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Tudor 1660 SACD
Symphony 3 etc.
Lyrita New Recording
Sarah Beth Briggs
No. 5 in F Op. 24 “Spring” (1801) [25:08]
No. 7 in c minor Op. 30 No. 2 (1802) [28:17]
No. 9 in A Op. 47 “Kreutzer” (1803) [35:53]
No. 10 in G Op. 96 (1812) [29:01]
Yehudi Menuhin (violin), Jeremy
rec. 30-31 October 1985 (5, 9), 7-8 July 1986, No. 1 Studio,
Abbey Road, London
GEMINI 381 7562 [61:04 + 57:26]
Beethoven’s music runs all through Yehudi Menuhin’s long
career. He recorded the violin concerto on a number of occasions,
he also did the sonatas. As early as 1929, when he was 13,
he recorded Sonata No. 1 with Hubert Giesen. In 1934, at
the age of 18, he set down the ‘Kreutzer’ with his then 14-year-old
sister Hephzibah (HMV DB 2409/12). In 1959 the siblings returned
to the sonata, coupled with the ‘Spring’ sonata, a legendary
LP version on HMV ASD 389. He recorded all ten sonatas twice:
in the 1950s with Louis Kentner and then in 1970, partnered
by Wilhelm Kempff for Deutsche Grammophon. Finally in 1985-86,
with his son Jeremy at the piano, came the present two discs,
followed two years later by a third issue with sonatas 6
and 8; there are others as well. I have owned ASD 389 for
ages. I reviewed the early Kreutzer a while ago when it was
released on Naxos together with the slightly later C minor
sonata (see review).
I have long admired the coupling of sonatas 7 and 10 with
Kempff but I had never heard more than an isolated movement
from the collaboration with his son. Considering the late
date of the recording, I wasn’t too hopeful since I heard
Menuhin in the late 1980s play Beethoven’s concerto at Barbican
Hall. By then his intonation was so poor that the whole performance
was cause for suffering.
I shouldn’t have worried. True, the violin tone isn’t as ingratiating
as it was in the 1950s; it has a slightly wiry character
but this could also be the fairly early digital recording.
There are the odd moments of quite mechanical playing, for
example in the long variation movement of the ‘Kreutzer’ but
this is very much the exception. The over-riding impression
is one of commitment and intensity. He wholeheartedly digs
into the strings with resin whirling from the horsehair.
And his son Jeremy, who is sadly under-recorded, is a worthy
partner, powerful and sensitive, grasping every opportunity
when the piano has the lead. At such moments one gets a feeling
that his father is almost too reticent, under-playing the
Nos. 5, 7 and 9 are powerful pieces and should be played
for all they are worth. Not everything is as polished as
in some versions
I have heard but polish is surface and music making is going
under the surface. That is what we get here. The G major
is another matter. Written a decade later than the ‘Kreutzer’ and
pointing to the Beethoven of the late string quartets and
the late piano sonatas, it is more delicate, even frail.
The playing is also far more restrained here, with the slow
movement lovingly phrased. The opening of the finale has
a late-summer warmth with Jeremy spreading a soft sunshine.
That said, this movement is also more earthbound than the
rest of the sonata.
Recorded balance is good, unless the supposed reticence of
Menuhin senior is caused by the technicians. Bernard Jacobson’s liner-notes
provide a lot of information in a limited space. I won’t
part with the older recordings with Hepzibah Menuhin and
Wilhelm Kempff, nor the even older ones from the 1930s, but
the commitment of the playing here, from what might be labelled
Yehudi Menuhin’s Indian Summer, won me over. I am sure I
will return to these readings quite often.
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