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Max BRUCH (1838-1920)
Violin Concerto No. 2 in D minor, Op. 44 (1878) [23:24]
Violin Concerto No. 3 in D minor, Op. 58 (1891) [37:01]
Maxim Fedotov (violin)
Russian Philharmonic Orchestra/Dmitry Yablonsky
rec. Studio 5, KULTURA TV and Radio Company, Moscow, May 2005
NAXOS 8.557793 [60:24]
Experience Classicsonline


This Naxos program offers what are very much "Russian" performances. I don't mean that in the bad way - suggesting coarseness, sloppiness, or technical ineptitude, all of which have characterized some Russian performances in the past, especially in mainstream repertoire. The playing here is technically polished and the phrasing idiomatic. Rather, it's the level of energy and commitment that struck me as distinctively "Russian".
 

Soloist Maxim Fedotov produces a firm-bowed, full-bodied tone which he can scale his sound back into a gentle, melting piano without sacrificing projection or vitality. Even when his sound is at its most vibrant, the phrases are cleanly outlined. He's secure maneuvering high on the E string, taking the vaulting upward leaps with assurance; only in some of the highest passages does any hint of "defensive" portamento creep into the sound. His poised playing yields little to Accardo's pure, soaring intonations (Philips) in clarity, and has the edge in passion. 

The Russian Philharmonic under Yablonsky contributes a polished backing. The brass playing strikes me as particularly Russian in its thrust and cut - no watery horns or heavy, pushed trumpets here. Their clean, full-throated chording dominates the tuttis - especially as captured in Naxos's capacious engineering - and lends the music a portentous, almost melodramatic atmosphere that is certainly effective. 

This treatment is a tonic for these, dismissively thought of as Max Bruch's two "other" violin concertos. True, both scores suffer from "sequel-itis," as the composer attempted to exploit the immediate popular success of his First Concerto. He's moved the key from the First's G minor to the similarly fiddle-friendly key of D minor, but otherwise neither concerto strays far from its structural model. Each begins with a quietly ominous passage that takes time to resolve into serenity. Each features some sinuous, caressingly expressive lyric themes - that at 14:04 of the Third Concerto's first movement is especially lovely - though none of them achieves the hushed concentration of the G minor's slow movement. The Second Concerto's finale, too, recalls the mood of the analogous movement of the First, replacing the latter's impulsive exuberance with an affirmative stride. 

The open-hearted performances here lift these scores above the realm of insipid sweetness to which they're too frequently consigned. The Third Concerto still isn't quite an unqualified success: Bruch worked on a larger, more ambitious scale here than in the score's predecessors, and as the long outer movements, particularly, ramble on, the music's actual invention comes to seem a bit threadbare. But the composer's craftsmanship - and the performers' energy - carry the listener along irresistibly. 

Just because these scores aren't from the composer's top drawer doesn't mean they're not worth hearing, particularly the Second Concerto. At budget price, this is quite a good way to get to know them. 

Stephen Francis Vasta

 

 
 


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