Erich Wolfgang
KORNGOLD
Sinfonietta (1912)
Violin Concerto (1945)
Ulrike-Anima Mathé
(violin)
Dallas SO/Andrew Litton
rec Nov 1994, Dallas
DORIAN DOR-90216
[70.06]
Crotchet
AmazonUK
AmazonUS
This must be amongst the crowning achievements of Dorian - a company noted
for its professional presentation as much for its low profile on the world
market. Confounding (my) prejudiced expectations of tungsten carbide soulless
playing the Texan orchestra play their hearts out in a Sinfonietta that for
me jostles for first choice with Bamert on Chandos. The Sinfonietta is neither
small in dimensions (at circa 45 mins - longer than most symphonies) nor
in breadth of mood. There is a lightness and lift about it which perhaps
merits the description as well as an avoidance of bitter tragedy - but then
this was written by a composer in his mid-teens. The ideas tumble out in
luxuriant profusion and each idea has staying power. Forget the played out
references to precocious child prodigies. This music is wondrously mature
and it has, settled over its contours, a star-dust enchantment. Reference
points include Strauss, Zemlinsky, Joseph Marx, Schrecker and Delius. The
movement which will leave you with your heart in your mouth is the
träumerisch third which, if you have never heard this work before,
will leave you with a sense of wonder. I am listening to it now as I write
and the goose pimples are running up my arms. Korngold had genius there is
no doubt about that. The dewfall motif at 1.42 [track 3] is beyond price
but there are so many such moments in this affluently generous souled work.
Bamert is quite as good and as well recorded. Gerd Albrecht (Varese-Sarabande)
and Werner Andreas Albert (CPO) are not quite as well served by their orchestras.
Then we come to the violin concerto. For years this was the province of Heifetz
(1953 recording) whose violin sat inside our head as well listened so assertive
was the RCA Victor recording balance. Then along came Ulf Hoelscher (EMI)
who was accorded a far more 'democratic' balance. Gil Shaham (DG) I have
not heard but friends speak highly of this. Ms Mathé (rather like
Chantal Juillet in her Decca Entartete series disc) treats the music with
dignity and allows it to breathe where Heifetz hectors and presses the music
forward. The music does not need to be force-fed to the listener. The mood
is wonderfully sustained by soloist, orchestra and conductor and I dare to
say that these sessions must have been models of happiness. Recording quality:
open and subtle. Notes by Korngold biographer Brendan G Carroll - a model
balance between pleading and information. A classic of recorded sound.
Rob Barnett
