RECORDING OF THE MONTH
Hans PFITZNER (1869-1949)
Violin Concerto in B minor, Op. 34 (1924) [32:43]
Siegfried WAGNER (1869-1930)
Violin Concerto with orchestral accompaniment (1915) [25:33]
Richard WAGNER (1813-1883)
Träume (Dreams)for Violin and Orchestra in A flat major (1857) [5:48]
Juraj Cizmarovic (violin)
WDR Radio Symphony Orchestra, Cologne/Marcus Bosch
rec. 15-18 September 2009 (Pfitzner) and 27-30 April 2009 (S. Wagner, R. Wagner),
WDR, Klaus von Bismarck Saal, Cologne, Germany
COVIELLO CLASSICS COV 31104 [64:03]
After the Second World War the West German Radio Symphony Orchestra was founded
in 1947 as one of a number of German orchestras that were formed or enlarged
in an attempt to promote a revival in German cultural life. I have yet to
see the orchestra in concert however I have been extremely impressed with
their series of Shostakovich symphonies under Semyon Bychkov who was their
chief conductor from 1997-2010.
The music of German late-Romantic composer Hans Pfitzner, with the exception
of occasional revivals of his opera Palestrina or extracts from the
opera, is rarely heard. Apart from Palestrina,Pfitzner’s
Violin Concerto from 1924 is the score that has probably done the best in
the recording studio. There are two recordings that are most likely to be
encountered: Firstly from Gerhard Taschner with the RIAS Symphony Orchestra
Berlin under Rudolf Kempe recorded live in 1955 and issued on both Archipel
ARPCD 0400 and MDG Archive 642 1443-2. Secondly from Saschko Gawriloff with
the Bamberg Symphony Orchestra under Werner Andreas Albert from 1989 on CPO
999 079-2.
Presented in three sections and played as a single movement the Pfitznerdates
from 1924. The composer himself conducted the première in June 1924
at Nuremberg with the score’s dedicatee Alma Moodie the Australian violinist
as soloist. Sitting firmly in the late-Romantic tradition the concerto yields
generous rewards with repeated hearings and deserves to be programmed far
more often in concert. Pfitzner certainly allows the violin soloist plenty
of opportunity for display yet in a more subtle than flamboyant manner. A
bold theme in short bursts opens the movement with a songlike and rambling
second theme high on agitation using the extremes of the instrument’s
range. A third theme, a combination of the first and second is presented as
a set of variations then a lively and assertive cadenza for violin.
Following on the extended closing passage for violin and orchestra considerable
tension in generated before the music becomes calmer and then falls away to
nothing. A steely beauty and uneasy calm pervades the idyllic slow movement
where the solo violin remains silent throughout. The oboe plays an attractive
solo both at the beginning of the movement and also at the conclusion with
the strings and harp. An acerbic central section feels forlorn and distinctly
introverted. Generally warm and sunny the mood of the final movement has been
described as “Mediterranean”. In the opening of the final
movement the violin soloist has an extended singing and yearning line infused
with a sense of disconcertion. At 3:16 a delightful waltz-like orchestral
passage of fairytale innocence is taken up by the violin at 3:52-5:25. At
7:08-8:54 the solo violin plays a long, soothing and appealing singing line.
Despite rumbling interruptions from the orchestra the violin maintains its
prominence reverting to a more lively and energetic approach. After a stormy
interlude from the orchestra at 10:32-11:06 the carefree dance passage for
the violin returns. I especially enjoyed the light-hearted dialogue with the
horn at 13:45-14:10 and then with the trumpet at 14:10-14:20. Not surprisingly
this attractive score ends on an upbeat note.
Few composers have had such an elevated music pedigree as Siegfried Wagner
being the only son of Richard Wagner and Cosima von Bülow the daughter
of Franz Liszt. Cosima was later to marry Wagner in 1870. Siegfried Wagner
a pupil of Liszt and Engelbert Humperdinck is best known today for his work
at Bayreuth. He served as the artistic director of the Bayreuth festival both
conducting and producing until his death in 1930. I would suspect that most
people remain unaware of Siegfried Wagner’s composing activities. However,
he was a prolific composer of operas; eighteen according to Grove Music Online.
Siegfried Wagner’s Violin Concerto with orchestral accompaniment
from 1915 presented here in two parts and referred to in the booklet notes
as a symphonic poem is closely related to the music from his opera
An Allem ist Hütchen Schuld! At times the solo violin part portrays
the lovers Frieder and Katherlies from the opera. In the romantic and determined
first part the solo violin is brooding and passionate over rich orchestral
textures. I loved the fluttering birdcalls on the woodwind. In truth there
is little eventful happening but the music is most appealing nevertheless.
Attractive and melodic section two features lively and energetic playing from
the soloist mainly in the high registers. Ominously at 1:56-4:24 the music
takes on a darker quality. A new idea for orchestra at 5:36-7:50 contains
a mysterious quality bordering on elfin mischievousness. The intense yearning
quality develops to a passionate and wild climax at 9:59. Glowing and light-hearted
the score ends on positive note.
Richard Wagner wrote Träume (Dreams) as a study to his
great music-drama Tristan und Isolde. Träume is the final
song from Wagner’s collection of five Wesendonck Lieder. These
are settings of texts by Mathilde Wesendonck the wife of a wealthy patron.
It is often asserted that Wagner had an affair with Mathilde. In any event
Wagner was liberal with the amount of intense passion in his writing. Initially
composed for female voice and piano Wagner thought enough of Träume
to complete this arrangement for violin and small orchestra. The Wesendonck
Lieder are often given in Felix Mottl’s arrangement for orchestra.
In addition Hans Werner Henze made an arrangement for chamber orchestra. Träume
opens in a delightful and moving manner with the solo violin waiting until
1:01 to enter. The intense passion of the music certainly feels as if it could
have been the product of a love affair. It’s impressive how the violin
maintains the gloriously shimmering flow of its melodic line.
Violin soloist Juraj Cizmarovic has found his perfect partner with the WDR
Symphony Orchestra, Cologne under Marcus Bosch. Throughout the disc I was
never aware of the soloist and the orchestra: I just heard the music such
was the selfless nature of their playing. Principal concertmaster of the WDR
Radio Orchestra since 2004 Cizmarovic intuitively knows his colleagues. Playing
a glorious-sounding Nicolo Galliano (1761) instrument the expressive Cizmarovic
is a sensitive and responsive soloist who is comfortable playing both brilliantly
and extremely softly when appropriate. Recorded in what I assume to be studio
conditions at the Klaus von Bismarck Saal in Cologne the sound quality is
to a high standard being especially clear and well balanced. In a sturdy card
cover the gatefold design includes helpful booklet notes.
This beautifully played and recorded disc from Coviello Classics is quite
a discovery.
Michael Cookson
Quite a discovery.