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Britten & Walton - Violin Concertos - Ida Haendel, Bournemouth SO, Berglund (1978) [FLAC] (CDM 7 64202 2)

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Music : Classical : Lossless
    
BRITTEN • WALTON
Violin Concertos

 

BBC Music
Magazine:
Performance: ***** / Sound: *****
Quote:Ida Haendel’s sinewy and athletic reading of the
often under-rated Britten combines toughness with a cumulative dramatic impetus which is hard to resist. Berglund and
the Bournemouth players respond with a terse and argumentative vigour, suitably balanced between resignation and defiant
rhetoric, especially in the closing Passacaglia. The Walton Concerto, also dating from 1938-9, is played with an
apposite blend of inscrutable panache, as in the irrepressibly brilliant central movement, and elsewhere, a sensuous, if
occasionally over-indulgent languor. Rare lapses in the finale can be safely overlooked, in a performance of eloquence
and undisputed stature. --Michael Jameson

Benjamin Britten (1913-1976)
Violin Concerto Op.15
1. I. Moderato con moto [8.35]
2. II. Vivace — [8.26]
3. III. Passacaglia (Andante lento — Un
poco meno mosso) [14.04]
Sir William Walton (1902-1983)
Violin Concerto in B minor
4. I. Andante
tranquillo [11.24]
5. II. Presto capriccioso alla napolitana [6.42]
6. III. Vivace [12.58]
Total Time:
62.26

Ida Haendel, violin
Bournemouth Symphony Orchestra
Paavo Berglund

Recorded
in the Guildhall, Southampton, 12 & 13 June 1977
Producer: David Mottley
Balance engineer: Neville
Boyling
Digitally remastered by John Holland
© 1978 The copyright in this sound recording is owned by EMI
Records Ltd.
Digital remastering ® 1992 by EMI Records Ltd
© EMI Records Ltd, 1992
CDM 7 64202 2 -
ADD

Celebrating the Past Shaping the Future
Quote:THE violin concertos of Walton and Britten were
composed at almost exactly the same time and had their first performance within four months of each other, both in the
United States. Subsequently, Walton's attained greater popularity and was recorded several times. Britten's, on the
other hand, remained something of a rarity until, after his death in 1976, several violinists took it up; it is now
frequently heard. Like Walton's, it combines immense technical difficulties with music of strong emotional fervour. Both
works can assuredly be acclaimed as 20th-century masterpieces in their genre.
Whereas in 1936 Britten was known
only to a select band of connoisseurs, Walton, eleven years his senior, was riding high after the sensational success of
his First Symphony in 1935 had followed the equally strong impression made by Belshazzar's Feast at Leeds in 1931. Yet
his fame had begun with the Viola Concerto of 1929, and it was one of the leading interpreters of that work, William
Primrose, who suggested to Jascha Heifetz that he should approach Walton for a violin concerto. This the great virtuoso
duly did — with the offer of a commissioning fee of £300 — at the Berkeley Hotel, London, in 1936.
Walton began work on the concerto in Italy in January 1938, and had completed two movements when he returned to London
that summer. These he played to the Spanish violinist Antonio Brosa, who had settled in England in 1924 (and who was to
be the first interpreter of Britten's concerto). The following May, Walton sailed for New York in the French liner
Normandie to discuss the concerto with Heifetz, who had accepted the score 'enthusiastically'. Heifetz played it through
and made only minimal alterations: some added accents in the scherzo and some changes in the first-movement cadenza to
make it more difficult. The score was completed on 2 June 1939.
The first performance was planned for the autumn of
1939, in Boston with Walton conducting. But the outbreak of war intervened and the premiere was given in Cleveland,
Ohio, on 7 December 1939, under Artur Rodzinski. Heifetz did not perform the work in public in Britain until 9 June
1953, although he and Walton collaborated on a recording in London in June 1950. The first London performance was on 1
November 1941, with Walton conducting and Henry Hoist as soloist. Late in 1943 Walton quite extensively revised the
orchestration for a performance on 17 January 1944, again with Hoist.
The concerto embodies two Walton
love-affairs, one with Alice Wimborne, with whom he lived from 1934 until her death in 1948, the other with Italy. The
violin's opening theme, marked 'sognando' (dreaming), is both amorously sensuous and filled with southern warmth and
sunlight: one of Walton's most seductive melodies, it pervades and flavours the first movement in various guises and is
recalled during the accompanied cadenza in the finale, in the manner of Elgar and (in his Cello Concerto) of Dvorak. The
second subject is a graceful tune for woodwind and strings in E flat minor. Italy is again the inspiration of the
scherzo; music obviously made for a Heifetz, it fizzes along before relaxing for the solo horn to introduce the
languorous canzonetta trio. The finale is perhaps the finest movement as a piece of composition. Of its three superbly
contrasted and interwoven main themes, the third is another marvellous 'Italian' melody; derived from the work's opening
theme, it brings the concerto full circle as the soloist soars above the lustrous orchestral backcloth.
Britten's
Violin Concerto was begun in November 1938 and finished on 29 September 1939, at St Jovite, Quebec. During its
composition, Europe went through the convulsions of the German occupation of Czechoslovakia, which made war inevitable.
This work too has connections with Antonio Brosa, with whom Britten had performed his Suite for violin and piano during
a visit to Barcelona in 1936. Brosa believed that the rhythmic figure on the timpani which opens the concerto and often
recurs was Spanish in origin and that the whole work represented Britten's response to the Spanish Civil war. Britten,
influenced by his teacher and mentor Frank Bridge, was a lifelong pacifist. This fact, and disillusionment with the
British musical climate, had led to his leaving England in 1939 with Peter Pears; homesick and uneasy, he returned two
and a half years later.
Brosa was soloist in the first performance of the concerto, which took place in Carnegie
Hall, New York, at a New York Philharmonic concert conducted by John Barbirolli on 28 March 1940. The first English
performance, by Thomas Matthews with the London Philharmonic Orchestra under Basil Cameron, was on 6 April 1941 (so
London heard the Britten before the Walton). Britten revised the work in 1950, in the main simplifying the solo part to
remove Brosa's 'editorial' elaborations, and again in 1958. The final version is heard here, though Ida Haendel does
restore Brosa's octaves between figs. 41 and 42 in the finale.
After the opening drum rhythm, the violin introduces
a sinuous chromatic melody which is accompanied by the drum motif, now scored for bassoon and horn. The second subject,
also introduced by the soloist, is a tougher affair. In the recapitulation, Britten omits the second subject and the
soloist plays the drum-motif above the first subject on the orchestral strings.
If Walton's scherzo is a
tarantella, Britten's is a dance with death of a grimmer kind, the soloist executing brilliant and grotesque feats of
virtuosity. The A minor trio section relaxes the tension and returns to the scherzo by way of a curious transition when
two piccolos supply a staccato ostinato over string tremolandi to the tuba's version of the main theme (a very
Berliozian concept!). A cadenza links scherzo and finale; the latter marks Britten's first use of the passacaglia form
in which some of his finest music was to be written. The soloist recalls the main theme of the first movement while the
trombones, making their first entry, play the subject of the passacaglia. Nine variations follow, each scored with
characteristic use of tone-colour. The concerto ends in a modal D major, with the solo violin repeating an elegiac
phrase as if mourning an irreparable loss.
© Michael Kennedy, 1992                                                            Show Demonoid some love with  BitCoin: 1DNoidJdotDyNMm5CxA8XfbgCH8KsCjco3  How to get BitCoins?  
     

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