Thankfully George Enescu’s
music is no longer as rarely performed
or recorded as Barbara Doll’s accompanying
programme note might make you believe.
There are at least seven other recordings
of the third violin sonata on my CD
shelf, each with its own distinct claim
to attention. From Enescu’s own with
Lipatti – of historic interest – via
Menuhin and Haendel (Enescu’s pupils)
to current Romanian violinists Martin,
Sirbu and Lupu or the alternative view
presented by Kavakos, one might think
that most interpretive angles were covered.
This current version by Doll and Marton
proves how wrong that assumption can
be. Little could have prepared me for
it.
The one outward clue
is in the overall time taken. At 28’15"
it is the most expansive view around,
with the others coming in at anything
between 22 and 25 minutes. The opening
of the first movement (moderato malinconico)
appears rather coolly conceived – in
fact I’d go so far as to say detached
from the music, its impetus and essence.
The emphases of dynamic and bowing techniques
that violinists usually fling themselves
into with abandon are somewhat underplayed
compared to the norm. But then there
are times too when the music springs
to life, and often this happens without
the slightest warning. Hear the second
movement again at around 5’18"
where across the course of not more
than two bow strokes all hell is seemingly
unleashed in the two instruments.
At times like that
I wrote in my listening notes, "should
I like this?" If I were honest
to the spirit of Enescu, my reaction
would be "probably not", but
of itself this unique view has momentary
things to commend it. It is well known
that when Menuhin studied with Enescu
in Romania he fell - by his own admission
- perhaps too strongly under the influence
of the gypsy fiddlers around Sinaia,
which is why Enescu packed him off for
the corrective influence of Adolf Busch.
If anything is misplaced in this performance
it is that it remains too artful rather
than submitting to the true caractère
populaire Roumain: the bowing and
tone is at all times a little too studied
and contemplated where it should be
instinctual. I would have thought being
a pianist of Romanian birth Cristina
Marton might have brought stronger feelings
to show against Barbara Doll’s approach.
The third movement
too left me with the feeling of a performance
more aware of itself – little things:
edgy tone produced too cleanly and the
music at times taken too much in bite
size chunks rather than a unified whole.
When it comes alive (c. 6’21")
the results can be gripping – and not
for the first time though I wondered
as to the amount of engineering manipulation
taking place behind the scenes to give
the piano bass presence that seemed
a touch lacking moments before.
However, it’s not only
the Enescu that is individual here:
the rest of the programme presents three
other approaches to the violin and piano
duet that amply reflect their composers’
concerns. The Schubert is altogether
more natural and the performance shows
qualities that were lacking at times
in the Enescu. It is lithe and beautifully
shaped and affords both players opportunities
to show what they can produce when not
under the pressure of having to realise
effects for their own sake. The work
has a flow all of its own and in this
element of the performance Cristina
Marton emerges as a rather sensitive
accompanist.
The Schoenberg is an
altogether edgier affair, with the violin
definitely taking the lead and exhibiting
a palpable hardness of tone. But it’s
not that the piano part - composed shortly
after the violin one - is shy in coming
forward either. Throughout their performance
Doll and Marton allow Schoenberg’s Viennese
side to show itself within his twelve-tone
frame, with glimpses of the waltz and
Schubert - perhaps less distinctly -
but this is the only discernable link
between the composers included here.
Henze is in most senses
worlds away from Enescu, but in one
crucial sense their two works here share
a kindred interest in the evocation
of the night, albeit I sense Enescu’s
is more fleeting. Henze’s self-professed
aim is to "satisfy the human longing
for peace, calm and harmony, or at least
to understand it". This work, whilst
not especially outwardly calming, does
arrive at a moment that might be described
as ‘resolution’. Here I don’t mean to
imply the harmonic sense though this
does have a bearing upon the work’s
searching character. "Moods, atmospheres,
conditions", Henze too quotes among
his concerns and throughout the short
span of the five movements he brings
to bear his own journey through personal
and political upheavals.
Unsurprisingly the
work and performance end this disc with
more of a question mark than any more
definite punctuation. And the question
is what’s the question? That’s for the
listener to decide depending on their
reaction, not only to Henze’s work,
but the disc as a whole: a varied programme
given through provocative playing. Recommended
most strongly if provocation is what
you’re after, though those seeking authentic
Enescu as their first encounter should
look at alternative versions.
Evan Dickerson
Barbara Doll (violin) 
for
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