Edward ELGAR (1857-1934)
Violin Concerto in B minor, op.61 (1910) [50:14]
Alternative Cadenza for the Violin Concerto (1910-1916) [6:17]
Interlude from The Crown of India, op.66 (1912) [3:44]
Polonia, op.76 (1915) [14:15]
Tasmin Little (violin)
Royal Scottish National Orchestra/Sir Andrew Davis
rec. 24-26 May 2010, Royal Concert Hall, Glasgow. DDD
CHANDOS CHSA 5083 [74:52]
As 2010 sees the centenary of the première of Elgar’s Violin
Concerto, it is only right and fitting that we should have a new recording,
and one made by one of today’s major artists and beloved personalities.
And there is probably nobody better suited, or more attuned, to Elgar’s
style than Sir Andrew Davis, who, over the years of his tenure as Chief Conductor
of the BBC Symphony Orchestra, grew in stature as an Elgar interpreter and
is now an Elgarian of some authority. So all bodes well for this new recording.
Sir Andrew delivers a fine opening tutti, strong and purposeful, allowing
the music to speak, displaying a superb handling of the transition to the
second theme, and then carefully prepares for the entrance of the soloist.
Ms Little’s entry is resolute but not overplayed, but here I am immediately
faced with a problem which worried me throughout the performance. In the passagework,
and sections of bravura writing, Ms Little is superb, throwing caution to
the wind and really letting go, relishing the challenge to show her fabulous
technique, but always in the service of the music. In slower music, however,
such as her initial entry and in much of the slow movement she employs a very
fast vibrato which I find annoying and which grates on my ear - I should say
that it will not bother many people, but, as with singers, I find this approach
to the detriment of the music. The line feels to be unclear - a good example
of this comes at 4:22 in the slow movement, where a more direct approach would
have been welcome. After a while it just sounds fussy, and it annoys me in
the same way as someone who giggles every time after making a comment.
Having said all that, I must point out that this is purely my feeling concerning
interpretation and performance and not everyone, especially Ms Little’s
many fans, will agree with me. I am sure that what I see as the overuse of
vibrato won’t bother the majority of people who buy this disk. But I
mention it for it is very important and in a work of this length there’s
a lot of it!
I do feel that Chandos should have reconsidered calling what follows an Alternative
Cadenza for the Violin Concerto for it is nothing of the sort. Elgar was
one of the first composers to realise the importance of recording his own
music and was a willing visitor to the recording studios from 1913 onwards.
In 1916 he undertook a recording of the Violin Concerto with Marie
Hall, whom he had taught in the 1890s, and, because of the playing time of
the discs, and the length of the Concerto, he cut it down to 12 minutes,
with each movement occupying one side of a 78rpm disc and the cadenza allotted
a side all to itself. Realising that the “thrummed” accompaniment
he had created would be almost inaudible on the primitive record he rewrote
it adding a harp. Thus, this version was born of necessity and was never intended
as an alternative to the cadenza in the Concerto, nor was it intended
to be used more than on this single occasion. This truth is proven by the
fact that the materials used in 1916 no longer exist, and it has had to be
reconstructed by listening to the recording and writing it down afresh. Does
it add anything to our knowledge of the work? No. Should it be on this disk?
It’s unnecessary, but it makes an interesting sidelight on Elgar’s
ingenuity and professionalism.
The Interlude from The Crown of India music is an unpretentious miniature
for violin and small orchestra, and it’s very pleasant. Polonia
is a meatier piece. Based on Polish themes, it was written for a concert for
the Polish Victims Relief Fund, and it’s an occasional piece but not
a particularly significant work. Its virtues lie in the fact that it is entertaining,
fun and shows Elgar’s sure hand as an orchestrator. This is a very high
powered account of the music and it is very exciting. A rather subtler account
was issued with the BBC Northern Symphony Orchestra under Andrzej Panufnik
from a live performance of September 1978, coupled with a splendid live 1986
performance of the Violin Concerto by Ida Haendel and John Pritchard,
on a long deleted BBC Carlton Classics disk, which is well worth seeking out
(15656 91942).
Throughout, Sir Andrew draws fine playing from the Scottish Orchestra and
their contribution is most satisfying. The recording is stunning in its clarity
and brightness, and the notes are full and informative. Despite my personal
reservations concerning Ms Little’s use of vibrato, there is no doubt
in my mind that this recording will give pleasure to many, but it doesn’t
add anything to our understanding of the work.
Bob Briggs