warm and full, the balance treating the relationship between the violin and the excellent Philharmonia Orchestra as an equal partnership.
Lalo’s Symphonie espagnole is altogether more ambitious, as befitting its portentous title, but the composer’s inventive Spanishry holds up well throughout the five movements. How attractive is the Concertgebouw acoustic for the fanfare-like opening – giving it weight as well as point. Again Dutoit’s approach is full of impetus so that when the malaguena secondary theme arrives, presented with a special feminine allure, it makes a shimmering contrast. The movement moves forward with great vigour, the solo playing is dazzling, and a gentle sensuous frisson accompanies the return of the enticing secondary idea (6'15''). The Scherzo brings more delicate dance evocations, this time a seguidilla, while in the “Intermezzo” – with Dutoit again bouncing the orchestral rhythms buoyantly – Sarah Chang changes roles for the corruscatingly brilliant Carmen-like habanera. The slow movement (with sonorous Concertgebouw brass) opens sombrely, and gives the soloist a chance to relish a songful melody, Tchaikovskian in its melancholy ardour but with a characterful rhythmic snap. The delicious piping woodwind crescendo and decrescendo which begins the finale (my own favourite movement) sets the scene for scintillating salterello fireworks from the soloist, with Dutoit’s spirited orchestral interjections adding to the fun, and the solo lyrical interludes as seductive as ever. The dash into the home straight brings vociferous applause, which makes one realize that the concentration and spontaneity of the performance has been helped by the presence of an audience, who haven’t been apparent until now. And certainly the splendidly resonant Concertgebouw sound and nigh perfect balance would never have given the game away that this was not a recording made under studio conditions. There are of course other fine versions of the Lalo (Perlman – slightly let down by rather dry orchestral sound – and Mintz, for instance). But this new version takes pride of place on nearly all counts, while the Vieuxtemps coupling is also second to none. And such natural maturity in so young an artist continues to astonish.'
Lalo’s Symphonie espagnole is altogether more ambitious, as befitting its portentous title, but the composer’s inventive Spanishry holds up well throughout the five movements. How attractive is the Concertgebouw acoustic for the fanfare-like opening – giving it weight as well as point. Again Dutoit’s approach is full of impetus so that when the malaguena secondary theme arrives, presented with a special feminine allure, it makes a shimmering contrast. The movement moves forward with great vigour, the solo playing is dazzling, and a gentle sensuous frisson accompanies the return of the enticing secondary idea (6'15''). The Scherzo brings more delicate dance evocations, this time a seguidilla, while in the “Intermezzo” – with Dutoit again bouncing the orchestral rhythms buoyantly – Sarah Chang changes roles for the corruscatingly brilliant Carmen-like habanera. The slow movement (with sonorous Concertgebouw brass) opens sombrely, and gives the soloist a chance to relish a songful melody, Tchaikovskian in its melancholy ardour but with a characterful rhythmic snap. The delicious piping woodwind crescendo and decrescendo which begins the finale (my own favourite movement) sets the scene for scintillating salterello fireworks from the soloist, with Dutoit’s spirited orchestral interjections adding to the fun, and the solo lyrical interludes as seductive as ever. The dash into the home straight brings vociferous applause, which makes one realize that the concentration and spontaneity of the performance has been helped by the presence of an audience, who haven’t been apparent until now. And certainly the splendidly resonant Concertgebouw sound and nigh perfect balance would never have given the game away that this was not a recording made under studio conditions. There are of course other fine versions of the Lalo (Perlman – slightly let down by rather dry orchestral sound – and Mintz, for instance). But this new version takes pride of place on nearly all counts, while the Vieuxtemps coupling is also second to none. And such natural maturity in so young an artist continues to astonish.'
Explore the world’s largest classical music catalogue on Apple Music Classical.
Included with an Apple Music subscription. Download now.
Gramophone Digital Club
- Digital Edition
- Digital Archive
- Reviews Database
- Events & Offers
From £9.20 / month
SubscribeGramophone Club
- Print Edition
- Digital Edition
- Digital Archive
- Reviews Database
- Events & Offers
From £11.45 / month
Subscribe
If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.