Johann Sebastian BACH (1685-1750)
Sonata No.1 in G minor BWV 1001 (c.1720) [15:36]
Ludwig van BEETHOVEN (1770-1827)
Violin Sonata No.8 in G, Op.30 No.3 (1801-02) [16:23]
Béla BARTÓK (1881-1945)
Sonata No. 2, BB 85, Sz76 (1922) [21:20]
Romanian Folk Dances (1926) [4:35]
Tossy Spivakovsky (violin)
Robert Cornman (piano: Bach, Beethoven)
Artur Balsam (piano: Bartók)
rec. 1947 (Bartók) and 1950 (remainder), New York
FORGOTTEN RECORDS FR1137 [57:52]
Tossy Spivakovsky was a regular divider of opinions. The
passage of time, though, has allowed one more clearly to recognize that his
generation was pretty much the last to which one could ascribe significantly
divergent techniques and tonal qualities. In both these areas Spivakovsky
stood apart.
The Bach and Beethoven sonata recordings were made for Columbia in New York
in 1950. It’s quite possible that he is using the curved bow that he
habitually employed to play three-note chords which produce that rich, organ-like
quality. Allied to his propensity for heavily romanticised vibrato usage this
gives a decidedly backward-looking approach – even for the time - to
tone production, but it does enable admirers of the violinist to feast on
his charismatic playing, not least of the fugal movement. He flashes through
the Presto finale with technique to burn. On the subject of his curved bow,
I’ve never been quite sure of the chronology. If he used the Dane Knud
Vestergaard’s curved bow – called the Vega, after the maker’s
name - did he do so before Emil Telmányi famously did so, or after? Surely
after? Which makes it debatable if he used that bow in this recording.
No such curvature of the bow conundrums affects the Beethoven sonata which
is played with his characteristic intensity of sound. Robert Cornman accompanies
diligently, finding a way to accommodate Spivakovsky’s silvery-toned
and communicative playing even when, at points, his phraseology is inclined
to be a touch over-voluptuous. Famously he was the violinist who introduced
Bartók’s Violin Concerto No.2 to America, so it’s valuable to
hear this c. 1947 performance of the Sonata No.2 in a Concert Hall disc. The
composer and Szigeti were recorded live at the Library of Congress during
the War in this work but their performance wasn’t released until long
after, so this Concert Hall is the first commercial taping of the work. Artur
Balsam, ever reliable, is the pianist. The recording here is more recessive
than the Columbia, Concert Hall not being known for plush state-of-the-art
recording quality. Spivakovsky’s tightly focused tone survives through
some of Balsam’s pianism gets muddied in the recording mix. This is
a particularly impressive example of the violinist’s art – stylistically
apposite, brightly rhythmic. He plays the Romanian Dances with a similar concern
for colour and dynamics and characterisation.
There are no notes but it's a warm welcome back for these vitalizing
examples of Spivakovsky’s art.
Jonathan Woolf
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