The First Violin Concerto Op.37 of Frederik 
          van Rossum is probably his best-known work for it was written as test 
          piece for the finals of the Queen Elizabeth Competition in 1980 (the 
          First Prize winner was the young Japanese violinist Yuzulo Horigome). 
          The piece made quite an impression for its global impact went far beyond 
          the limits of the commission. Again, all the van Rossum fingerprints 
          are there: taxing violin technique, for sure, but the stylistic and 
          expressive demands put on the player must not be ignored either. The 
          music is in turn warmly lyrical (sometimes recalling Britten) and rhythmically 
          alert, but always overtly expressive. 
        
 
        
One of the finalists of the 1980 Q.E.C. was Paul Zazofsky 
          who later put van Rossum’s concerto in his repertoire (a fairly rare 
          instance in the Q.E.C.’s long history). Later still, Zazofsky asked 
          van Rossum to write another concerto for him. This materialized in 1990 
          when van Rossum completed the Second Violin Concerto Op.45. 
          This is a quite substantial work and a much more ambitious piece than 
          its predecessor. It is cast in two sizeable movements: Prologue and 
          Incantations lyriques, which says much as to the overall mood of the 
          piece that again is a superb example of van Rossum’s music making. The 
          music again blends a huge range of techniques into a musically varied 
          but very coherent whole of great communicative power. 
        
 
        
The earlier Epitaphe Op.25 (1972) was 
          written for Lola Bobesco and her Ensemble Eugène Ysaye. This 
          fairly short work is a beautifully moving elegy in memory of the composer’s 
          grandfather, the painter Léon Spilliaert. The music certainly 
          looks back at Bartok whose music has been a powerful influence on van 
          Rossum. Lola Bobesco and her ensemble recorded the piece many years 
          ago (ALPHA 3075 F-1 nla) but the present recording is certainly the 
          one to have. 
        
 
        
Excellent, dedicated performances warmly recorded in 
          the superb acoustics of the concert hall of the Liège Conservatory. 
          This release is as welcome as it is unreservedly recommended. 
        
 
        
        
Hubert Culot