This disc was always a desirable one and a best seller
in its original Eminence garb. A re-issue on the budget CFP label will
probably guarantee success all over again. It has so many things going
for it. For a start, the sound quality is superb (as you would expect
from Mike Hatch) with strings caught in full bloom, and brass ringing
out gloriously. Then there is the coupling, so logical and yet not all
that common. In fact the only serious rival appears to be from Anne
Akiko Meyers and the RPO under Lopez-Cobos, which is at full price and
was not as well received anyway as this EMI. And then there is the playing,
as rich, atmospheric and full-bloodedly romantic as one could wish for.
These pieces really make excellent bedfellows. Both
are in an unconventional five movement concertante form, and both seek
to be picture postcard evocations of other cultures, a German’s of Scotland
and a Frenchman’s of Spain. How ‘authentic’ they are is virtually irrelevant,
as one is swept away by the plethora of memorable tunes, infectious
rhythms and the sheer drama and colour of both works. As the soloist,
Tasmin Little is responsible for a large part of the disc’s success.
Her tone is secure and weighty throughout, and she delivers both works
with a mixture of dedicated concentration and improvisatory flair that
I, for one, would find hard to imagine bettered.
The Bruch Scottish Fantasy (or to give its full
title Fantasia for the violin with orchestra and harp, freely
using Scottish folk melodies) has sometimes been accused of bordering
on kitsch. In fact, it is a blend of well-chosen, often haunting or
melancholy tunes that are very skilfully woven into the tightly organised
orchestral texture. Little’s cleanness of articulation, not least in
the heavy double-stopping, makes for an unforced eloquence and real
sense of lyrical fantasy. The rapt intensity of her very first pianissimo
entry in the slow introduction is evidence of this, and the double-stopped
first statement of the main theme of the first movement (‘Through the
wood, laddie’) is beautifully tender and precise (1.07). Handley’s support
is inspired; there is a section at the end where, after the finale’s
main theme (‘Scots wha hae’) has given way to a reprise of this first
movement tune, Handley keeps the orchestra down to an absolute whisper
for the violin to float over, a wonderful moment perfectly judged by
soloist and conductor.
The Lalo is no less successful. Handley again shows
his mastery in keeping the many varied dance rhythms, which can be unwieldy
and make the piece too episodic, under tight control. His tempi err
on the cautious, but with accents sharply etched there is never any
danger of things getting stodgy. The Intermezzo, with its infectious
Cuban habanera lilt, finds Little winningly spontaneous. The
finale fair zips along, with Handley again making the most out of the
zapateado rhythm, and Little showing marvellously quicksilver
passagework to crown a very satisfying reading. These two intelligent
musicians make the work far more than the barnstorming showpiece it
often becomes.
Notes are a slightly truncated version of Tully Potter’s
original and recording, as mentioned above, truly excellent. There is
competition galore for the separate pieces, but none I’ve come across
are any more persuasive than this, and in this coupling and budget format,
this deserves the strongest recommendation.
Tony Haywood
Tasmin Little (violin)