RECORDING OF THE MONTH
Robert SCHUMANN (1810-1856)
Violin Sonata No.2 in D minor, Op.121 [26:19]
Edvard GRIEG (1843-1907)
Violin Sonata No. 3 in C minor, Op. 45 [22:04]
Johannes BRAHMS (1833-1897)
Violin Sonata No.2 in A major, Op.100 [18:24]
Franz SCHUBERT (1797-1828)
Violin Sonata in G minor, Op. post.137 No.3, D408 [12:40]
Ludwig van BEETHOVEN (1770-1827)
Violin Sonata No.1 in D Op. 12 No.1 [15:55]
Jenö HUBAY (1855-1937)
Sonate Romantique in D major, Op.22 [22:27]
Richard STRAUSS (1864-1949)
Violin Sonata in E flat major, Op. 18 [28:57]
Wanda Luzzato (violin)
Hans Priegnitz (piano)
rec. 1955-56, Stuttgart-Untertürkheim, Krone, South German Radio; February 1960, Stuttgart, Villa K, South German Radio (Hubay and Strauss)
MELOCLASSIC MC2026 [79:29 + 67:20]
It's regrettable, listening to these wonderful live
airings, that Wanda Luzzato (1919-2002) never made any commercial recordings.
MusicWeb International has an interesting
biographical portrait of the artist by Gianluca La Villa. I shall just
outline a few salient points of Luzzato's life. She was born in Varese,
Italy and started her musical studies at the Conservatory in Milan. In 1932,
aged only thirteen, she entered the first International Violin Competition
in Vienna and took joint fourth prize with the twelve year old Ginette Neveu;
Gioconda de Vito took joint first with Karl Szenassy. Amongst the jurors was
the Hungarian violinist and pedagogue Jenő Hubay, who was so impressed
with her playing that he offered her a place in his class. She relocated to
Budapest for the duration - from 1932 until 1937 the year Hubay died. His
pupils included Franz von Vecsey, Joseph Szigeti, Zoltán Székely, Gerhard
Taschner and André Gertler; her classmates were Johanna Martzy and Tibor Varga.
Her subsequent career had its high points. In 1933 she performed the Sibelius
Concerto in the presence of the composer. Later she appeared under the batons
of Willem Mengelberg, Erich Kleiber, Felix Weingartner, Otto Klemperer and
Carlo Maria Giulini. In 1948 she gave the Italian premiere of the Khachaturian
Concerto. Her career had been halted for the duration of the war, and she
remained in Hungary, during which time she had to hide in a cellar for two
months. Her later career focused on teaching in Turin and Milan, where she
died in 2002.
These radio broadcasts, taped during several sessions between 1955-1960 in
Stuttgart, showcase Luzzato at the height of her powers, in fairly wide-ranging
repertoire. She commands outstanding technical facility, most notable in the
more virtuosically challenging Grieg and Strauss Sonatas. She’s fortunate
to own a very flexible vibrato, giving her the distinction of an elite colourist.
In the third movement of the Schumann Sonata, for example, the double-stops
are intensely vibrant. Her tone is bright, yet warm, and her intonation has
an arresting purity. Expressive portamentos play a part in her violinistic
arsenal, are convincing and tastefully applied, except perhaps in the Strauss
Sonata where they are somewhat overdone.
Luzzato is fortunate to have a sympathetic and engaging partner in the person
of Hans Priegnitz, and their singularity of vision permeates these compelling
performances. Matching phrasing and dynamics reveals a sense of shared purpose.
I love their infectious rhythmical audacity in the opening movement of the
Beethoven Op. 12 No. 2, with the violinist’s crisp staccatos supported
by Priegnitz’s buoyant piano accompaniment, their exchange of themes
has a truly conversational manner. In the lighthearted finale, the syncopated
rhythms just carry you along. The opening movement of the Schumann, whilst
being dramatic, has a wealth of melodic sections, which are conveyed with
burning intensity. She plays the opening chords very short and accented, not
spreading them like most - a novel effect. The Grieg Sonata is as high-octane
as I've ever heard, with the first movement bold and assertive.
In contrast, the slow movement is notable for its simplicity and tender moments.
Energy returns in the finale, and the 'big tune' boldly imposes
itself. The idyllic Brahms, with its radiant lyricism and innate warmth, is
a performance that glows appealingly. Elegance and charm are a hallmark of
the seductive Schubert work. Although Heifetz is unmatched in the youthful
Strauss Sonata, Luzzato and Priegnitz offer a reading of exuberance and passion.
The Hubay Sonate Romantique is a new one for me. Composed in 1884
when he was a young man, it pays homage to both Beethoven and Brahms. Tuneful,
melodious lines abound, which Luzzato savours to the full. She injects plenty
of passion and energy into the thrilling finale. A delight from beginning
to end, it’s certainly a work that deserves more outings.
I’m amazed how fine these sixty year old recordings sound; they’ve
obviously been well-preserved. This release must surely be one of the
highlights in the Meloclassic catalogue, and we must certainly be grateful
to them for this introduction to Wanda Luzzato. Jenő Hubay described
the thirteen year old at the 1932 Vienna International Competition as
'the most brilliantly gifted young Italian violinist I have heard for
many a day'. On the evidence here one can understand fully
his comment, and why he was to declare later that 'After Vecsey, none
of my other pupils were as talented'.
Stephen Greenbank
Previous review: Jonathan
Woolf
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