The opening
Largo of Schnittke’s
Viola Concerto is
dark and harrowing, with an ominous atmosphere beautifully conveyed
by these performers. This first movement sets the scene for what
is to come: a serious, thought-provoking work which seems almost
to predict the composer’s impending ill-health.
The second movement opens with an explosive repeated pattern
on the viola, to the accompaniment of strong, pounding beats
in the orchestra. The momentum seems to increase almost uncontrollably,
building the tensions to bursting point. A wonderful section
of turgid, sour harmonies breaks in to the movement, before the
opening material is transformed into a ghoulish waltz. A baroque-style
ornament, first heard in the opening movement, breaks the tension,
and is characteristic of Schnittke’s music, often using
elements from previous eras. This is built into a wonderfully
eerie melody line, with the viola line rising higher and higher
in pitch over an arpeggiated accompaniment, before the mood of
the opening returns, this time with grotesque waltz elements
occasionally appearing. Military aspects are undoubtedly present,
and the cadenza at the end of the movement made me wonder if,
despite happiness at the end of the regime, there might also
have a been a hint of fear at the unknown which was to follow
it.
The final movement is contemplative and has a sense of introspection.
This is a stunning movement, with strong emotional impact and
a well developed compositional style. The end is particularly
equisite, and Tamestit’s performance captures the essence
of the music extremely well.
There is a sense of freedom in Schnittke’s writing; composed
in the year that Gorbachev came to power in the USSR, the regime
was relaxing and Soviet citizens were able to travel for the
first time. Presumably also, artists were allowed freer expression
in their works. This is a stunning work, which is powerful and
dramatic in equal measure.
Shostakovich’s
Viola Sonata was composed ten years
later, when the composer was already dying. He never heard the
work performed but worked closely with its dedicatee, violist
Fyodor Druzhinin during the compositional process. In slow-fast-slow
form, the opening movement uses long melodic lines which interweave
between the instruments, creating a long arc structure and giving
a sense of a long journey. The second movement is in the style
of a Scherzo, brighter and lighter than the opening. The music
develops into a folk-inspired dance, whirling and then fizzling
out towards the end of the movement. This is an enjoyable movement,
with technical challenges such as parallel fourths in the viola
part, performed here with ease. The final movement is a tribute
to Beethoven, and is reminiscent of the
Moonlight Sonata in
the pedaled accompaniment of the piano. This is immediately poignant,
as though the central movement was a brief moment of respite
in an otherwise sorrowful time. The viola’s dotted rhythm
motif is heavy, interspersing a legato melody line. The viola’s
sound is perfectly suited to this music; rich, sonorous and wonderfully
expressive, without the brightness of the violin or the depth
of the cello. It is testament to Shostakovich’s genius
that he writes so successfully for this instrument, bringing
out its idiosyncratic qualities to give a sense of raw emotion.
The playing of Antoine Tamestit and pianist Markus Hadulla is
breathtaking throughout. The performance seems effortless despite
its intense musical impact.
This is a wonderful recording, capturing the essence of both
works with understanding and communicating effectively to the
listening audience. I am lucky enough to be able to listen to
music in one form or another on a daily basis, including by a
range of composers and by performers at various stages in their
careers. They are mostly always technically perfect, especially
in recorded form, and that is something that can be taken for
granted most of the time. Very occasionally, however, I hear
a recording which moves me to the extent that this one did; a
rare exception where the performers transcend the technical to
create something truly magical, extending a musical and emotional
message to the listener. Exceptional.
Carla Rees
Antoine
Tamestit (viola)
