This is a rewarding disc of three twentieth century
violin concertos, first issued in 1992 on Teldec (2292-46449-2). The
most famous piece by far, of course, is the Berg Violin Concerto ('Zum
andenken eines Engels'), and it is here that Zehetmair encounters fierce
competition. Taken on its own merits, Zehetmair's account is perfectly
satisfactory. He is searching in the introduction to the first movement,
and much orchestral detail is audible, here and throughout the piece
(Berg poses a great challenge for conductors: there is often so much
going on that elucidation of textures can prove elusive, but conductors
of the calibre of, for example, Pierre Boulez have shown that everything
can be audible). The shifting moods of the second movement (Allegretto)
find Zehetmair less responsive than either Perlman or Mutter. Perlman
is on DG Originals 447 445 2, with the Boston Symphony Orchestra under
Ozawa; Mutter is severally available on DG and is heard in collaboration
with, as opposed to accompanied by, the Chicago Symphony Orchestra under
Levine. Similarly, Zehetmair sounds strained by Berg's technical demands
in the third movement (Allegro), where he also needs to be more responsive
to the Austrian Ländler elements in the score. The finale, however,
is dark (rightly so) and the reference to 'Es ist genug' does make its
emotional mark.
It is the couplings which make this disc interesting.
The Janáček is in fact a fragment,
heard here in a completion by Leo Faltus and Milo tĕdrŭ,
first performed in 1988 at Brno (another completion by Bretislav Bakala
exists). Its total duration is less than twelve minutes and yet it contains
Janáček's world in microcosm, including some beautiful moments
along the way: the woodwind solos around 3 minutes in are a breath of
fresh air and the frequent bitter-sweet harmonies are most affecting.
Finally, some Hartmann. The Concerto funebre is
actually the 1959 revision of a Concerto for Violin and String Orchestra
which dates back to 1939. It has strong links to the Berg in that it,
too, quotes chorales and songs. Zehetmair directs the performance himself
and secures a convincing performance that is particularly impressive
in the vigorous, manic third movement.
This is one of the stronger issues in Warner's Apex
series. Do not buy it for the Berg, particularly if you are unfamiliar
with this wonderful piece (there are stronger and more involving claims
to your purse elsewhere), but by all means buy it to play straight through
and enjoy the stimulation of the juxtaposition of the music of these
three composers.
Colin Clarke
Thomas Zehetmair (violin)