This is the
second release from Hänssler Classic of SWR
archive recordings by Johanna Martzy that I have reviewed in the past twelve
months. Very welcome they are too, in expanding a relatively scant
discography.
Martzy (1924-1979) can be counted amongst a group of elite female
violinists whose careers peaked in the mid- to late-twentieth century.
Others include Gioconda de Vito, Erica Morini, Ginette Neveu and Ida
Haendel, the only one still alive today. Yet, unlike the others Martzy, at
the time of her early death in 1979 at the young age of fifty-four, has
faded in the collective memory. Despite this, she has remained a favourite
amongst far-eastern collectors, most notably the Japanese and Koreans, and
has now assumed something of a cult status with her LPs commanding large
sums.
Born in Romania, she took up the violin at the age of six, later becoming
a student at the Franz Liszt Academy, Budapest. Her teacher was Jenő Hubay
(1858-1937), the Hungarian violinist and composer. She made her début at the
age of thirteen and graduated in 1942. In 1947 she won first prize in the
Geneva Competition. Early on she embarked on a recording career with DG, but
was later brought under the wing of EMI by Walter Legge. Her commercial
recorded legacy is relatively slender. Likewise, the duration of her
international career was short in comparison with others. In 1969 she
married the wealthy Daniel Tschudi and thereafter seemed to lack the
financial incentive to continue in an active role. She died of cancer in
1979 in relative obscurity.
Of the two items we have here, the Violin Concerto No.4 in D K.218,
positioned first on the disc, was a studio production made in the SDR Villa
Berg in 1956. In contrast, No. 3 in G K.216 is a live performance. Martzy
made a commercial recording of K.218 in November 1952. This was one of only
a handful she made for DG in the early fifties, before she transferred her
allegiance to EMI. This 1956 airing from Hänssler Classic is of great value,
as it constitutes the only alternative version of this concerto, to date, in
the violinist's discography. It is a rhythmically buoyant performance in
exceptionally good sound for its age, and the balance between soloist and
orchestra is ideal.
Martzy's discography offers no fewer than five recordings of K 216. The
violinist made a commercial recording of the Mozart Violin Concerto No. 3
for EMI in the Kingsway Hall, London in June 1954, with the Philharmonia
under Wolfgang Sawallisch. The live airing we have here was taped on 12
April 1962, in the Liederhalle, Stuttgart with the Radio-Sinfonieorchester
Stuttgart des SWR, under Hans Müller-Kray. I recently reviewed a 2 CD set
from Doremi (
DHR-8034/5),
which also contained two recordings of this concerto, one of which had
exactly
the same forces and conductor, also from the Liederhalle, Stuttgart and
dated 1961. The other was with the Netherlands Radio Orchestra under Willem
van Otterloo. This was dated 25 November 1961, with no venue given. From 19
June 1955 comes a radio recording with the Bavarian State Radio Symphony
Orchestra under Eugene Jochum on Coup d'Archet (COUP CD 002). It's
mistakenly labelled as being in D major.
Martzy's Mozart may seem interpretively cold to some, and the lack of
warmth in her playing is a criticism I have heard levelled against her. It
is true that her playing is unsentimental. For me it is the epitome of
refinement, sophistication and good taste. Instinctive phrasing and
articulation, with precision of intonation are hallmarks of these
captivating and aristocratic performances. Having a fairly fast vibrato, she
projects a silvery and somewhat lean tone. Slow movements are expressive,
lyrical and fervent. Finales have a
joie de vivre, and truly
smile.
Setting aside the commercial recording, of the several 'live' recordings
of K216, I tend to favour Doremi's 1961 recording with the Netherlands Radio
Orchestra under Willem van Otterloo, which is in the most satisfactory sound
and balance. The Munich acoustic of the Coup d'Archet version with Jochum
sounds over-resonant to my ears, and the Liederhalle, Stuttgart for Hänssler
comes across as dry and somewhat cramped.
Incidentally, the Hans Müller-Kray/Liederhalle, Stuttgart event featured
here and on the Doremi CD set, though dated a year apart seems to me to be
one and the same. Listening to them on two separate CD players, side by
side, they remained perfectly synchronized throughout.
Excellently presented with well-produced documentation, there's plenty
here for the violin junkies to enjoy.
Stephen Greenbank
