In many ways, this
is what Naxos is all about: the delights
of discovering obscure/neglected repertoire
in performances that, while not shaking
the Heavens, nevertheless are polished
and assured. In the main, anyway.
I refer the reader
to Jonathan Woolf’s review of this disc
for background to the composer (http://www.musicweb-international.com/classrev/2004/Aug04/boulogne.htm
). To describe the music, the first
composer who sprang to mind was J. C.
Bach. There is a galant element to this
music that cannot fail to delight –
possibly there is more Sturm und Drang
than J. C. might be wont to allow, but
the clouds tend to pass ’ere long.
Qian Zhou is a young
violinist whose successes include the
Long/Thibaud competition (Paris). She
plays with all the confidence of a major
competition winner, allied to the freshness
of youthful discovery. The Toronto Camerata
under the Irish conductor Kevin Mallon
provide sterling support, buoyant and
springy of rhythm and without fail perfectly
balanced.
Occasionally Zhou can
appear strained, especially in the upper
register, and it is at these moments
her tuning suffers. Nevertheless, her
expressivity in slow movements is most
convincing. The slow movement of the
D major (Op. Posth) is surprisingly
intense and almost gloomy. Saint-Georges’
writing is always gripping, setting
up an impression of an independently
musing soloist – a more agile episode
forms contrast.
The G major Concerto
contains a very emotional contrasting
subject in the exposition of the first
movement and a supremely jolly finale,
played with charm if not too obvious
glee.
Finally, another D
major concerto (Op. 3 No. 1) reveals
that Zhou can be truly expressive, particularly
in the second movement cadenza. Interesting
to end the disc on a non-flashy ‘Rondeau’
(in fact the whole concerto is predominantly
lyrical).
Naxos gains brownie
points by having Allan Bradley, the
editor of the scores used, contribute
the booklet notes. Unfortunately they
promptly lose them by having the booklet
discuss the works in reverse order to
what we actually hear.
Worthy of investigation,
certainly, if not quite the barrel of
delight it could have been.
Colin Clarke
see also reviews
by Patrick
Waller and Jonathan
Woolf
Qian Zhou (violin) 