Grumiaux was one of the great masters. Patrician inheritor
and upholder of the Franco-Belgian school his rise to international
eminence was delayed – by the War, by cancelled tours – but his eminence
was indisputable. He was a musician of wide gifts and affiliations and
a fine pianist – he even recorded the Brahms Second Violin Sonata and
Mozart K481 playing both violin and piano parts – and as befits a student
of Alfred Dubois he was a surpassingly stylish classical player. He
had a fast vibrato but unlike, say, Tossy Spivakovsky or Ruggiero Ricci
it was of subtle evenness of production, never oscillatory or damagingly
over vibrated.
This Eloquence reissue of LP material from the early
to mid sixties returns to the catalogue some supremely elegant and arresting
playing, splendidly conducted by the doyen of French conductors, Manuel
Rosenthal still alive, I believe, at ninety-seven. Grumiaux’s Lalo is
technically adroit, tonally expressive and flexible. The Intermezzo
benefits from his excellently equalized lower string work whilst the
andante is resonantly moving, with great purity of tonal production
without ever breaching architectural or expressive proprieties. Grumiaux
may not smoulder his way through the concerto but his is a performance
that enshrines qualities far removed from mere surface affiliations.
The Introduction and rondo capriccioso, one of Saint-Saëns’
most famous violinistic showpieces, is paced with unusual deliberation
before the rondo gathers pace in a scintillatingly rapid traversal –
with precise articulation, and the almost imperceptible employment of
gradations and increments of tonal resources. The Havanaise is
suitably affectionate though the allegro passage is again of motoric
intensity. Chausson’s Poème is all hot-house reverie –
an introduction with withdrawn tone, reflective and not at all the theatrico-dramatic
melodrama that other, perhaps less scrupulous more combustible violinists,
make of it. This is more an interior monologue than a declamation, more
a reflection than an assertion. In Tzigane one might think that
Grumiaux is not the man to dig into the strings and declaim eruptively.
Whilst it’s true that he’s never the rhetorician that other more powerful
personalities can be this is still a provocatively persuasive account
– ironically I found his abandonment rather more satisfying than his
restraint.
As a conspectus of the powerhouse French repertoire
Grumiaux shows that, on his own terms, he is very much the equal of
his peers. His elevated art is well served by this excellent disc.
Jonathan Woolf
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