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A Road Less Traveled - Haydn / Borok, Et Al

Haydn / Borok / Kremlin Chamber Orch / Rachlevsky
Release Date: 08/22/2006 
Label:  Eroica Classical Recordings   Catalog #: 3293   Spars Code: DDD 
Composer:  Franz Joseph Haydn
Performer:  Fyodor StroganovEmanuel BorokMikhail FurmanAlexander Gotthelf,   ... 
Conductor:  Emanuel BorokMisha Rachlevsky
Orchestra/Ensemble:  Kremlin Chamber Orchestra
Number of Discs: 1 
Recorded in: Stereo 
Low Stock: Currently 3 or fewer in stock. Usually ships in 24 hours, unless stock becomes depleted.  

Notes and Editorial Reviews

HAYDN Concerto for Harpsichord and Violin, Hob. XVIII:6. Violin Concerto, Hob. VIIa:4. Sinfonia Concertante, Hob.I:105 Emanuel Borok (vn); Fyodor Stroganov (hpd); Misha Rachlevsky,cond; CO Kremlin EROICA JDT3293 (57: 12)

Emanuel Borok, the Russian-trained concertmaster of the Dallas Symphony Orchestra, appears with Misha Rachlevsky, the Chamber Orchestra Read more Kremlin, and soloists drawn from various Russian orchestras, in concertos by Franz Joseph Haydn for violin or for violin with other instruments. In the first of these, the Concerto for Violin and Harpsichord, Borok is joined by Fyodor Stroganov. Haydn often employs the solo instruments separately before conjoining them, not only in the concerto’s first movement but elsewhere, and Borok, playing a 1608 Brothers Amati violin, provides a warm-toned counterpart to Stroganov’s bright harpsichord solo. The slow movement, in the manner of the Adagio of Haydn’s Violin Concerto in C Major, opens with an introduction (which, in this case, makes occasional reappearances) followed by a cantilena accompanied by pizzicato strings. The soloists take this accompaniment as a framework over which to conduct their dialogue, which often grows animated; Borok displays arch wit in his conversations with Stroganov. Borok plays the finale with exuberant élan, creating a special frisson in the upper registers. The lively recorded sound, from Moscow’s Gnessin Hall in June 2005, places the soloists front and center.

In Haydn’s Violin Concerto in G Major, the engineers have once again brought the soloist far to the fore, but Borok’s sturdy tone stands up to the close scrutiny. His performance, as in the Concerto for Violin and Harpsichord, sounds consistently rhythmic and straightforward, eschewing mannerisms and ruddy in tone. And his sharply honed but unostentatious technical command enhances the cadenza’s virtuosic effect. The slow movement serves as a timbral showcase, displaying the slight edge that makes his tone sound especially incisive in the middle range. Once again, his reading of the finale bustles. Still, he may not quite be able to dispel the memory, for many, of Arthur Grumiaux’s fluid elegance in this concerto in his reading from 1967, now available on Philips Eloquence 8294, which I strongly recommended in Fanfare 31: 4.

The Sinfonia Concertante for violin, cello, oboe, and bassoon pits high and low strings against high and low woodwinds as solo instruments, but employs them in ingenious and ever-changing combinations, with one or another suddenly emerging from the texture in the manner of a concerto grosso by Giuseppe Torelli; in this concerto, the engineers have folded the solo instruments more deeply into the orchestral fabric. Varying the tempos, Rachlevsky creates a sense of freedom in the movement—a sense of which the soloists take advantage. In the slow movement, Haydn often pairs the instruments, now high ones, now low ones, and the timbral combinations remain fresh throughout, in part due to the soloists’ tonal luster. The finale’s recitatives provide an opportunity for the soloists to step forward individually before, in the bubbling Allegro con spirito, they again engage in brisk repartee, though the brevity of their dialogue restrains the full expression of their personalities. For its repertoire and performances, as well as for the opportunity it offers to hear Haydn played by current Russian musicians, Eroica’s release deserves a warm recommendation.

FANFARE: Robert Maxham
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Works on This Recording

Concerto for Keyboard and Violin in F major, H 18 no 6 by Franz Joseph Haydn
Performer:  Fyodor Stroganov (Harpsichord), Emanuel Borok (Violin)
Conductor:  Emanuel Borok
Orchestra/Ensemble:  Kremlin Chamber Orchestra
Period: Classical 
Written: by 1766; Austria  
Concerto for Violin no 4 in G major, H 7a no 4 by Franz Joseph Haydn
Performer:  Emanuel Borok (Violin)
Conductor:  Misha Rachlevsky
Orchestra/Ensemble:  Kremlin Chamber Orchestra
Period: Classical 
Written: by 1769; Eszterhazá, Hungary 
Date of Recording: 06/2005 
Venue:  Gnessin Hall, Moscow, Russia 
Length: 17 Minutes 22 Secs. 
Sinfonia Concertant for Violin, Cello, Oboe and Bassoon in B flat major, H 1 no 105 by Franz Joseph Haydn
Performer:  Mikhail Furman (Bassoon), Alexander Gotthelf (Cello), Olga Tomilova (Oboe),
Emanuel Borok (Violin)
Conductor:  Misha Rachlevsky
Orchestra/Ensemble:  Kremlin Chamber Orchestra
Period: Classical 
Written: 1792; London, England 
Date of Recording: 06/2005 
Venue:  Gnessin Hall, Moscow, Russia 
Length: 21 Minutes 2 Secs. 

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