Each DVD in EuroArts' “Discovering Masterpieces” series couples
a live performance of a key work from the cannon with a short
documentary about the piece and its composer. This format and
the glossary of musical terms included at the back of the accompanying
booklet indicate that the series is aimed at new initiates, but
there is plenty here for collectors to enjoy too.
In fact, even collectors who know Brahms' violin concerto well will
enjoy watching this documentary at least once. The film speaks
to the background and inspirations of the piece, covering in
brief the friendship between Brahms and the work's dedicatee
and first soloist, Joseph Joachim, and Joachim's involvement
in the work's genesis and first performance. It also offers
a biographical sketch of Brahms himself, touching on his pivotal
encounter with Schumann, the opposition between his musical
thinking and that of the Wagner/Liszt camp, and his awareness
of the heavy tread of Beethoven always behind him. This historical
and contextual commentary is woven around a movement-by-movement
discussion of how Brahms' violin concerto functions as a piece
of music, illustrated by excerpts from the live performance
with snatches of the score superimposed on the concert footage
to highlight the parts. This discussion never becomes too technical
and is not at all condescending. As well as being guided by
Dulcie Smith's narration, the viewer is enlightened by comments
from Wolfgang Sandberger, the bespectacled, bow-tied musicologist
who runs the Brahms Institute at the Lübeck Academy of Music.
Gil Shaham also gives his personal thoughts on the music and,
where words fail him, he puts bow to string to show you what
he means.
It is Shaham putting bow to string that is the main attraction of this
DVD. His performance of the concerto with Claudio Abbado and
the Berliner Philharmoniker is wonderful evidence of the joy
like-minded collaborators can find and inspire by making music
together.
This live performance from the Teatro Massimo, Palermo is the second recording of the Brahms
violin concerto made by these forces. The first was recorded
live in Berlin a couple of years earlier for Deutsche Grammophon
(CD 469 529-2) and is without doubt one of the best, if not
the best, modern account of the concerto, fully equal in stature
to the classic accounts in the catalogue from the likes of Oistrakh
(with Klemperer, Szell
or Konwitschny), Grumiaux
and Heifetz.
There is an urgent exuberance to Shaham’s Berlin performance that is terribly exciting. This Palermo account makes for an interesting
contrast with the earlier one. Shaham's conception here is
broadly the same, but this performance relaxes and smiles more
while keeping its dramatic through-line.
Abbado and the Berliner Philharmoniker seem to take a cue from the
brightly lit gold and crimson décor of the Teatro Massimo, producing
a sonority of bright hues. There are no brown sounds here.
Phrasing and rubato are natural and the performance breathes
comfortably.
Shaham's first entry in the first movement is dramatic but not imperious
and he soon weaves lyrical magic, soaring sweetly above the
orchestra. His double stopping is remarkably clean and unencumbered
and his dynamic control is admirable – just listen to the pianissimo
hush at about 16:15. He spins the Joachim cadenza freely, lingering
with affection and displaying unflashy but glorious technical
control.
Shaham draws a glowing golden tone from his Stradivarius that sits
right in the centre of each note in a sweet and long-breathed
account of the slow movement,. The Berlin
winds create an atmosphere of glorious repose at its opening.
The camera focuses on the principal oboe as he breathes his
beguiling solo, and it is interesting to note from the strain
on his face how hard he works to make his instrument sing with
no audible effort.
The finale is joyful, not quite as exultant as in the earlier account,
but well proportioned, with perfectly judged dynamic contrasts
and clean articulation from soloist and orchestra. It dances
and builds to a rousing conclusion. The smiles on Abbado's
and Shaham’s faces – the latter dripping with sweat – as they
enter the home stretch reveal their genuine enjoyment of their
collaboration as clearly as the sounds they produce.
The recorded sound is very clear and realistic, with only the timpani
seeming unfocused in the finale. Bob Coles’ direction serves
the music well, picking out individuals and sections of the
orchestra where Brahms brings them to the fore, giving us plenty
of Shaham and enough of Abbado.
Those who do not know Brahms’ violin concerto well will find this DVD
a cherishable introduction. Collectors will certainly enjoy
it too, but may prefer to acquire this Shaham performance on
TDK’s
alternative DVD, which presents the 1 May 2002 concert from the Teatro Massimo,
Palermo in its
totality.
Tim Perry
[69:00]
