Romantic Works for Violin
Antonín DVORÁK (1841-1904)
Violin Concerto in A minor, Op.53 (1882) [34:57] ¹
Josef SUK (1874-1935)
Four Pieces Op.17 (1900) [15:07] ²
Robert SCHUMANN (1810-1856)
Three Romances Op.94 [10:54] ²
Eugène YSAŸE (1858-1931)
Les Neiges D’Antan Op.23 [8:34] ³
Berceuse in F minor Op.20 [4:19] ³
Christine Raphael (violin) Nuremberg Symphony Orchestra/Andreas Albert
¹ Rainer Gepp (piano) ² Rhine Chamber Orchestra/Jan Corazolla ³
rec. 1977, Kongresshalle, Nuremberg (Dvorák); July 1983, Städtische Festhalle,
Viersen (Suk and Schumann) and April 1985, WDR Saal 1, Cologne (Ysaÿe)
GENUIN GEN 10535 [74:17]
Christine Raphael (1943–2008) was the second daughter of composer Gunter
Raphael (1903-1960) whose music has been accorded increasing interest of late.
She started the violin very late — at 13 — subsequently studying with Igor
Ozim in Cologne, attending Max Rostal’s master-classes, and winning a scholarship
to study with Ivan Galamian in New York. She performed as a soloist and chamber
player, and toured widely. I’ve known her best in the context of her promotion
of her father’s works, but had not heard any other of her performances.
This disc gives one opportunity to hear her in the central repertoire. The major work is the Dvorák concerto, recorded for a Colosseum LP in 1977. I can’t quite believe the violin’s very first entry wasn’t retaken — it’s horribly flat — and whilst the playing gets technically more secure, I’m afraid the performance didn’t convince me. It’s a strenuous affair, occasionally ponderous, as in a leaden finale, and elsewhere too metrical, one-dimensional, and lacking in rhythmic energy. True, there’s a certain affectionate profile to the slow movement, but the lassitude is endemic, not helped by the blowsy recording, and the rather turgid orchestral contribution.
The repertoire seems to imply an affinity with Bohemian music because she also plays Suk’s Op.17 Four Pieces. These, in general, are better than the Dvorák, but it’s clear that she may have chosen tempi relative to her technical confidence; the Burleska lacks zip, and the opening Quasi Ballata is rather laboured, whilst the Un poco triste is not triste enough. She rather lacks Ginette Neveu’s sense of fantasy and colour and danger.
The Schumann pieces were recorded, as was the Suk, at Viersen
in July 1983. They’re pleasantly done, but lack any real insight. Of more
interest, though, are the two Ysaÿe works, recorded in Cologne in April 1985.
Les Neiges d’antan and the Berceuse in F minor are not often performed and
whilst we hear Raphael in a better recorded spectrum than in the Suk and Schumann,
alas, we also find that the Ysaÿe works conform to the general impression
of her playing, which is that it is, for some reason, lacking in personality
and in a sense of projection. It’s page-bound playing, regrettably.
Jonathan Woolf
Lacking in personality and in a sense of projection.