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The Great Violinists Vol 24 - Arnold Rosé

Release Date: 10/14/2008 
Label:  Symposium   Catalog #: 1371   Spars Code: n/a 
Composer:  Pablo de SarasateJohan SvendsenJohann Sebastian BachFrédéric Chopin,   ... 
Performer:  Arnold RoséAlma Rosé
Conductor:  Alfred Rose
Orchestra/Ensemble:  Chamber Orchestra
Number of Discs: 1 
Recorded in: Mono 
Length: 1 Hours 20 Mins. 

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Notes and Editorial Reviews

ARNOLD ROSÉ Arnold Rosé (vn); Alma Rosé (vn); 1 Alfred Rosé, cond; 1 Rosé Str Qrt; 2 various unidentified accompaniments SYMPOSIUM 1371, mono (79: 38)

SARASATE 2 Spanish Dances: op. 26. Concert Fantasy on Gounod’s Read more “Faust.” Zigeunerweisen. ERNST Fantasie brillante sur “Otello” de Rossini (2 versions). SVENDSEN Romance. BACH Orchestral Suite No. 3: Aria. 2 Double Violin Concerto. 1 Solo Violin Sonata No. 1: Adagio. BRAHMS (arr. Joachim) Hungarian Dance No. 5. CHOPIN (arr. Wilhelmj) Nocturne, op. 9/2. Piano Concerto No. 1: Romance. SIMONETTI Madrigale. WIENIAWSKI Polonaise brillante. POPPER (arr. Rosé) Nocturne. GOLDMARK Violin Concerto: Allegro moderato; Andante. MENDELSSOHN Violin Concerto: Andante

ARNOLD ROSÉ—FIRST VIOLIN OF VIENNA Arnold Rosé (vn, cond 3 ); unidentified pianists; 1 Rosé Str Qrt; 2 Vienna PO 3 ARBITER 148 , mono (78:02)

SARASATE Zigeunerweisen. 1 Spanish Dance, op. 26/2. 1 NARDINI Violin Sonata No. 7: Larghetto; Rondo. 1 CHOPIN Piano Concerto No. 1: Romance. 1 Nocturne, op. 9/2 (arr. Wilhelmj). 1 SVENDSEN Romance. 1 POPPER (arr. Rosé) Nocturne. 1 ERNST Fantasie brillante sur “Otello” de Rossini. 1 CHERUBINI String Quartet No. 1: Scherzo. 2 BOCCHERINI Quintet, op. 11/5: Menuetto. 2 BACH Solo Violin Sonata No. 1: Adagio. Orchestral Suite No. 3: Aria. 2 BEETHOVEN String Quartets: No. 13: Alla danza tedesca; No. 18: Allegro. 2 Romance in F. Ruins of Athens: Overture. 3 MOZART String Quartet No, 19, “Dissonance”: Menuetto. 2 MENDELSSOHN Violin Concerto: Andante. GOLDMARK Violin Concerto: Allegro moderato. SIMONETTI Madrigale. WIENIAWSKI Polonaise brillante

Arnold Rosenblum (1863–1946), who later changed his name to Rosé, became concertmaster of the Vienna Hofoper and Philharmonic Orchestra, a position he held for more than half a century, finally losing his position during the Anschluss , as did Mahler, whose sister he married. (Rosé had converted to Catholicism in order to assume the post.) His brother, cellist Eduard, married another of Mahler’s sisters. His daughter, Alma, recorded the Brahms Double Concerto with him; later she failed to elude capture and died in Auschwitz after organizing an orchestra in the prison camp. As a boy, Rosenblum had sought to study with Lambert Massart (Wieniawski’s, Sarasate’s, and Kreisler’s teacher), who told him that although he played the violin well, he resembled a flower without a scent. Listeners to Symposium’s collection may find this judgment rather too harsh. (Later Rosé himself would render an infamous judgment, turning down Fritz Kreisler for a position in the Philharmonic because he didn’t sight-read well enough; did Rosé fear the challenge of Kreisler’s new style of playing?)

Listeners to Symposium’s collection may not find that Rosé’s playing retained its coldness throughout his life. He played the Sarasate Spanish Dances with solid technical command, but created a great deal of excitement in addition, with well-controlled and pure double-stops. In slow numbers like Bach’s Aria (“Air on the G String”) from 1928, he employs portamentos (here and in Simonetti’s Madrigale , up and right back down—or the opposite) that would make modern violinists wince, but he achieves a sort of expressivity that’s perfectly consistent with the means by which he achieved it. He didn’t hesitate to play arrangements like Wilhelmj’s of the Romance from Chopin’s First Piano Concerto, or to take liberties in performing them—or, finally, to exercise restraint in their virtuoso flourishes. His sparing use of vibrato gave his tone a bell-like clarity. But the transmission of his sound leaves a great deal to the reconstructive imagination: most of these recordings came from 1909 and 1910 (the first of the Spanish Dances came even earlier, in 1902), so the recorded sound on an immaculate surface would be compromised at best; and, of course, these originals have now reached almost their 100th birthday and have suffered the slings and arrows of outrageous fortune. I suspect from what remains that had these pieces been recorded digitally, we’d find it rather easy to adjust to his manner of tone production and to enter his world.

Rosé gives dashing accounts of Wieniawski’s Polonaise in D Major and Sarasate’s Faust Fantasy and Zigeunerweisen . He could spit out staccato double-stops with crisp cleanliness, as he did in the closing pages of Ernst’s Otello Fantasy . Occasionally, as in the Chopin Concerto arrangement and Popper’s Nocturne, his slower passages in double-stops sound labored, but his passagework is generally light and fleet of foot. In the abridged version of the first movement of Goldmark’s Violin Concerto, a piece of which he gave the Viennese premiere in 1881, he has to rely on such swift passagework—as well as on glowing sound. And, listening between the battered grooves, it sounds as though he had the requisite qualities (in our time, Milstein has brought similar personal strengths to the work and virtually made it his own).

Bach’s Double Concerto has received many legendary performances, such as those by Kreisler and Zimbalist, Menuhin and Enescu, and, perhaps on a somewhat less sublime level, Heifetz and Friedman. The Rosés’ belongs near the top of these, with moving control of dynamics and pointed rhythmic verve (if the notes correctly identify Arnold as the first violinist, his superiority in control and force of personality over his daughter makes itself unmistakably clear). The performance includes a double cadenza by Hellmesberger, separately tracked so that listeners can skip it, but it’s so fascinating in its own right that those same listeners should return to it later. A rather headlong reading of the Adagio from Bach’s Solo Violin Sonata No. 1, played, in 1929, once again with rhythmic acuity and a tone by turns commandingly rich and crystal-clear, brings the program to an end.

There’s such a wealth of deeply affecting music-making in this collection (unlike a well-known soft drink, this really is the “real thing”) that it’s a pity the original recorded sound will limit its appeal primarily to collectors and historians. Its nearly one hour and a third passes timelessly like a dream of days gone by. Since such a remembrance deserves a much wider hearing, I’ll go ahead and recommend it strongly. (Those looking for the best recorded sound will probably already have decided not to acquire it anyway.) If you’re going to take a chance on one historic violin recording, make it this one.

Arbiter’s collection devoted to Rosé (with extensive notes by Tully Potter) includes much of the same solo repertoire, in addition to Beethoven’s Romance No. 2 (played simply, straightforwardly, and somewhat briskly—who said that Romantic performances invariably stuck in molasses?) and two sonata movements by Pietro Nardini (with their limited use of vibrato these seem more modern in style than Romantic arrangements of similar repertoire—and who knows what portamentos sounded like in the 1700s?). The recorded sound in these seems a bit brighter than that from Symposium. But Arbiter has also included performances of Rosé’s Quartet, recorded in the 1920s. The reading of Cherubini’s Scherzo effervesces with good spirits and demonstrates the kind of hair-trigger control that Rosé must have demanded from players in the Philharmonic. The Menuetto from Mozart’s Quartet, K 465, sounds surprisingly kinder and gentler—in a genial Viennese style—after so many sharply accented performances. Rosé provides a flurry of 16th notes in the theme to the finale of Beethoven’s Quartet, op. 18/4, from 1928, and the middle section is tantalizing. A Beethoven quartet cycle played in this way would open many ears: the detail’s all there, but it’s not the sharp focus but the object under the lens that matters.

As for differences in the repeat performances, Arbiter’s somewhat cleaner sound makes Bach’s sonata movement from 1929 seem a bit labored, though the tonal splendor still falls from castle walls. And Arbiter has included a recording from 1936 of Rosé conducting the Philharmonie in Beethoven’s Overture to The Ruins of Athens.

Collectors will undoubtedly have a hard time deciding which of these collections to acquire, and the decision will come down to more than just repertoire. Many of Arbiter’s transfers (though not the Bach Sonata movement mentioned in the preceding paragraph) sound almost a half step sharp, which could drive violinists and listeners with perfect pitch nearly to distraction (Goldmark’s Concerto in B? Minor). While I’d still recommend Arbiter’s compilation to those who can take such pronounced pitch discrepancies with equanimity, the Bach Double Concerto included in Symposium shouldn’t be missed. So go for broke; get both.

FANFARE: Robert Maxham
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Works on This Recording

Concert Fantasy on Gounod's "Faust", Op. 13 by Pablo de Sarasate
Performer:  Arnold Rosé (Violin)
Period: Romantic 
Written: 1874 
Length: 3 Minutes 37 Secs. 
Zigeunerweisen, Op. 20 by Pablo de Sarasate
Performer:  Arnold Rosé (Violin)
Period: Romantic 
Written: 1878 
Length: 4 Minutes 13 Secs. 
Romance for Violin and Orchestra in G major, Op. 26 by Johan Svendsen
Performer:  Arnold Rosé (Violin)
Period: Romantic 
Written: 1881; Norway 
Length: 3 Minutes 24 Secs. 
Sonata for Violin solo no 1 in G minor, BWV 1001: 1st movement, Adagio by Johann Sebastian Bach
Performer:  Arnold Rosé (Violin)
Period: Baroque 
Written: 1720; Cöthen, Germany 
Length: 3 Minutes 45 Secs. 
Concerto for 2 Violins in D minor, BWV 1043 by Johann Sebastian Bach
Performer:  Alma Rosé (Violin), Arnold Rosé (Violin)
Conductor:  Alfred Rose
Orchestra/Ensemble:  Chamber Orchestra
Period: Baroque 
Written: 1717-1723; Cöthen, Germany 
Length: 18 Minutes 18 Secs. 
Nocturnes (3) for Piano, B 54/Op. 9: no 2 in E flat major by Frédéric Chopin
Performer:  Arnold Rosé (Violin)
Period: Romantic 
Written: 1830-1831; Poland 
Length: 3 Minutes 6 Secs. 
Notes: Arranger: August Wilhelmj. 
Concerto for Piano no 1 in E minor, B 53/Op. 11: 2nd movement, Romanze by Frédéric Chopin
Performer:  Arnold Rosé (Violin)
Period: Romantic 
Written: 1830; Poland 
Length: 3 Minutes 14 Secs. 
Notes: Arranger: August Wilhelmj. 
Polonaise brillante for Violin and Piano no 1 in D major, Op. 4 by Henri Wieniawski
Performer:  Arnold Rosé (Violin)
Period: Romantic 
Written: 1853; Russia 
Length: 2 Minutes 56 Secs. 
Concerto for Violin in A minor, Op. 28 by Karl Goldmark
Performer:  Arnold Rosé (Violin)
Period: Romantic 
Written: by 1877; Austria 
Length: 7 Minutes 7 Secs. 
Fantasie Brilliante for Violin and Orchestra from Otello, Op. 11 by Heinrich Wilhelm Ernst
Performer:  Arnold Rosé (Violin)
Period: Romantic 
Length: 3 Minutes 4 Secs. 
Madrigale by Achille Simonetti
Performer:  Arnold Rosé (Violin)
Period: Romantic 
Written: Italy 
Length: 2 Minutes 45 Secs. 
Spanish Dances (2) for Violin and Piano, Op. 26 by Pablo de Sarasate
Performer:  Arnold Rosé (Violin)
Period: Romantic 
Length: 3 Minutes 37 Secs. 
Suite for Orchestra no 3 in D major, BWV 1068 by Johann Sebastian Bach
Performer:  Arnold Rosé (Violin)
Period: Baroque 
Written: circa 1729-1731; Leipzig, Germany 
Length: 3 Minutes 3 Secs. 
Hungarian Dances (21) for Piano 4 hands, WoO 1 by Johannes Brahms
Performer:  Arnold Rosé (Violin)
Period: Romantic 
Written: 1868-1880; Austria 
Length: 2 Minutes 42 Secs. 
Notes: Arranger: Joseph Joachim. 
Nocturne for Cello and Piano, Op. 22 by David Popper
Performer:  Arnold Rosé (Violin)
Period: Romantic 
Length: 3 Minutes 54 Secs. 
Notes: Arranger: Arnold Rosé. 
Concerto for Violin in E minor, Op. 64: 2nd movement, Andante by Felix Mendelssohn
Performer:  Arnold Rosé (Violin)
Period: Romantic 
Written: 1844; Germany 
Length: 3 Minutes 25 Secs. 

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