Tchaikovsky: Violin Concerto (CD review)

Also, Valse-Scherzo; Serenade melancolique; Souvenir d'un lieu cher. James Ehnes, violin; Vladimir Ashkenazy, Sydney Symphony. ONYX 4076.

To have produced just one thing of lasting importance, significance, or beauty, something people would cherish or remember for ages to come, seems to me a remarkable achievement, a thing most of us would never accomplish in a lifetime. Yet there are those people who have done just that and more--in science, in politics, in art, in literature, and in music. For Russian composer Peter Tchaikovsky (1840-1893) to have written only his Violin Concerto would have been impressive enough, yet he wrote at least a dozen more things equally well known and well loved by practically everyone in the world. And remarkable still, the man was never fully confident or fully satisfied about any of them.  Temperamental genius is better than no genius at all, I suppose.

Tchaikovsky penned his Violin Concerto in D, Op. 35, in 1878, but because of his usual thin-skinned disposition he postponed premiering it for another three years before feeling assured enough to present it to the public. Needless to say, it's been a staple of the basic classical repertoire ever since.

Canadian violinist James Ehnes and pianist/conductor Vladimir Ashkenazy with the Sydney Symphony begin the concerto with the Allegro moderato taken at a truly moderate rather than breakneck pace; nevertheless, it is graceful and airy, too, with wonderful breadth and charm. Ashkenazy provides plenty of Tchaikovskian grandeur in the orchestral accompaniment and plenty of fluent luster as well. Ehnes plays with a light, firm, flowing touch, making this realization both lyrical and eloquent, an irresistible combination.

The central slow movement maintains the mood of the opening segment, with Ehnes emphasizing its vaguely Gypsy-like character. Both the soloist and the conductor seem of a mind to make this music well judged, neither too melancholy nor too nostalgic. Then it slides abruptly into a whirlwind finale in which Ehnes demonstrates all his virtuosity, closing out a scintillating and highly rewarding performance.

While all three of the disc's companion pieces are lovely, it is the Souvenir d'un lieu cher, a trio of pieces for violin and piano, that stands out. With Ashkenazy on piano accompanying Ehnes, the music is haunting and enchanting. Divided, as I say, into three segments--slow, fast, slow--the concluding Melodie is perhaps the most fetching of all, and the partnership of Ehnes and Ashkenazy proves most pleasurable. Interestingly, it's the melodic quality of this music that most resembles the Violin Concerto, which is perhaps why I find it so enjoyable.

Recorded at the Sydney Opera House in December, 2010, the sound struck me as exceptionally well balanced between soloist and orchestra, with the soloist out in front but not so much that he is in our face. The orchestra displays plenty of depth behind him, with more than adequate dynamic range and impact. There is a pleasing sense of air and transparency around all of the instruments, too, and a minimal degree of apparent postproduction manipulation by the engineers. In short, this is an especially natural-sounding recording, complementing an especially thoughtful interpretation.

JJP

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John J. Puccio

John J. Puccio

About the Author

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job.

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa