Tchaikovsky/Chausson Works for Violin & Orchestra
View record and artist detailsRecord and Artist Details
Composer or Director: Pyotr Ilyich Tchaikovsky, (Amedée-)Ernest Chausson
Label: EMI/Eminence
Magazine Review Date: 11/1986
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: TC-EMX2100
Tracks:
| Composition | Artist Credit |
|---|---|
| Concerto for Violin and Orchestra |
Pyotr Ilyich Tchaikovsky, Composer
London Philharmonic Orchestra Nigel Kennedy, Violin Okko Kamu, Conductor Pyotr Ilyich Tchaikovsky, Composer |
| Poème |
(Amedée-)Ernest Chausson, Composer
(Amedée-)Ernest Chausson, Composer London Philharmonic Orchestra Nigel Kennedy, Violin Okko Kamu, Conductor |
Composer or Director: Pyotr Ilyich Tchaikovsky, (Amedée-)Ernest Chausson
Label: EMI/Eminence
Magazine Review Date: 11/1986
Media Format: Vinyl
Media Runtime: 0
Mastering:
DDD
Catalogue Number: EMX2100
Tracks:
| Composition | Artist Credit |
|---|---|
| Concerto for Violin and Orchestra |
Pyotr Ilyich Tchaikovsky, Composer
London Philharmonic Orchestra Nigel Kennedy, Violin Okko Kamu, Conductor Pyotr Ilyich Tchaikovsky, Composer |
| Poème |
(Amedée-)Ernest Chausson, Composer
(Amedée-)Ernest Chausson, Composer London Philharmonic Orchestra Nigel Kennedy, Violin Okko Kamu, Conductor |
Author: Edward Greenfield
Nigel Kennedy's second concerto record for the EMI Eminence label, like is Gramophone Award-winning version of the Elgar (EMX412058-1, 12/84; EMI CD CDC7 472102-2, 12/85), brings a warmly romantic reading full of temperament with an exceptionally spacious view of the first movement. Whether it will win such universal acclaim is another matter, though I firmly predict that for some it will be a clear first choice. The timing alone for the first movement, only just under 20 minutes, against Chung's 17'51'' on her Montreal/Decca version, gives an idea of the spaciousness, for quite apart from a slowish basic speed Kennedy takes every opportunity to linger lovingly (in the light of which his comments to Ivor Humphreys on page 663 are fascinating). The result could have easily seemed self-indulgent, and for some may be so, but the soloist's consistently rich, firm tone and characterfully individual, spontaneous-sounding phrasing make the result compelling in what might be counted an old-fashioned way. In other words, for all his willingness to indulge in tenutos and rallentandos, Kennedy is not sentimental. Both in the exposition and in the recapitulation of the first movement, his slow tempo goes with hushed pianissimos that have you gasping with delight, moments of inner emotion in a big extrovert reading of a virtuoso work, and when it comes to the bravura passages his technical brilliance goes with disarming ease and confidence.
In the Canzonetta slow movement Kennedy like Chung adopts a fastish flowing tempo, but again he modifies that freely with his tenutos and the occasional loving portamento. Unlike Chung he uses a mute, but like her follows the traditional course of playing the final reprise of the main theme up an octave. In the outer movements, like most recent rivals (as for example Chung in Montreal but not with the LSO—also Decca), Kennedy opens out the usual little cuts. The link into the finale is extremely slow, to bring an unusually sharp contrast in a really fast speed for the finale, but characteristically Kennedy then allows himself rather more than a poco meno mosso for the slower contrasting episodes. In principle you may well object, but as in the first movement his confidence and wamrth are very winning. I have more of a reservation over the accompanying style of Kamu and the LPO, for the very direct, straight style of the playing in the tuttis (established from the word go in the brief introduction to the first movement) has a way of sounding stiff next to Kennedy. The final coda is thrillingly done by everyone.
The Chausson too is given a spacious, concentrated reading, one which allows the improvisatory nature of the writing to come over compellingly. Kennedy's range of tone is extremely wide with rapt half-tones set in contrast to his heroic tone in the passionate climaxes. Again, the slow basic speeds tend to make the contributions of Kamu and the orchestra sound a little stiff by comparison with say Dutoit and the Montreal orchestra in Chung's rival reading of this second work. The digital recording of the new issue is exceptionally full and rich, and the coupling is unique. Chung's Montreal version remains a clearer first choice at full price with a more generous coupling in the Mendelssohn. Chung's earlier version with Previn and the LSO, just as individual and delightfully fresh, has just reappeared in Decca's mid-price Ovation series with the exceptionally generous coupling of the Bruch G minor Violin Concerto and Saint-Saens's Introduction and Rondo Capriccioso. Costing even less, Kennedy's version with its brilliant and full modern recording presents just as much of a bargain, standing in competition with any rival.'
In the Canzonetta slow movement Kennedy like Chung adopts a fastish flowing tempo, but again he modifies that freely with his tenutos and the occasional loving portamento. Unlike Chung he uses a mute, but like her follows the traditional course of playing the final reprise of the main theme up an octave. In the outer movements, like most recent rivals (as for example Chung in Montreal but not with the LSO—also Decca), Kennedy opens out the usual little cuts. The link into the finale is extremely slow, to bring an unusually sharp contrast in a really fast speed for the finale, but characteristically Kennedy then allows himself rather more than a poco meno mosso for the slower contrasting episodes. In principle you may well object, but as in the first movement his confidence and wamrth are very winning. I have more of a reservation over the accompanying style of Kamu and the LPO, for the very direct, straight style of the playing in the tuttis (established from the word go in the brief introduction to the first movement) has a way of sounding stiff next to Kennedy. The final coda is thrillingly done by everyone.
The Chausson too is given a spacious, concentrated reading, one which allows the improvisatory nature of the writing to come over compellingly. Kennedy's range of tone is extremely wide with rapt half-tones set in contrast to his heroic tone in the passionate climaxes. Again, the slow basic speeds tend to make the contributions of Kamu and the orchestra sound a little stiff by comparison with say Dutoit and the Montreal orchestra in Chung's rival reading of this second work. The digital recording of the new issue is exceptionally full and rich, and the coupling is unique. Chung's Montreal version remains a clearer first choice at full price with a more generous coupling in the Mendelssohn. Chung's earlier version with Previn and the LSO, just as individual and delightfully fresh, has just reappeared in Decca's mid-price Ovation series with the exceptionally generous coupling of the Bruch G minor Violin Concerto and Saint-Saens's Introduction and Rondo Capriccioso. Costing even less, Kennedy's version with its brilliant and full modern recording presents just as much of a bargain, standing in competition with any rival.'
Tchaikovsky/Chausson Works for Violin & Orchestra
Tchaikovsky/Chausson Works for Violin & Orchestra
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