Notes and Editorial Reviews
This impressive and beautifully recorded release deserves considerable praise.
Arabella Steinbacher is an exciting musician who has been making an impressive reputation for herself. She is in great demand and already has several excellent recordings under her belt.
With a Bavarian orchestra in a Bavarian hall the making of this disc must have been a delight for the young violinist who is a Bavarian herself. She was born and raised in Munich. According to the booklet for this recording Steinbacher’s instrument is the ‘Muntz’ Stradivari from Cremona (1736). Certainly its rich dark timbre is exceptional and projects splendidly.
Although he wrote his
Concerto for Piano,
Trumpet, and String Orchestra in C minor in 1933 Shostakovich was over forty before he composed his first string concerto, the
Violin Concerto No.1. Those immediate post-war years were a time of strict censorship for composers in Soviet Russia. Consequently Shostakovich consigned the unpublished concerto to the drawer for a number of years. In 1955 when the political climate was thought sufficiently ready Shostakovich had the score premièred by the renowned soloist and its dedicatee David Oistrakh with the Leningrad Philharmonic under Yevgeny Mravinsky. The opus number 77 was altered to 99 at the publication of the full score in 1955, however, the original opus number has now been restored. Well received at its première it
is now acknowledged as one of finest examples of the twentieth century.
The four movement concerto opens with a spine-tingling
Moderato). This is one of the most disconcerting and mysterious openings to the concerto that I have heard. Rarely has this music seemed so desolate and bleak with an extreme tension that verges on the nerve-shattering. Following on is the demoniacal
Allegro) from which Nelsons builds weighty orchestral climaxes of intense emotional impact. Throughout, Steinbacher’s expressive, brisk and committed playing feels perfectly in accord with that of the orchestra. Appearing in the
Scherzo is Shostakovich’s
DSCH motif described by Robert Dearling as the composer’s, “
self-affirming statement of defiance and warning…” (Shostakovich
The Man and his Music edited Christopher Norris, pub. Lawrence and Wishart Ltd, 1982). Probably the most celebrated movement is the
Passacaglia developed from an
ostinato emanating from the cellos. In music that has been said to serve as a requiem for the victims of the Stalinist regime Nelsons provides a rock-like power and sinister grandeur. Steinbacher plays an extended and exposed, song-like melody of a marked mournful quality. It is as if her instrument is weeping. The orchestra play an appealing if somewhat incongruous melody. As Nelsons tightens the screw the tension and sheer declamatory power becomes almost unbearable.
From 9:58-14:58 Steinbacher plays an unremitting rhapsodic melody that becomes progressively disconsolate and introverted. The solo line becomes less melodic, increasingly disgruntled and more frenzied. The Final movement
Burlesque follows straight on – a vigorous and boisterous
Allegro con brio. At last Steinbacher’s dancing violin enjoys a gypsy-like freedom. I loved the memorable but spiky theme partly played
pizzicato at 0:39-0:44, 2:01-2:07 and 4:54-5:01. Leaving a quite dramatic impression the concerto ends with uncomfortable abruptness on a wild and breathless note.
Shostakovich’s final concerto, the
Violin Concerto No2. was written for his friend and the score’s dedicatee David Oistrakh. He it was who gave the official première in Moscow under conductor Kirill Kondrashin. Intended as the composer’s present for Oistrakh’s sixtieth birthday it seems that Shostakovich was a year too early. Rather undeservedly the shorter
C sharp minor Concerto is heard far less in performance than the
first Violin Concerto. Unusually, each of the three movements contains a
cadenza and some of the double-stopping makes the score extremely challenging.
C Sharp Minor Concerto commences in a pessimistic manner with a doleful violin pitted against mysterious low strings. It is not long before the character of Steinbacher’s violin part can be interpreted as a desperate cry for attention against oppression. From 8:45 to 10:20 in the
cadenza the pace slows with the violin taking on a quieter and more reflective quality. In the final section of the movement, with a stronger sense of bleakness and desolation, the writing has become even more despondent. In the
Adagio Steinbacher’s emphatic playing brings more melancholy and reflection. At 0:47-1:20 a lament from the solo flute provides additional emotional pain. Nelsons thickens the orchestral textures before Steinbacher continues her mournful line. From the
cadenza at 5:50-6:45 the writing for the soloist maintains its sombre intensity which seems unrelenting. A plaintive solo horn again the orchestra brings the movement to a close. Continuing straight into the finale the mood alters to one that is welcoming and generally upbeat with Steinbacher’s part assuming a sparkling dance-like quality. The complex
cadenza (3:54-7:01) is striking for its varied content and tempi. In the appealing final section Nelsons is brisk as if in a race to the finish line with the chattering solo violin.
Steinbacher’s expressive playing is irresistible, delivering strong and forthright interpretations that feel much in accord with Shostakovich’s unique sound-world. With the elite Bavarian Radio Symphony Orchestra Nelsons’ firm control of tempo, pacing and dynamics is highly successful. This impressive and beautifully recorded release deserves considerable praise.
-- Michael Cookson, MusicWeb International
There is some astoundingly good violin playing going on here. In the First Violin Concerto's opening Nocturne, Arabella Steinbacher maintains an intensity of concentration and focused tone that fully justifies the slowish basic tempo. She's seconded every step of the way by Andris Nelsons, who wrings every drop of color from Shostakovich's darkly opalescent orchestration. The Passacaglia is similarly intense, with a climax that finds Steinbacher's tone riding effortlessly over the orchestra. She's similarly persuasive in the first two movements of the Second Violin Concerto, finding an ideal combination of phrasing and pacing in projecting the bittersweet lyricism of its central Adagio. Nor do the lengthy cadenzas in both works hold any terrors for her.
Where the interpretations falter, and it's just a bit, is in the quick movements. This isn't such a problem in the Scherzo of the First Concerto, where the additional orchestral detail and the quicksilver dialog between soloist and winds seldom has sounded more clearly (and the accelerando into the central "Jewish" dance episode effectively ratchets up the tension). The finales of both works, though, need to sound more manic. This is particularly true in the First Concerto; in the Second, Steinbacher and Nelsons' more relaxed approach to what primarily is gracefully lyrical music comes across as a legitimate alternate view. But the earlier piece loses some of its parodistic edge despite the excellent balances and exceptional clarity of interplay between the participants. Nonetheless, this is a worthy release by a pair of very thoughtful and technically capable artists, and if you like these works you'll surely find plenty to capture your attention.
--David Hurwitz, ClassicsToday.com
Works on This Recording
Concerto for Violin no 1 in A minor, Op. 77 by Dmitri Shostakovich
Arabella Steinbacher (Violin)
Bavarian Radio Symphony Orchestra
Period: 20th Century
Notes: This concerto was originally published in 1956 as Op. 99.
Composition written: USSR (1947 - 1955).
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