James Ehnes’ recording
of the Korngold, Barber and Walton Violin
Concertos (Onyx
4016) with the Vancouver Symphony
Orchestra conducted by Bramwell Tovey
was widely acclaimed. News of his new
recording of the Elgar Violin Concerto,
therefore, will have been greeted with
much anticipation.
Elgar’s Violin Concerto,
to my mind superior to his Cello Concerto,
was dedicated to Kreisler. It bears
the inscription: "Here is enshrined
the soul of ….." There has been
much debate as to whose soul; maybe
Elgar’s own, but in all probability
it is female and very likely one of
the composer’s closest friends, Alice
Stuart–Wortley - or ‘Windflower’- his
endearment for her. Indeed, Elgar described
the work to her as "our concerto".
However the five dots could also disguise
several other women’s names, women important
in Elgar’s life, not least his wife
Lady Alice, but also Helen Weaver the
girl he lost and, it seems, never really
got over. Then there was Julia ‘Pippa’
Worthington. Observers have claimed
that the concerto is a dialogue between
female, as represented by the solo violin,
and male characteristics represented
by the orchestra. Quoting Michael Kennedy,
"The music, though designed on
a grand and opulent style, is of a peculiarly
expressive intimacy. There is no mistaking
the mood of passionate regret for "what
might have been" or even "what
has been". The music certainly
enshrines the soul of the violin. The
soloist is called upon to be orator,
singer, poet, conjurer and wizard …"
There have been many
recordings of the concerto including
some distinguished historical ones headed
by the composer conducting the London
Symphony Orchestra with Yehudi Menuhin,
and the recordings by Heifetz, Sammons
and Campoli, to mention but a few -
see my footnote below. Of the modern
recordings, the two by Nigel Kennedy
are key. The later one with Simon Rattle
conducting the City of Birmingham Orchestra
(EMI 56413) is regarded by some as being
more passionate but to my ears it cannot
eclipse his earlier 1984 reading with
Vernon Handley conducting the London
Philharmonic Orchestra. It is this reading
that I will use as a comparator.
It is interesting to
compare the timings: -
| |
Allegro
|
Andante |
Allegro molto |
| Ehnes/Davis |
17:36 |
12:22 |
18:54 |
| Kennedy (1984) Handley |
18:58 |
13:21 |
21:26 |
Pursuing Michael Kennedy’s
comments "The soloist is called
upon to be orator, singer, poet, conjurer
and wizard …" In the finale, Ehnes
is something of a wizard. He surmounts
Elgar’s technically demanding passages
at dazzling speed but delivering every
note with crystal clarity. His unflagging
stamina through such a long movement
is quite breathtaking. The booklet informs
that this performance was "recorded
at live performances and at rehearsals
- so we might assume patching was minimal?
But singer, poet? Ehnes’ tone pleases
throughout with a beautiful sheen on
his top notes but alas Kennedy’s passion
and emotional commitment, so vital in
this Concerto, especially in the Andante
- much too hurried - are absent here.
I caught little in the way of regret
for "what might have been"
from Ehnes. On the other hand, Davis’s
accompaniment fulfils the emotional
requirements.
Readers might, at this
point, like to be reminded that three
wonderful historic recordings of this
Violin Concerto are now available on
the Naxos budget label led by the composer-conducted
1932 recording with the youthful Yehudi
Menuhin on Naxos 8.110902. Then there
is Sammons and Sir Henry Wood with the
New Queen's Hall Orchestra, coupled
with the Delius Concerto, on Naxos 8.110951
[review];
and Heifetz with Sargent conducting
the London SO on Naxos 8.110939 [review].
The light and sunny
Serenade for Strings, is
an early work (1892) but the fluency
and finesse of the string writing demonstrates
Elgar’s growing confidence and maturity.
It is a firm concert favourite and there
have been numerous recordings notably
Barbirolli’s keystone 1962 EMI recording
now available in the EMI
Great Recordings of the Century series
(67240). Andrew Davis has recorded the
work to good notices previously on Warner
Apex 41371. His new reading is warmly
and spaciously recorded and the luscious
tone of the Philharmonia strings is
a joy. The magical central Larghetto
feels a tad measured; Barbirolli’s emotional
tug is not quite reached. But the Allegretto’s
little nuances seem to speak so eloquently,
so nostalgically of the bygone age that
Elgar knew.
Ian Lace
James Ehnes (violin) 
