Christine Raphael (1943–2008) was the second daughter of composer
Gunter Raphael (1903-1960) whose music has been accorded increasing
interest of late. She started the violin very late — at 13 —
subsequently studying with Igor Ozim in Cologne, attending Max
Rostal’s master-classes, and winning a scholarship to study
with Ivan Galamian in New York. She performed as a soloist and
chamber player, and toured widely. I’ve known her best in the
context of her promotion of her father’s works, but had not
heard any other of her performances.
This disc gives one opportunity to hear her in the central
repertoire. The major work is the Dvorák concerto, recorded
for a Colosseum LP in 1977. I can’t quite believe the violin’s
very first entry wasn’t retaken — it’s horribly flat — and whilst
the playing gets technically more secure, I’m afraid the performance
didn’t convince me. It’s a strenuous affair, occasionally ponderous,
as in a leaden finale, and elsewhere too metrical, one-dimensional,
and lacking in rhythmic energy. True, there’s a certain affectionate
profile to the slow movement, but the lassitude is endemic,
not helped by the blowsy recording, and the rather turgid orchestral
contribution.
The repertoire seems to imply an affinity with Bohemian music
because she also plays Suk’s Op.17 Four Pieces. These, in general,
are better than the Dvorák, but it’s clear that she may have
chosen tempi relative to her technical confidence; the Burleska
lacks zip, and the opening Quasi Ballata is rather laboured,
whilst the Un poco triste is not triste enough. She rather lacks
Ginette Neveu’s sense of fantasy and colour and danger.
The Schumann pieces were recorded, as was the Suk, at Viersen
in July 1983. They’re pleasantly done, but lack any real insight.
Of more interest, though, are the two Ysa˙e works, recorded
in Cologne in April 1985. Les Neiges d’antan and the Berceuse
in F minor are not often performed and whilst we hear Raphael
in a better recorded spectrum than in the Suk and Schumann,
alas, we also find that the Ysa˙e works conform to the general
impression of her playing, which is that it is, for some reason,
lacking in personality and in a sense of projection. It’s page-bound
playing, regrettably.
Jonathan Woolf
Christine Raphael (violin) 
