 I can almost hear the groans and see the grimaces as here we have
yet another recording of those warhorses of the violin concerto
repertoire from Mendelssohn and Bruch. These two highly popular
scores make a predictable, if at first sight, risk-free coupling
for the considerable talents of the Dutch violinist Janine
Jansen. However, the drawbacks are that the competition in
the catalogues is extremely fierce, as both scores have been
recorded by virtually every violinist worth his or her salt,
often becoming benchmarks by which performers are judged. In
my collection I have several acclaimed recordings that are
of such high quality that there is little to choose between
each account.
Jansen continues to make a significant impression on the classical
music scene and Decca seem to have placed a great deal of confidence
and weight in support of her promotion. I recall her making
a successful return to the 2006 BBC Proms concerts this summer
performing the Mozart Violin Concerto No. 5 in A major, K 219.
We are told that on this recording of the Mendelssohn and Bruch
concertos Jansen plays a violin by Antonio Stradivari, Cremona
1727 'Barrere'.
In 1838 Mendelssohn wrote to his great friend the eminent
violinist Ferdinand David who was to premiere the Violin Concerto
in E Minor, Op. 64, "I'd like to write a violin concerto for
you next winter; one in E minor sticks in my head, the beginning
of which will not leave me in peace".
It seemed inevitable that Mendelssohn's E minor Concerto should emerge
as a serious musical essay and is acknowledged as one of the
masterworks of classical music, achieving great popularity
with the public and performers alike. Music writer Louis Biancolli
summarised the character of this composition of Mendelssohn's
maturity, "In classical poise, melodic suavity, and refined
romantic feeling, it is an epitome of his style .... Finesse,
cultivated taste, and an unerring sense of the appropriate
were among his chief attributes".
Mendelssohn had a special gift for melody and
it is easy to see why the memorable and beautiful opening theme
would not leave his thoughts. The orchestration of the first
movement Allegro moderato is primarily designed to show
off the violinist rather than overpower the listener with intricacy,
in which soloist Janine Jansen performs with
poise and sensitivity making full use of broad dynamics. Jansen's
elevated expressive playing at 1:47-2:27 is spine-tingling
and I loved her interpretation of the challenging
cadenza at 7:04-8:47. I found the degree of dexterity that she
displays from 11:01 to 11:55 is quite astonishing!
The captivating second movement Andante is
characterised by a swaying, lyrical theme. Jansen dismisses
the difficulty of the solo part of the middle section with
confidently relaxed playing that never borders on the languid,
although I would have preferred slightly more weight. The ebullient Finale pays
homage to the virtuoso tradition of the violin concerto. Jansen's
playing is buoyant and spirited, eminently matching Mendelssohn's
world of fairytale enchantment. The Leipzig Gewandhaus Orchestra, who have long historical associations
with Mendelssohn's score, and their conductor Riccardo Chailly
provide the soloist with natural and sensitive orchestral support.
In this highly competitive marketplace there are many excellent versions
of the Mendelssohn Violin Concerto. Certainly this outstanding
account can sit comfortably alongside the very best versions.
My long time favourite recording is the one from Jaime Laredo,
directing the Scottish Chamber Orchestra on IMP Classics PCD
829, c/w the famous Bruch. My copy provides no details of the
recording venue and dates. This Laredo account, with the same
coupling, has been reissued on the Regis label RRC 1152.
I remain an admirer of the bold and characterful version from Kyung
Wha Chung and the Montreal Symphony Orchestra under Charles
Dutoit on Decca 460 976-2, c/w the Bruch concerto and the Scottish
Fantasy. Another superb recording is the direct
and stylish period-instrument version from Viktoria Mullova
with the Orchestre Revolutionnaire et Romantique under John
Eliot Gardiner on Philips 473 872-2, c/w the Beethoven Violin
Concerto (see review).
Composed between 1864-68 Bruch dedicated his Violin Concerto No.
1 to the eminent, Hungarian-born violinist Joseph Joachim
who went on to premiere the revised version in 1868. Eclipsed
by the tremendous popularity of the G minor it is
often forgotten that Bruch actually wrote two other fine
violin concertos as well as many other splendid scores. In
his day he was primarily recognised for his large-scale choral
works that earned him a reputation that for a short time
outshone that of Brahms.
In the first movement Vorspiel: Allegro
moderato Jansen's interpretation is convincing and highly
poetic. Her lyrical aria-like approach seems just perfect. Jansen does not over-accentuate the Jewish sounding melody
in the same way as Maxim Fedotov on Naxos. I loved
the spirit that suffuses her splendid playing at 1:50-2:11 and
4:26-4:31. She clearly relishes the long melodic lines at
2:34-5:10 with warm-hearted and buoyant playing. My promotion copy
has a slight glitch at 5:34 (track 5).
In the beautiful central movement Adagio one
continues to be impressed by the playing which is light as
a feather, infused with tender sensuousness, ensuring that
the interpretation is never over-sentimental. Her expressive
playing at several points provides a remarkable depth of blissful
passion that can make the hairs stand up on the back of the
neck. Jansen displays her expertise with great boldness in
the brilliant virtuoso passages in the development section
of the Finale. Throughout the score Jansen provides
a natural understanding of the music's rhythmic impetus. With
great assurance she navigates a broad range of emotions with
her vibrant and characterful playing. The first class
orchestral support is sympathetic, frequently full-bodied and
often beautiful.
There are a large number of recommendable Bruchs and this recording
is certainly right up there with the finest. My preferred version
is by Jaime Laredo, who directs the Scottish Chamber Orchestra,
available from IMP Classics PCS 829, c/w the Mendelssohn. Laredo's
special account is warm and extremely characterful; so full
of joy and spontaneity. These Laredo performances have also
been reissued on Regis RRC 1152. In addition I am full of admiration
for the memorable account from Maxim Fedotov and the Russian
Philharmonic Orchestra under Dmitry Yablonsky on Naxos 8.557689
(see review). Recorded in 2004 in Moscow, Fedotov's superb
playing displays his innate understanding of the varying emotional
states of
the Bruch score.
Another favourite version of the Bruch was recorded in Leipzig
in 1977 by Salvatore Accardo with the Leipzig Gewandhaus Orchestra
under Kurt Masur on Philips Duo 462 167-2. This is an interpretation
that sees the stylish Accardo providing vital and characterful
playing. The desirable couplings on Accardo's all-Bruch set
are the Violin Concertos 2 & 3; Serenade, Op. 75 and the Scottish
Fantasy, Op. 46. Primarily for his exquisite tone and thrilling
playing the historical 1962 recording from Jascha Heifetz with
the New Symphony Orchestra of London under Sir Malcolm Sargent
on RCA 09026 61745-2 draws considerable approval from a large
group of admirers. The generous RCA disc also includes the Scottish
Fantasy, Op. 46 and the Vieuxtemps Violin Concerto
No. 5.
This advance promotion recording provides very little
information on Bruch's Romance for viola and orchestra in F major,
a late work that I believe was composed around 1911. Fore this
rarely heard score Jansen exchanges her violin for the viola
to impressive effect. Her playing is highly expressive with
a yearning quality and melancholic richness. In her hands Bruch's
score is a very personal and romantic love letter performed
with a crystalline beauty.
These are very impressive recordings from the Decca engineers that
are vivid and well balanced, although there is just a hint
of sharpness in the forte passages. Evidently these recordings
were made at live performances, yet I could not detect any
audience applause or noise. I believe the Decca label have
missed an opportunity to increase the desirability of the release
as there is certainly sufficient room on the disc to have accommodated
another concerto such as: Bruch's Violin Concerto No. 2 in
D Minor; Spohr's Violin Concerto No. 8 in A minor, Op.47 'In
Form einer Gesangsszene' or Vieuxtemps' Violin Concerto
No. 5 in A Minor.
Janine
Jansen fully deserves her exalted reputation and doesn't put
a foot wrong with this excellent Decca release of two staples
of the violin concerto repertoire.
Michael Cookson
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Janine Jansen
(violin, viola) 
