To Roman Totenberg
Johann Sebastian BACH (1685-1750)
Sonata No. 3 for Violin and Piano in E Major BWV 1016 [18:53]
César FRANCK (1822-1890)
Sonata in A Major for Violin and Piano (1886) [29:16]
Karol SZYMANOWSKI (1882-1937)
Mythes, ‘Trčis Poemes’ Op. 30 (1915)
i. La Fontaine d’Arethuse [6:23]
Béla BARTÓK (1881-1945)
Rhapsody No. 1 for Violin and Piano Sz. 86 (1928) [9:30]
Henryk WIENAWSKI (1835-1880)
Polonaise de Concert in D Major Op. 4 (1853)
Nathan Meltzer (violin)
Rohan De Silva (piano)
Rec. Music Room, Champs Hill, UK, 19-21 November 2019
CHAMPS HILL RECORDS CHRCD161 [70:09]
Nathan Meltzer, an immensely promising young violinist, provides an impressive recital of pieces he dedicates to Roman Totenberg (1911-2012), a celebrated teacher whose 1734 Stradivarius was stolen in 1980. This violin was recovered three years after his death and Meltzer plays it here.
The opening Bach sonata is a very modern reading, its opening movement gracefully accompanied by Rohan De Silva. Those more attuned to historically informed performance practice might turn away from the relaxed tempo, a full minute longer in this movement than the superb reading by Rachel Podger and Trevor Pinnock on Hanssler, and marked by a light vibrato with luminous support (piano details have not been provided). Nevertheless, the entire performance of the sonata is graceful and convincing, if less than sparkling in the faster movements (II and IV).
Franck’s Violin Sonata in A Major is, by some distance, the most impressive performance on this CD. It is a melancholic, wistful reading, which eschews the drama provided by other pairings (such as Khatia Buniatishvili and Renaud Capuçon on Erato or Isaac Stern and Alexander Zakin on Sony) but exudes a rich warmth and intimacy that I have not experienced elsewhere. This really should be heard by all who value Franck’s deeply romantic and emotionally intense music.
Szymanowski wrote his Mythes (Op. 30) during the first world war, with the first of its three movements presented here. Again, I was struck by a peculiarly slow tempo in this piece which surely does not suit the composer’s intent. Compare these 6:23 minutes with the likes of Isabelle Faust and Ewa Kupiec (Harmonia Mundi) who create a far more engaging and propulsive performance in 5:09 minutes. Meltzer delivers a dream-like, ethereal approach which may engage some listeners but I found my attention slipping away.
The Bartók is more successful, particularly the second movement, with its delightful ‘Lord of the Dance’ folksong evocations. Meltzer plays this piece with real purpose, taking ownership of it, and the pacing here is perfect. The final piece is also very well played and recorded, with both performers effortlessly rising to its virtuosic challenges. A fine performance to end this occasionally disappointing but, overall, rewarding recital. The recording is warmly engineered, and the CD is recommended, particularly for the Franck.
Peter Bright
