Szymanowski's
Concert Overture was pretty much unknown until the
young Simon Rattle revived it in Birmingham during his early glory
days. Now it has had several recordings. It is an exuberant, unblushingly
Straussian piece with its lineage directed to Don Juan.
You can also think of it as a shorter echo of Elgar's Alassio.
The thematic material is thinner than we are accustomed to from
this composer. It is rather a high calorie piece of confectionery
- melodically all too easily forgettable though fun to hear. This
version can be compared with Botstein’s Telarc recording (CD-80567)
CD-80567. I first heard the piece in a radio broadcast of a toweringly
orgasmic performance conducted by Edward Downes in 1981. Under
Kasprzyk on CDM 5 65082 2 the overture thundered and glowed in
a recording that was just as good at the triple forte climaxes
as the silvery pianissimos. The Telarc sound was harder and far
less immediate and subtle than the late analogue EMI. Kord takes
it with exultant speed: 11.44 as against Kasprzyk: 13.14 and Botstein
13.34.
The
two violin concertos have been recorded quite a few times though
versions are by no means numerous. Ida Haendel (Chandos), Chantal
Juillet (Decca), Konstanty Kulka (EMI and Naxos) and Wanda Wilkomirska
have done both. Szeryng made a well respected recording of the
Second Concerto. I recall an Aurora LP (AUR5063 c.1978) in which
Wilkomirska's first recording of No. 1 was coupled with Charles
Treger's version of No. 2. Danczowska is steadier-toned than Haendel
and Kulka. She is closer in sound and approach to Wilkomirska
and Juillet.
Danczowska
has impressive Szymanowski credentials having recorded the Mythes
as a début disc with DG. This was lauded to the skies
and she brings to this 1997 project the same compelling qualities
- steady tone even in the most voluptuously luxuriant of writing,
rapturous powers of concentration and the ability to punch through
glimmering Firebird-upholstered textures to achieve piercing
audibility. Further back in time the First Concerto can
trace its bloodline back to Saint-Saens' Havanaise. This
is a 'Song of the Night' in all but name and one can easily link
this work with the Third Symphony which itself is based on Mid-Eastern
texts. Parallel works include the Delius Violin Concerto.
The
Second Concerto, like the first, owed much to the composer’s
friend Pavel Kochanski who, but for his mortal illness, would
have performed it. Even if he was too ill to premiere it the piece
is dedicated to his memory. CD Accord’s excellent recording quality
helps greatly here. Szymanowski in this work had moved his language
towards nationalism rather than the Scriabin-indebted ecstasy
of the First Concerto or the Jugendstil exuberance of the
Overture. The connection is evidenced by the Harnasie-style
climax at 8.28. Not even in Szeryng's hands has the flaming intensity
of song that crowns the concerto at 18.10 been projected with
such overwhelming force.
The
recording is extremely good. Think in terms of Decca's best. Detailing
is clarity itself. The recording has plenty of heft.
These
Danczowska versions of the concertos are enthusiastically recommended
- superior interpretations stunningly recorded and coupled with
the best setting down of the windy Concert Overture even
allowing for Botstein and Kasprzyk.
Rob
Barnett
MusicWeb
is now selling the CDAccord catalogue
for
details
Kaja Danczowska (violin)