Aureole etc.

Golden Age singers

Nimbus on-line

Faure songs
Charlotte de Rothschild (soprano);

  Founder: Len Mullenger
Classical Editor: Rob Barnett

Jeannot HEINEN (b 1937)
Violin Concerto no 2 (1993)

RTL Symphony Orchestra/Manfred Honeck with Dora Entcheva (violin) (recorded June 1993)
Fantasy for String Orchestra (1980)

RTL Symphony Orchestra/Pierre Cao with Vassil Ivanov (violin) (recorded February 1982)
Concerto for Two Violins and Orchestra (1996)

Luxembourg Conservatoire Chamber Orchestra /Pierre Cao with Dora Entcheva and Marie-Denise Heininen (violins)
(recorded November 1996)
EDITIONS LGNM no 531 [56:21]

LGNM website

Born in Luxembourg, but long since resident in Baden-Baden, Jeannot Heinen is a prolific composer (according to the accompanying booklet he has ‘so far written or transcribed 446 works of all types’). Music for the violin has formed a major part of his output. a His music reflects many influences: in character it is predominantly though not exclusively tonal.

The Violin Concerto no 2 is in two movements. The first is in five continuous sections which seek to explore ‘different kinds of dialogue’ between soloist and orchestra. The violin writing is of a bold, rhapsodic character and makes severe technical demands on the soloist, here splendidly met by the composer’s Bulgarian wife, Dora Entcheva. The second movement, after an adagio opening, develops into a bustling, highly charged affair ‘in modo bulgaro’. The unusually large orchestra which Heininen deploys is used with well-calculated restraint.

The Fantasy for String Orchestra was originally written for violin and piano. In it the composer displays an addiction to dense textures, sweeping gestures and dramatic outbursts. Vassil Ivanov gives an assured account of the important part for solo violin.

In the Concerto for Two Violins and Orchestra the composer’s wife is joined by their daughter, Marie-Denise, to make this disc very much a family affair. The piece consists of four interlinked sections, of which the vivid, energetic third (Rondes) is the most arresting. Both soloists display formidable command of their material (harmonics and other technical effects much to the fore), but both also reveal warm, dark tone. Again the composer uses a large orchestra, making much use of tuned percussion.

These are works worth exploring: some grey and gritty passages notwithstanding, they offer generally accessible listening. The performances are consistently excellent and the recordings clear and spacious, if a little too forward for my taste.

Adrian Smith

Works worth exploring: some grey and gritty passages notwithstanding, they offer generally accessible listening. Performances consistently excellent and recordings clear and spacious, if a little too forward.


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