ReVIOLAtion
Fyodor DRUZHININ (1932-2007)
Sonata for viola solo (1959) [15:32]
Mieczyslaw WEINBERG (1919-1996)
Sonata No. 3 for viola solo Op. 135 (1982) [29:43]
Henri VIEUXTEMPS (1820-1881)
Capriccio “Hommage à Paganini” for viola solo in C
minor, Op. 55 (Op. 9 posthumous) (1883) [2:55]
Grażyna BACEWICZ (1909-1969)
Polish Capriccio (Transcription for viola by Jerzy Kosmala) (1949) [2:43]
Krzysztof Komendarek-Tymendorf (viola)
Rec. 13/14 March 2017 St Michael's Evangelical/Lutheran Church, Detmold
NAXOS 8.551432 [50:58]
Two of the four composers featured here were viola-players. Fyodor Druzhinin was a member of the celebrated, Moscow-based Beethoven Quartet; a century earlier, the virtuoso violinist Henri Vieuxtemps' preferred instrument when playing quartets was the viola. Druzhinin wrote several major pieces for solo viola, including a Fantasia for viola and orchestra, Variations for solo viola and the sonata recorded here. Shostakovich composed his Viola Sonata for him. In four movements, Druzhinin's own solo sonata is a powerful work, rich in rhetoric and dramatic contrast. Not least of its qualities is its ideally idiomatic character. It simply sounds terrific on the viola. The
Vivace second movement is good-humouredly whimsical, with highly effective use of harmonics. Following a reflective slow movement, the finale has a serious
Maestoso introduction preceding a purposeful, muscular Allegro risoluto. The influence of Shostakovich – almost inescapable in Russia at this time – is present but far from intrusive.
Few composers have enjoyed such a revival as Mieczyslaw Weinberg. In the last twenty years record companies have made tremendous inroads into his chamber, orchestral and piano music, though only a few concert promoters have taken up the cause. ArkivMusik's website lists 113 recordings. Many writers have commented on the close artistic relationship between Shostakovich and Weinberg, some suggesting that the younger composer's music is derivative. These less generous listeners perhaps forget that the influence was mutual – it flowed in both directions. Both Shostakovich and Weinberg sent each other their new compositions for comment. Shostakovich's major works have been familiar for several decades, whereas Weinberg's music, receiving far fewer performances, is still largely unknown to concertgoers. On the other hand, CD collectors are spoilt for choice. Therefore, part of the problem with Weinberg-appreciation is that he is stuck in a catching-up process. Comparisons, as we all know, can be unhelpful, so perhaps we should try to forget the giant presence of Shostakovich and the sharply memorable quality of his greatest works. My view is that Weinberg lacks the brilliant genius of Shostakovich (precociously demonstrated when he was nineteen, in his First Symphony), but that he must be recognised as one of a group of neglected Russians – Roslavets, Myaskovsky and others – deserving of serious attention. This sonata holds my attention but, while not as gritty and austere as Hindemith's solo viola music, it is not a crowd-pleaser. It's quite tough and demanding, but not excessively so. There is plenty of substance here, in this substantial five-movement work and repeated listening brings greater rewards. After a strongly rhythmic opening movement spiced with bitonality, the second movement is less intense, with a meandering, rather mysterious melodic line. Harmonics and ponticello bring tonal variety. The faster third movement features semitonal oscillations, giving way to a pungent chordal section, then a return to the semitones, now with much double-stopping. Widely spaced intervals characterise the opening section of the next movement, before a passage in which high and low registers are often juxtaposed. The finale begins in a more playful mood but develops towards a powerfully intense ending.
Although a viola-player myself, I have to admit that the Vieuxtemps is the only piece on this disc which I knew previously. This is an elegant but passionate miniature, marked
Lento, con molto espressione. Its subtitle Hommage à Paganini may be a little misleading, as there are no fireworks.
Once, in Poole's Lighthouse, Tabea Zimmermann played this as an encore (after the Walton Concerto) and the audience was audibly spellbound. I don't think many people there had realised that a solo viola could sound so perfectly beautiful.
Having said that, I don't believe for a minute that this particular disc will be a big seller, though the playing of the Polish Krzysztof Komendarek-Tymendorf is very fine and the music is clearly engaging. The viola as a solo instrument has come a long way in the last few decades, and now there are astoundingly good players everywhere.
The Bacewicz, originally composed for violin and, according to the sleeve-notes, “one of the most famous in the composer's oeuvre”, is the nearest we come to a showpiece. It is attractive – dancelike and folk-inspired - undemanding (for the listener) and enjoyable.
The annotation (indifferently translated?) has its banal, waffly or pretentious moments – is Pseuds Corner still running? Here is an example - “In the soloist's original proposals, 'musical time' plays a key role as it creates a kind of space in the micro- and macroform of each particular piece of music, and his priority is to convey the composer's idea as faithfully as possible by discerning agogic and dynamic nuances both between individual sounds and whole movements of the work”. That's a long sentence and I don't know what it means. Fortunately the music recorded here is generally much more meaningful and concise. This disc deserves a warm welcome, both for choice of repertoire and for the classy performances.
Philip Borg-Wheeler
