Violinist Renaud Capuçon continues to expand
his solo concerto repertoire. Previously he recorded the Mendelssohn
and Schumann concertos, which I have not heard, and the Dutilleux,
which I have and also reviewed here. Whatever I have heard him
do, whether it is solo works or chamber music, I have never heard
anything less than an outstanding performance. Last year I attended
a performance at the Kennedy Center by
the Capuçon/Angelich Trio, performing
Haydn, Mendelssohn and Shostakovich. It was one of the most memorable
experiences in my many years of concert-going. Now he has mastered
Mozart.
Although I have
not heard the recent recordings of these concertos by some
of today’s younger violinists, who have incorporated period
practice in their performances, I doubt any could top the
ones on this disc. Capuçon is further
accompanied by an orchestra that has been well trained in
Mozartean style by Sir Charles Mackerras
and conducted here by Louis Langrée,
no slouch either when it comes to Mozart. Langrée
has been director of a revitalized Mostly Mozart Festival
in New
York since December 2002. From the beginning
tutti of the concertos, it is clear
these interpretations are going to be dynamic with little
or no throwback to earlier Romantic practices that have affected
some of the great violinists of the past. The accord between
soloist and the chamber orchestra seems total, with the important
wind parts getting their share of attention. Yet, there is
no lack of warmth in the playing. Just sample any of the slow
movements to witness that. Tempos are somewhat on the brisk
side throughout, but not to the detriment of the music. Indeed,
there is much joyousness conveyed here, leaving one with a
smile after coming away from these performances. Capuçon
and Langrée also capture the humor
in the music well, for example in the folk-like passage in
the Third Concerto’s rondo. The two concertos here are slighter
works than the mature piano concertos or the Clarinet Concerto,
but they still possess plenty of interest and enough depth
to merit the ever-increasing number of recordings they have
been getting of late.
The Sinfonia Concertante, on the other
hand, is one of Mozart’s most sublime creations. In this work
Capuçon is partnered with Antoine Tamestit,
whom I had not heard before. He is clearly up to the task
and an equal partner to the violinist. They play as a team,
and the orchestra gives them superb support. Note the wonderful
horns throughout the piece. One of my favorite recordings,
from an earlier generation, of this great work is that by
David and Igor Oistrakh with David
also conducting the Berlin Philharmonic (EMI). I compared
the two recordings and must say that they are complementary.
Where the Oistrakhs are smooth and
mellow (should I add, “somewhat Romantic”?), Capuçon
and Tamestit are bracing and dramatic.
Both approaches work well in this music, and I would not want
to be without either. It is interesting that the Oistrakhs
take 11:52 versus 10:43 for Capuçon/Tamestit in the Andante (second movement). Both are
convincing, as this work thrives on a variety of approaches.
With his clear,
pure tone Renaud Capuçon
brings to mind Arthur Grumiaux, his
renowned forerunner of the Franco-Belgian school. I can think
of no higher compliment to pay him, other than to say that his
performances are in complete service to the music and not the
music to him. Let’s hope now that the other three Mozart concertos
will follow in short order.
Leslie
Wright
see also Reviews
by Jonathan Woolf and Kevin
Sutton
