This is the seventh volume in Hyperion’s
series of
The Romantic Violin Concerto. It contains
concertos from Russian composers each of whom had close associations
with Tchaikovsky and violinist Leopold Auer.
Arensky Violin Concerto in A minor
Anton Arensky was born in 1861 at Novgorod in
Russia. He entered the St. Petersburg Conservatoire in
1879 and studied composition with Rimsky-Korsakov.
In 1882, aged only twenty one, Arensky became a professor
at the Moscow Conservatoire most notably teaching Scriabin,
Rachmaninov and Grechaninov. It was at the Moscow Conservatoire
that Arensky became closely associated with and greatly
influenced by Tchaikovsky and also with Taneyev. Rimsky-Korsakov
remarked, “
In his youth Arensky did not escape some
influence from me; later the influence came from Tchaikovsky.” Rimsky-Korsakov
expressed the view about Arensky that, “
He
will soon be forgotten”.
Tragically Arensky died at the relatively young age of
forty-five. Rosa Newmarch biographer, to both Tchaikovsky
and Arensky, wrote: “
Both
in style and temperament Arensky shows considerable affinity
to Tchaikovsky.” (1)
Composed in 1891 the
Violin
Concerto in A minor underwent
considerable revision before it was published some years
later as Arensky’s op. 54. Dedicated to Leopold Auer the score is cast in a continuous movement
with four discernable sections. Although beautifully
crafted the music reveals a rather overfriendly and cloying
character. With little in the way of contrast, only in
the opening movement is there the merest hint of an undercurrent
of tension detectable. The sugary lyricism that abounds
throughout the score is especially marked in the
Adagio
non troppo section. For me the highlight is the waltz-infused
writing of the intermezzo section marked
Tempo di
valse.
Taneyev Suite de Concert for violin and orchestra
In 1866 Russian-born Sergey Taneyev entered the Moscow Conservatoire,
later becoming a composition student of Tchaikovsky. Taneyev
also received piano tuition from Nikolay Rubinstein and
graduated with a gold medal for performance and composition.
As a virtuoso Taneyev was entrusted by Tchaikovsky with
premières of virtually all his scores for piano and orchestra.
Furthermore, it seems that Taneyev was the only composer
from his circle from whom Tchaikovsky sought critical appraisal
of his scores.
Taneyev champion, the eminent Russian pianist; conductor and
composer Mikhail Pletnev expressed the opinion that, “
He
was the key figure in Russian musical history...
He
was the greatest polyphonist after Bach. And look who his
pupils were”: Rachmaninoff and Scriabin. “
And Prokofiev,
who said he learned more about composing in one hour from
Taneyev than from all his other tutors at the Moscow Conservatory.” (2)
Taneyev’s substantial forty-seven minute
Suite
de Concert for violin and orchestra, Op. 28 was composed
in 1908-09 between the turmoil of the unsuccessful Russian
revolution of 1905 and the ‘Bolshevik Revolution’ (or ‘October
Revolution’) of 1917. It is Taneyev’s only work for solo
violin and bears a dedication to his friend, the violinist
Leopold Auer.
The
Suite de Concert is a combination of
several traditions of writing. The
Prelude and
Gavotte sections
reflect the style of the
Baroque suite with the
closing
Tarantella conceivably indicating the
Gigue.
The substantial and late-Romantic
Fairy-tale section
reminds one of Schumann or Brahms. One wonders if the theme
and set of variations was influenced by Brahms’s
Haydn
Variations or Tchaikovsky’s
Mozartiana. I speculate
that the reason that this superb score for violin and orchestra
is so severely neglected is owing to its unconventional
design. It is in the updated form of a seventeenth century
suite in the German style rather than the more conventional
three movement pattern of the violin concerto as used by
Mozart, Beethoven, Spohr, Mendelssohn and Tchaikovsky.
I was struck by Taneyev’s glorious and uplifting
writing of the
Prelude. The exciting and extrovert
opening section calls for considerable virtuosity and is
performed impressively by soloist Gringolts. The overall sound-picture is
one of warm and brooding sultriness. With the scope of
an eighteen century
Gavotte the music develops an
attractive late-Romantic feel. The fairy-tale section,
an
Andantino, commences in a quite sinister, almost
menacing mood. This is music evocative of a woodland scene
at dusk with all sorts of extraordinary creatures revealing
themselves. Taneyev’s main theme is appealing and undemanding
on the ear. The first variation is delightful, contrasting
with the bold and assertive second variation, and the third
variation is an elegant waltz.
Marked
Fuga doppia the fourth variation
of the
Suite de Concert contains a richly textured
consistency. The lighter fifth variation feels bright and
scampering. Variation six is a severe
mazurka. I
loved the heartfelt compassion Ilya
Gringolts brought to the final
variation which closely resembles the original theme. The
Finale of
the score, a
tarantella, provides foot-tapping excitement.
The frenetic cavortings of the climax make for a thrilling
and satisfying conclusion to this most impressive
Suite
de Concert.
Recently a competing version of the Taneyev
Suite
de Concert was released performed
by Lydia Mordkovitch with the Royal Scottish
National Orchestra under Neeme Järvi. From 2008 in Switzerland,
Mordkovitch performs with an impressive blend of expression
and precision combined with a clear and well balanced
sound on Chandos
CHAN10491.
It’s coupled with Rimsky-Korsakov’s
Fantasy
on Russian Themes for violin and orchestra, Op. 33.
Gringolts draws marvellous tone from his Ruggeri violin. Passionate
and poetic he conveys the meditative inner qualities of
the music. Conductor Ilan Volkov provides accompaniment
that is strong in personality and the BBC Scottish play
quite delightfully throughout. The Hyperion engineers present
impressive sound and the booklet notes are helpful.
Michael
Cookson
Footnotes
1
.
Grove’s Dictionary of Music and Musicians,
Vol.
1, - Biographical article on ‘Arensky’ by Rosa Newmarch
- Pg. 103 - Edited by J. A. Fuller-Maitland. Pub: Macmillan & Co.
London (1922)
2. ‘
Mikhail Pletnev Says Classical Music Is Dying (
But
He Won't Quit Playing It)’ - Article by Michael Church -
The
Independent newspaper, (London, 28 February 2005)
Ilya Gringolts
(violin) 
