Ludwig van BEETHOVEN (1770-1827)
Romance for violin and orchestra No.2 in F Op.50 [9:51]
Alban BERG (1885-1935)
Violin Concerto (1935) [26:10]
Robert FUCHS (1847-1927)
Nine Fantasy pieces [30:41]
Joseph JOACHIM (1831-1907)
Hebrew Melodies, Op 9 [22:16]
Pinchas Zukerman (violin, viola:Joachim)
London Philharmonic Orchestra/Zubin Mehta
Marc Neikrug (piano: Fuchs, Joachim)
rec. 24-25 February 1995, Henry Wood Hall, London; 30 May 1992 (Fuchs); 22
November 1994 (Joachim), Manhattan Center Studios, New York
First release of all recordings
BIDDULPH 80251-2 [35:54 + 53:05]
Listening to the quality of the playing on offer in this
recent release, I’m rather perplexed as to why these recordings are
only now making their first appearance on CD. The booklet doesn’t offer
any explanation. They were set down in the early to mid-nineties, and are
now issued under licence from Sony. I’m thrilled to see Biddulph back
after a long absence, as I’ve acquired a substantial amount of their
catalogue over the years; let’s hope they’re here to stay.
The Beethoven Romance for violin and orchestra No.2 in F Op.50 is a spacious
account and broadly paced. The performance is notable for its reverential
and aristocratic bearing. Zukerman’s long lines and eloquent phrasing
are convincing in every way. I would have preferred the violinist to have
been more forwardly placed in the sound-picture though. It’s a pity
we haven’t also got its running mate the G major Op. 40.
The Concerto ‘To the Memory of an Angel’ is the most substantial
work of the set. This is Berg’s reflection of his deep sense of loss
at the death of the eighteen year old Manon Gropius, daughter of his friends
Alma Mahler and Walter Gropius, from infantile paralysis in 1935. A pall of
sorrow and tragedy hangs over the performance, and Mehta sets a mood of darkness
and intensity in the opening bars. The tangible sadness and anguish are echoed
in Zukerman’s contouring of the tortuous line. His large-scaled playing
with many shades of tonal colour befit and benefit a canvas such as this.
Mehta is particularly successful in twentieth century repertoire, and skilfully
reveals the details and secrets that lie within the score. The reading is
suitably decked with introspection and angst. The Bach’s chorale Es
ist genug, incorporated into the last movement, is a contemplation of death,
resignation and transcendence, and its appearance gives the feel of a cathartic
release.
A selection of nine Fantasy pieces by Robert Fuchs has been chosen from the
three sets Op. 40, Op. 74 and Op. 82. They are all rather short, lasting 2-3
minutes, with the exception of Op. 82, no. 1 which is almost 8 minutes. Echoes
of Brahms permeate them. Each is tuneful and melodic and makes a pleasing
listen. Op. 74, no. 6 is delicate and sprightly, whilst Op. 40 sounds the
most Brahmsian, a delightful intermezzo. Zukerman’s translucent, diaphanous
tone well-suits Op. 74, no. 7, and in Op. 82, no. 5 we are swept along by
a lusty waltz. Neikrug is a sensitive accompanist, responding to the violinist’s
every nuance and inflection.
What amazes me about Zukerman is that early in his career he chose to perform
seriously on the viola as well as the violin, and is uniformly accomplished
on both instruments. He possesses a rich, full-bodied tone and his intonation
is equally up to the mark. It is beneficial that we have an example of his
viola playing in the Joachim Hebrew Melodies. The three pieces, which exploit
the darker characteristics of the instrument, were composed between 1855 and
1860 and take as their inspiration Byron’s Hebrew Melodies of 1815,
a collection of twenty-three poems. Their generally overcast character is
an attempt to express lamentation. All are slowly paced. The first and second
pieces are sombre and melancholic, and Zukerman’s sonorous tone ably
captures the mood. The third piece sounds more pastoral, and in the middle
section the pace quickens and becomes more urgent.
Zukerman and Neikrug have collaborated in the recording studio many times,
including the complete Beethoven and Brahms Violin Sonatas for RCA and Schubert’s
complete works for Violin and Piano also for Biddulph. The latter are exceptionally
fine, and I cannot praise them highly enough.
Long overdue for issue, these compelling and captivating recordings, making
a welcome belated appearance — a feather in the cap for Biddulph. Douglas
Jarman’s informative annotations complement this excellent release.
Stephen Greenbank
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