Taschner
was the violinist for whom Fortner wrote his concerto and
it was Taschner who was instrumental in bringing it to
fruition. He’d been Furtwängler’s leader in the Berlin
Philharmonic and his youthful precocity has here given
way to mature control. Fortner’s Concerto is very much
of its time, or just after, a driving motoric work redolent
of the neo-classicism of Stravinsky. It has great lyricism
as well and in the slow movement some characteristic baroque
evocation, fulsome warmth enshrining a certain reflective
loss maybe inspired in part by Berg. The threnody here
takes on a tread that contrasts with the central section
with its ominous martial calls and unsettled direction.
Premièred just after the War its reflective and militaristic
profiles are clear, and equally so that it suits Taschner’s
somewhat astringent tone very appropriately. The finale
is notable for his commanding bowing, renewed motoric drive
and a pulsating cadenza. As a work it can’t claim to be
as moving or important as Hartmann’s Concerto funèbre -
which in any case it doesn’t resemble stylistically – but
it has its share of emotive complexity. Furtwängler modestly
deferred to his erstwhile leader at many points during
rehearsals and performance and he conducts with clarity
and rhythmic acuity.
Coupled
with the Fortner is the Beethoven with Solti presiding
over the Berlin Philharmonic. One senses here that Solti
would prefer to takes things faster than Taschner but the
result is a convincing collaboration nevertheless. I’ve
written before that I’m unable to share in the Taschner
adulation that has burgeoned since his cruelly early death.
His tone always sounds to me insistent and rather tense – a
product of his vibrato usage – and almost steely. Still,
he phrases with novel freedom in the first movement cadenza – his
phraseology is decidedly thought provoking and I listened
to him with eye narrowing concentration. His pellucid trill
illuminates the slow movement, which is rapt and prayerful;
he creates an air of intense tranquillity through splendid
articulation rather than through emotive tone. The finale
is a touch lacking in sparkle.
There’s
a small degree of rumble audible in certain moments in
the Beethoven Concerto but the actual recording quality
of both concertos is very fine and up to the best contemporary
German broadcast standards. Good notes as well. Taschner
devotees will not hesitate and Furtwängler admirers may
not have caught the Fortner in its previous appearances,
which makes for a valuable disc.
Jonathan Woolf
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Gerhard
Taschner (violin) 
