French violinist, teacher, conductor, and composer Rodolphe Kreutzer (1766-1831) obviously favored the violin, having written nineteen violin concertos, mainly for himself to play. Not that he didn't compose in other genres, as his thirty-nine operas and forty-two études ou caprices for solo violin attest. Beethoven thought so much of Kreutzer as a violin virtuoso he dedicated his Violin Sonata No. 9 in A major to him. But fame is fleeting; today, one hardly hears about poor old Kreutzer, with only a handful of discs devoted to his music. The folks at Naxos, however, appear ready to rectify that situation, with these final three of Kreutzer's violin concertos apparently only the beginning of a complete cycle of the man's violin works. We'll see. It's a start.All three concertos are fairly brief affairs, with No. 17 in G major (premiered in 1806) a mere seventeen minutes long. It begins with a rather regal introduction, followed almost immediately by an impressive turn from the violin. One can tell from the outset that Kreutzer was going to favor the soloist, the modest ensemble work merely serving as a background, almost as an afterthought, for the violin. Whatever, violinist Axel Strauss handles it fluently, with consummate ease, and the San Francisco Conservatory Orchestra provide sympathetic support. In the second movement we again get a dramatic opening statement from the players, succeeded by what is practically a violin solo, this time of hushed intensity and quite lovely. The Rondo finale has a pleasant rhythmic thrust and brings the piece to a satisfying close.
Concerto No. 18 in E minor begins more energetically than No. 17, and it allows the orchestra a bit more time to itself before the violin's entry. Then, when the violin does appear, it's in a relatively quiet, slightly plaintive mood. Nevertheless, it picks up intensity as it goes along, and Strauss appears to be enjoying himself in the music, playing it with great enthusiasm as well as showmanship. The slow movement speaks with an impassioned tenderness and the finale in a surprisingly impish yet gentle manner, perhaps foreshadowing Paganini's First Violin Concerto a few years later.
The Violin Concerto No. 19 in D minor strikes one as the most mature of the three concertos on the program, with Mozartian overtones and shades of Don Giovanni. It is both ambitious and stately, with some fine solo passages, as we might expect. It is also the best of the three concertos at integrating the violin into the orchestral framework. So, it rewards on several counts. Again, the work utilizes a mellow slow movement and a sprightly closing section, which Strauss and company exploit to good advantage.
There is nothing about these three Kreutzer concertos that jumps out at one and proclaims them as great music. Still, one can hear artistry in them, and when performed as well as they are here they make for entertaining diversions.
The sound, recorded at the Caroline H. Hume Concert Hall, San Francisco, California, in January and February of 2009, understandably favors the violin, which is front and center, yet without totally dominating the sonic landscape. The instrument sounds robust and clean, the highest string notes not at all abrasive but vibrantly realistic. The orchestra, spread out behind the soloist, only occasionally comes into their own, yet when they do, the effect is splendid--clear, smooth, dynamic, and well balanced. While the audio is not exactly of audiophile quality, it is quite agreeable to the ear and among Naxos's best.
JJP
