RECORDING OF THE MONTH
Edward ELGAR (1857-1934)
Violin Concerto in B minor, op. 61 (1911) [49:35]
Nikolaj Znaider (violin)
Staatskapelle Dresden/Sir Colin Davis
rec. Lukaskirche, Dresden, 6-8 July 2009. DDD
BMG-RCA RED SEAL 88697605882 [63:30]
Here’s a welcome new recording of Elgar’s Violin Concerto. From the orchestral
introduction the emotive flexibility, subtle shaping of phrasing yet also
overall cohesion of expression is striking. The passionate core of this concerto
is epitomized in its Windflower themes, Elgar’s private name for two themes
in the first movement and Alice Stuart-Wortley who had encouraged him when
he was having difficulty in completing the work. In this performance there’s
urgency to the first appearance of the first Windflower theme (tr. 1, 0:37)
yet a lovely delicacy to the first violins’ accompanying figurations when
it’s repeated on the second violins (0:57). The second Windflower theme (1:18)
comes with a warmth of emotion in the lower strings and violins’ sighs above
which are also sunny. The horns’ descent at 2:43 really is con forza
as marked and stimulatingly so. A unique feature of this recording is that
Nikolaj Znaider plays the 1741 Guarnerius del Gesu violin that the work’s
dedicatee, Fritz Kreisler, played at its premiere. The rich tone of his opening
statement is memorable, yet still more so is the immediately following fragile
sensitivity. Znaider’s cantabile in his treatment of the first Windflower
theme is expressive but also progressive and yet he finds a melting tenderness
in the second Windflower theme. On the other hand Elgar’s contrasts of dynamic
are carefully observed, such as the gutsy ff entry at 10:55. The tranquillo
passage following is beautifully reflective, complemented by discreet
but expressive cellos’ contributions. Thereafter a restless, quixotic phase
is well caught before being satisfyingly resolved by a sunny affirmation of
the second Windflower theme. Throughout there’s fine interaction and blend
between soloist and orchestra. The recording has the natural perspective as
if you were at a reasonable distance in a concert performance and is still
sufficiently detailed. You become aware of Znaider’s breathing at some tender
moments. Personally I like this reminder that a human being has to interact
with an instrument to make it sing.
I compared the 2003 recording also conducted by Colin Davis, this time with the London Symphony Orchestra and soloist Hilary Hahn (Deutsche Grammophon 4748732). Here are the comparative timings which differ only marginally.
| Timings | I | II | III | Total |
| Znaider/Davis | 17:51 | 12:10 | 19:22 | 49:35 |
| Hahn/Davis | 17:59 | 12:18 | 19:26 | 49:49 |
In surround sound, this is a recording of more detailed instrumental positioning.
The orchestral introduction here is more direct and biting, more active, but
the characterful rubato given the first Windflower theme is arguably overdone
and in the second you’re conscious the tempo is pulled about more. The horns’
con forza descent is rather thrown off. Hahn’s opening statement has
both noble restraint and intense contemplation but the following cantabile
is a touch maudlin, the momentum too lost. The second Windflower theme is
elegiac and eloquently treated but lacks Znaider’s natural flow. The ff
entry is less strong, the musing thereafter rather studied.
Znaider and Davis’s slow movement (tr. 2) abounds in sensitive gossamer shading
and sweet lyricism. Both have caught the idiom exactly, in all its passion,
waywardness and delicacy. Davis’s touch is lighter and again more flowing
than in his earlier recording which concentrates on simplicity and transparency
of expression to which Hahn adds a solemn solo. There’s a greater humanity
and spirituality about Znaider and Davis’s interpretation. The density and
subtlety of the writing for string orchestra is quietly but assuredly in evidence,
the way the melodic contours echo each other and the soloist. You appreciate
the hush about the orchestral interventions following the violin’s first presentation
and then Znaider’s rich, yet still dignified emotive vein, matched by the
weight to the orchestral nobilmente material (from 4:34). But then
you also notice the more personal evocation of the solo horn’s sighs accompanying
the violin’s musing from 6:04 before a measured summation and intent yet serene
close.
Znaider and Davis’s finale (tr. 3) is one of evident agility and virtuosity.
The march theme (0:52) is firm yet festive. The second theme (2:13) is richly
savoured, a touch wistful and honoured by ornate decoration before it‘s allowed
to soften and drift away, dreamlike in the upper strings from 2:46. Hahn and
Davis’s finale has a less virtuoso, more scherzo quality which I also find
attractive. Their march theme is lighter but their second theme more intent.
However, the following molto maestoso is somewhat inflated where Znaider
and Davis (1:40) convey more density, swing and progression: you can see where
it’s going. The return of Znaider and Davis’s second theme is more strikingly
measured: it now contains more assurance in its grand orchestral statement
which points up the following yearning, intimacy and even whimsy in the soloist’s
repeat.
Znaider’s approach to Elgar’s accompanied cadenza (10:13) begins with a spacious,
eloquent recall of the first Windflower theme from the first movement before
this is rhapsodically distilled in a manner which finely balances rhetoric
and lyricism and has the feel of a fantasia. Then the second Windflower theme
returns (12:45), richly yet rather objectively, a foil to its distillation
which is even more ethereal and spellbindingly achieved by Znaider. There’s
then a concluding unaccompanied phase to which Znaider brings for me a more
welcome urgency than Hahn, at the same time allowing more contrast in the
ritenuti. Overall Znaider’s cadenza is slightly faster than Hahn’s,
timing at 7:02 against 7:22, and the impression is of a more classical approach.
Hahn’s first Windflower theme opening is more emotive, sad, withering, where
Znaider shows a heroic resilience. Hahn brings more deliberation to the rhapsodic
material which makes it compelling in a different way but, you might also
argue, more mannered, less flowing than Znaider‘s athletic detachment. Hahn’s
Windflower second theme is a more glowing, sad and elegiac recall where Znaider
emphasises the warmth. The thrumming pizzicato upper strings’ accompaniment
is more intensely realized by the LSO than the Dresden Staatskapelle, the
concentration riveting. So if you want a more romantic approach, Hahn supplies
it. On the other hand Znaider’s overall measuring of tempo I find more convincing,
never sounding contrived. Znaider and Davis’s coda is suitably crisp and grand
in turn, a pity you can just about hear what I presume is enthusiastic but
groaning like encouragement at 17:14, 18:08 and from 18:50 similar to that
in some live Davis recordings.
To sum up, while one might quibble at a CD today with a total playing time
of less than 50 minutes, this Znaider/Davis account is an exceptional, finely
rounded performance.
Michael Greenhalgh
An exceptional, finely rounded performance.