Max BRUCH (1838-1920)
Complete Works for Violin and Orchestra - Vol. 2
Violin Concerto No. 1 in
G minor, Op. 26 (1866, rev, 1867) [24.33]
Serenade for violin and orchestra, Op. 75 (1899) [38.19]
In Memoriam, Adagio, Op. 65 (1893) [14.43]
Antje Weithaas (violin)
NDR Radiophilharmonie Hannover/Hermann Bäumer
rec. 2014, NDR Radiophilharmonie im Großen Sendesaal, Hannover, Germany
CPO 777 846-2 [77.40]
Volume 2 of CPO's Bruch survey of the Complete Works
for Violin and Orchestra the feature work is the Violin Concerto No. 1 in
G minor. This headed the Classic FM Hall of Fame top three hundred chart for
several years. Now dropping to number fifteen this very beautiful G minor
score is still enduringly admired and new recordings keep on coming. The only
other Bruch work to come close in esteem is Kol Nidrei for cello
and orchestra, Op. 47. The Scottish Fantasy for violin and orchestra is still
comparatively popular and remains well represented in the catalogue.
Faring rather less well in the recording studio have been Bruch's second
and third violin concertos, and his other works for violin and orchestra:
In Memoriam, Konzertstück, Serenade, Adagio
appassionato and Romanze. This CPO release also includes the
Serenade, Op. 75 and In Memoriam, Op. 65. Incidentally the
first volume in this CPO series comprises the Violin Concerto No. 2 in D minor,
Op. 44, Adagio appassionato, Op. 57 and Scottish Fantasy,
Op. 46. Since the release of the set by Salvatore Accardo with the Gewandhausorchester
Leipzig under Kurt Masur offering Bruch's nine works for violin and
orchestra around thirty-five years ago on Philips it has virtually had the
field to itself. Recorded in 1977/78 in Leipzig, the stylish Accardo's
really excellent analogue survey provides vitality but with an undertow of
sadness.
Bruch laboured hard on his Violin Concerto No. 1 in G minor and completed
it in 1866. After its première in Koblenz by soloist Otto von Königslöw, Bruch
revised the score and later eminent violinist Joseph Joachim was soloist at
the first performance of the revision in 1868 in Bremen. Selling the work
to a publisher for a relatively small one-off fee must have been a source
of great regret to Bruch given its subsequent abiding esteem. Throughout Bruch's
the concerto the radiant playing of Antje Weithaas settles on an ideal mix
of vibrancy and tenderness. Never in fear of becoming sentimental in the central
Adagio I was struck by Weithaas's lovely phrasing which generates
emotional intensity. There is plenty of artistry and commitment and this is
especially noticeable in the brilliant virtuoso passages of the Finale. Hermann
Bäumer ensures that the NDR Radiophilharmonie Hannover plays with spirit,
plenty of weight and with a strong dramatic element. There are a plethora
of accounts of the Violin Concerto No.1 and although Accardo on Philips and
Antje Weithaas on this new CPO release play quite splendidly I will return
most often to the recording by soloist Jaime Laredo who directs the Scottish
Chamber Orchestra on IMP Classics (PCD 829). Laredo's special account
is warm and extremely characterful, direct in approach and so full of joy.
Originally released in 1961 on RCA Victor my Laredo recording is a IMP Classics
reissue which subsequently been reissued on Regis (RRC 1152).
Bruch's concluding piece for the violin — his four movement Serenade
for violin and orchestra, Op. 75 — was written in 1899. It is dedicated
to Pablo de Sarasate who didn't take up the work. In fact it was the
Belgian Joseph Débroux who introduced the Serenade in 1901 in Paris. Weithaas
clearly relishes this late-romantic music and plays with evident sincerity
of purpose. A real highlight is the moving Notturno - Andante sostenuto.
Its passion and yearning character is brought out by Weithaas over a seam
of melancholy. The final work here is Bruch's 1893 In Memoriam,
Op. 65 a single movement in the form of an Adagio. Bruch described
this heartfelt score to Joseph Joachim — its dedicatee — as a
lament, a sort of instrumental funeral song. Steadfastly engaging Weithaas
demonstrates her innate feeling for Bruch's heart-tugging outpouring
of late-romantic passion.
Throughout these Bruch scores German soloist Antje Weithaas, artistic director
of the Camerata Bern since 2009, is in stunning form. She demonstrates elevated
levels of artistry and expression, pin-point intonation and medium sweet tone
on her Peter Greiner violin (2001). Under Hermann Bäumer the NDR Radiophilharmonie
Hannover contribute sensitive playing with some noteworthy solo contributions
especially from the principal horn. Recorded in 2014 at NDR Radiophilharmonie
im Großen Sendesaal, Hannover the sound team can be applauded for providing
excellent clarity, presence and balance.
Even if the reader has a particular favourite recording of Bruch's G minor
Concerto this marvellously played and recorded CPO release featuring such
attractive repertoire is hard to dismiss.
Michael Cookson
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