Each generation
brings forth a set of musicians that become household names
during their lives and legends after their passing. At the
beginning of the twentieth century, Heifetz, Horowitz, Piatigorsky,
Rubinstein and the like ruled. By the 1950s it was Van Cliburn,
Philippe Entremont and Michael Rabin taking the lead. In the
1970s a tremendous wave of talent in the form of Pinchas Zuckerman,
Daniel Barenboim, Zubin Mehta, Itzhak Perlman and Jacqueline
DuPre had taken the world by storm. Another turn of the clock
has occurred and names like Joshua Bell, Gil Shaham, and Evgeny
Kissin are everyday concert happenings. Clearly at the head
of this class is the brilliant Canadian violinist James Ehnes.
A boyish thirty years old, Ehnes is as down to earth as your
favorite sweat shirt. Until that is, he picks up his violin.
This collection of three great violin concertos from the troubled
era of the Second World War, show James Ehnes at his finest.
Erich
Wolfgang Korngold was proclaimed by Mahler to be a genius
when he was but ten years old. By the time he had reached
twenty, the greatest musicians in the world were playing his
music, and his opera Die Tote Stadt was the most performed
opera of the 1920s. By 1934 it was too dangerous to be a Jew
in a German-speaking country, and he left for the United
States where he landed a lucrative
contract in Hollywood composing music for films. The violin
concerto, first performed by Jascha Heifetz is an amalgam
of themes from his film scores. It is full of lyrical, sentimental
tunes with lush romantic orchestration.
Ehnes’
playing is just the right combination of seriousness and Hollywood. The romanticism is not lost on him, but he never gets saccharine.
His tone is rich and warm and in the big sweeping melodies,
he sings like a good tenor. Nor does he fall short of the
virtuosity needed for the rollicking final movement.
Samuel
Barber’s concerto was until the era of the compact disc more
or less neglected. Commissioned by a wealthy business man
for his adopted son, the work had a troubled start. The commissioner
thought it not difficult enough, hence the addition of the
fiendish third movement, which said commissioner, thought
unplayable. The concerto finally made its way into the repertoire
a decade or so ago, and is one of the most played violin concertos
on the circuit now.
Mr.
Ehnes has some major competition in Gil Shaham’s exemplary
recording with Previn from a decade or so ago, which also
contains a fine rendition of the Korngold. There are also
excellent recordings by Elmar Oliveira, Hilary Hahn and Nadja
Salerno-Sonnenberg. Ehnes need not worry about losing out
to his colleagues though.
As
with the Korngold, Ehnes plays with passion and conviction.
The achingly beautiful melody of the second movement is so
well performed that as a listener, you can forget to breathe
for a few minutes. And the finger-busting finale comes across
with the ease of a warm-up etude. Ehnes is in full command
of the score.
The
most welcome surprise on the program was the Walton concerto,
rarely heard and for no good reason. Not as tuneful as the
other two works, this is a concerto made of the tight harmonies
and unique chord choices that make Walton’s music so refreshing.
This concerto added fuel to my increasing enthusiasm for this
composer’s work, and with a performance so full of panache
as this one, the addition is welcome indeed.
Bramwell
Tovey and the Vancouver Orchestra seem to be the perfect partners
for Ehnes’ taut sense of inner rhythm and his rhapsodic way
with a good melody. The orchestra produces a rich string sound
and spot-on wind and brass playing. Tempi fit the music like
a glove and the underlying energy that the orchestra provides
for the soloist is just perfect.
Rounded
out by excellent notes and a warm, vibrant recorded sound
and you have a complete winner here. James Ehnes is that rare
musician blessed with ample technique, and something serious
and winsome to say about the music he plays. That he is becoming
an international star is no surprise with playing like this.
Yet for all his virtuoso abilities, he is a player of refined
tastes and musical modesty. His playing serves the music,
and one never gets any other impression but that he loves
every minute of what he’s doing. Don’t hesitate to jump online
and order a copy of this one!
Kevin
Sutton
Michael Cookson has also
listened to this disc:
The bold and exciting
independent designer label Onyx was launched in 2005 with
recordings from the renowned performers: violinist Viktoria
Mullova; the Borodin String Quartet; pianist Pascal Rogé and
soprano Barbara Bonney. As the recipient of review copies
of several Onyx releases I have been impressed with their
programme content, the consistently high standard of performance
and sound quality. On this Onyx release young Canadian violinist
James Ehnes is the soloist in a thrilling and generous programme
of three late-Romantic violin concertos from the pens of twentieth-century
composers Korngold; Barber and Walton.
I was especially
delighted to receive this Onyx release as the Walton score
is my most often played twentieth-century concerto and I have
collected a large number of versions. The Barber is another
much-loved violin concerto of which I also have several accounts
in my collection. A different matter entirely is the Korngold
concerto as I do not own a recording and have only heard the
work a couple of times on the radio.
The first score
on this release is the Korngold Violin Concerto. From
an early age the Moravian born Korngold wrote
a large number of works in many genres but he is best known
for his enormous success with his many scores to blockbuster
epic and romantic films from the Golden Age of the Silver
Screen. At the request of theatre director Max Reinhardt,
Korngold visited Hollywood, USA in 1934 to
successfully arrange Mendelssohn’s incidental music for his
celebrated 1935 film adaptation of Shakespeare’s ‘A Midsummer
Night’s Dream’ staring James Cagney as Bottom. Korngold
a greenhorn to the world of the Silver Screen wrote,
“When I came to Hollywood, I knew no more about films and their making than any other mortal
who buys his ticket at the box office.”
The next year Korngold signed a contract with the giant Warner
Brothers Corporation to work for their famous Hollywood
film factory. The dangerous situation for European Jews with the advance of National Socialism in Austria
forced Korngold in 1938 to seek exile in the USA.
Korngold’s
1935 score to ‘Captain Blood’ helped launch Errol Flynn’s
film career and his music to ‘Anthony Adverse’ won
an Oscar in 1936 for the best film score. Other notable film
scores by Korngold included: ‘The Prince and the Pauper’
(1937); ‘The Adventures of Robin Hood’ (1938) that
won him his second Oscar; ‘Juarez’
(1939); ‘The Sea Hawk’ (1940); ‘The Sea Wolf”
(1941); ‘King’s Row’ (1941) and ‘Deception’
(1946). Korngold composed his Violin Concerto in D major,
Op.35 in 1945 and in the score he utilises melodies from four
of his film scores: ‘Another Dawn’; ‘Juarez’;
‘Anthony Adverse’ and ‘The Prince and the Pauper’.
The Violin Concerto was premiered in 1947 by Jascha
Heifetz but it has not been taken seriously in some quarters.
Music critic Irving Kolodin viewed the score as “More corn
than gold,” and the influential music author Mark Morris
has written, “…the sickly sweet Violin Concerto…”.
In the opening
movement moderato nobile I was immediately struck by
James Ehnes’s gloriously warm and golden timbre in Korngold’s
passionate outpouring. The sound world of Prokofiev’s influential
second Violin Concerto (1935) and the Walton Violin
Concerto are never far away and Ehnes plays virtually
continuously throughout the score. The central movement Romance
has an unrelenting yearning of an almost tear-jerking quality
that is marvellously caught by the authoritative Ehnes. Rigorously,
brisk and agitated playing from Ehnes in the allegro assai
vivace: finale where rhythm and melody are blended
almost coarsely by Korngold. Ehnes builds up at 5:36 towards
the blockbuster coda that becomes a frenzied race to
the finishing line. The brass fanfares at 6:36-6:39 and 6:48-6:55
are startlingly effective.
I am delighted
with this performance of the Korngold Violin Concerto by
James Ehnes on Onyx and I will certainly not be actively searching
for an alternative version in a hurry. Although I cannot vouch
for them personally as they are not in my collection there
are several highly praised versions of the Korngold Violin
Concerto that are likely to be encountered in the catalogues.
Notably those from Anne-Sophie Mutter and
the LSO under André Previn recorded in London in 2003 available
on both Deutsche Grammophon CD 474 515-2 & SACD 474 874-2
and from Itzhak Perlman and the Pittsburgh Symphony Orchestra,
again under André Previn, on EMI Classics 7243 5 62590 2 7.
There is also a Penguin Rosette winning performance from Gil
Shaham with the LSO, yet again under André Previn, on Deutsche
Grammophon 439 886-2 that was recorded in London in 1993 that
has the advantage of being coupled with an acclaimed version
of the Barber Violin Concerto. Often mentioned in positive
terms is the mono recording from the famous Jascha Heifetz
that he recorded in Hollywood, USA in 1953 with the Los Angeles
Philharmonic Orchestra under Alfred Wallenstein on Vol. 21
of the ‘Heifetz Collection’ on RCA Victor Gold Seal 09026617522.
Barber’s Violin
Concerto was written between 1939–40 and has become a greatly loved score both in the recording
studio and the concert hall, although, its development was
at times a controversial one. The work was conceived as a
commission from the successful Philadelphia industrialist
and philanthropist Samuel Fels who was the manufacturer of
Fels Naptha a popular household soap and a board member at
the Curtis Institute. Fels required the score for his adopted
son and heir the violinist Iso Briselli. Barber took his advance
and began composing the Violin Concerto in the
summer of 1939 in Switzerland. In that autumn Barber sent
the first two movements to Briselli who according to the Briselli
family responded with, “enthusiasm and admiration”
which is contrary to published reports that Briselli had “complained
that the music was too simple and not brilliant enough for
a concerto.” Barber continued composing the third and
final movement in Paris before quickly leaving the troubles
in Europe to sail to the relative safety of the USA. Barber
later submitted the final movement to the soloist in the summer
of 1940 who apparently was not satisfied with its suitability
to the first two movements. It has often
been inferred that Barber, to pay back Iso Briselli for implying
that the score was too easy, deliberately made the final movement
fiendishly difficult. Iso Briselli it seems suggested that
Barber make some revisions to the final movement which Barber
declined to make. My understanding is that the Briselli family
refute the contention that Barber’s commission was in jeopardy
and that Iso Briselli ever said that the movement was
too difficult or unplayable. Albert Spalding was secured as
soloist to give the official premiere performance of the completed
score in February 1941. I believe that Iso Briselli did go
on to play the score privately.
As with the Korngold
Violin Concerto I was immediately aware of the influence
of Prokofiev’s second Violin Concerto (1935) although
a check of the composition dates seems to reveal that Barber
would not have known Walton’s Violin Concerto. In the
opening movement allegro Ehnes demonstrates that he
is at one with Barber’s eloquently Romantic melodies and high
drama. The wonderful lilting melody of the extended oboe solo
heralds the highly passionate character of the andante
movement. From his entrance at 2:31 Ehnes is seductive
in Barber’s searing and ravishing love music. Joshua Bell
on Decca takes a more intense and emotionally expressive approach
which on the whole I prefer. This is electrifyingly confident
playing from Ehnes that is bursting with life in this tour
de force closing movement marked presto in moto perpetuo.
I was pleased
to hear this excellent version of the Barber Violin Concerto
from James Ehnes on Onyx, however, it is difficult
to look much further than the 1998 ‘Gramophone Concerto Award’
winning account that is urbane, warmly lyrical and highly
expressive from Joshua Bell and the Baltimore Symphony Orchestra
under David Zinman, recorded at Baltimore, USA in 1996, on
Decca 476 1723. Other versions from my collection worthy of
praise are the boldly assured and urgent 1964 Manhattan, New
York interpretation from the renowned Isaac Stern and the
New York Philharmonic Orchestra under Leonard Bernstein on
Sony Classical Theta SMK 60004 and a stylish and clear-sighted
reading, made in Glasgow 2001, from James Buswell and the
Royal Scottish National Orchestra under Marin Alsop on Naxos
8.559044. An account that I have no personal knowledge of
that has gained considerable acclaim is the 1993 London performance from Gil Shaham with the LSO under André Previn
on Deutsche Grammophon 439 886-2. This is the recording mentioned
above that has the Penguin Rosette winning performance of
the Korngold Violin Concerto as its coupling. Although
not a version that I have in my collection renowned reviewer
David Hurwitz has given considerable acclaim to Hilary Hahn’s
1999 award winning account with the St. Paul Chamber Orchestra
under Hugh Wolff on Sony Classical SK89029.
The final work
on this Onyx release is the increasingly popular Walton Violin
Concerto a score so infused with Mediterranean warmth
and passion. Walton’s reputation steadily increased with a
series of successful scores; notably Façade (1922-23); the Viola Concerto (1929); Belshazzar’s Feast
(1931) and his Symphony No. 1 (1935). Regarded
as a composer who was different to those of the traditional
English pastoral school Walton wrote in a more contemporary
and cosmopolitan style to that of his fellow countryman. He
was influenced by composers such as Stravinsky and Sibelius,
and by a passion for American jazz.
Walton wrote three
string concertos that soloists have kept pretty much on the
fringes of their performance repertoire. However, the concertos
have received acclaim from music critics and it seems that
audiences are gradually gaining a fondness for the scores;
especially the Violin Concerto if the amount of recordings
is anything to go by. It was Jascha Heifetz who in 1936 commissioned
Walton to compose a Violin Concerto. Owing to work
in progress on his film scores and other promised projects
Walton was only able to undertake work on the score two years
later between 1938-39. The Violin Concerto was said
to have been written under the inspiration of his older married
lover and muse the wealthy English Viscountess
Alice Wimborne at their idyllically located villa that overlooked
the Mediterranean. In Tony Palmer’s 1981 documentary film
profile of Sir William Walton ‘At the Haunted End of the
Day’ Walton talks about his Violin Concerto, “Most
of it was written at Ravello, near Amalfi (Italy), at
the Villa Cimbrone where I spent a lot of time with a lady
I loved very dearly, Alice Wimborne…Very intelligent, very
kind…We had a little room outside the main gate. Alice was
very good at making me work and would get very cross if I
mucked about.” The score was premiered in December 1939
at the Severance Hall in Cleveland, USA by Jascha Heifetz
with the Cleveland Orchestra under Artur Rodzinski. Walton
subsequently made substantial revisions to the score in 1943.
In
Walton’s Violin Concerto one immediately senses that
Ehnes’s playing is deeply felt and conveys sultry Mediterranean
warmth. The robust energy provided by Ehnes in the opening
movement andante tranquillo from 3:52 surpasses any
of my rival versions in a way that left me exhausted by the
experience. The orchestral support from Bramwell Tovey and
the Vancouver Symphony Orchestra is simply remarkable. I loved
Ehnes’s flowing and lyrical playing in the hauntingly beautiful
slow movement. However, I have yet to hear another performer
provide that special singing quality to their playing as Menuhin
displays on EMI. In the final movement vivace the balance
of Ehnes with the Orchestra seems perfectly judged. Especially
impressive is how Ehnes provides an almost gypsy-like feel
to the music at 2:24-2:49 in a way that I had not previously
encountered. In the swifter sections Ehnes’s jagged rhythmic
bite is spirited and rugged. From points 4:14-5:47 and 7:29-11:40
Ehnes’s beautiful and tender playing is a match for Menuhin
on EMI Classics and Kennedy on EMI. At 6:10-7:19 Ehnes cranks-up
the volume effortlessly and boldly, and at 11:49-12:48 he
paces a tremendously full-bodied conclusion to the score.
The Walton Violin
Concerto seems to have been especially well served in
the recording studio over the years and this Onyx account
from James Ehnes can sit comfortably with the finest recordings.
My first recording of the work that I still own, is on vinyl
and is performed by Yehudi Menuhin and the LSO under the baton
of the composer at the Abbey Road Studios in London in 1969
on EMI ASD 2542. The recording is now available on compact
disc as part of ‘The Walton Edition’ on EMI Classics 5 65005
2. This Menuhin performance has an intensity of expression
and immediacy not found in other versions, together with an
alert lyricism and remains my first choice version. Other
excellent accounts worthy of consideration are those from
Nigel Kennedy with the RPO under André Previn
for its warmth, ardour and commanding musicianship recorded
at the Abbey Road Studios in London in 1987 on EMI CDC 7 49628
2 and the 1998 ‘Gramophone Concerto Award’ winning version
that has a cultured refinement and high expression from Joshua
Bell and the Baltimore Symphony Orchestra under David Zinman
from Baltimore, USA in 1996 on Decca 476 1723. I have enjoyed
hearing for its keenly felt sense of drama and commitment
the account from Ida Haendel and the Bournemouth Symphony
Orchestra under Paavo Berglund recorded in Southampton, England
in 1977 on EMI Classics 7 64202 2. Also rewarding is the reading
of perception and robust assurance from Dong-Suk Kang with
the English Northern Philharmonia under Paul Daniel from 1997
in Leeds, England on Naxos 8.554325. Worth hearing,
although not especially Waltonesque in its approach, is the
passionately exciting and well cleaned-up historical version
from the celebrated Jascha Heifetz and the Cincinnati Symphony
Orchestra under Eugene Goossens. The recording was originally
made by RCA Victor in 1941 at Cincinnati, USA and is
available on Naxos8.110939.
This disc from
James Ehnes has the advantage of remarkable support from the
Vancouver Symphony Orchestra under Bramwell Tovey. The Onyx
engineers have provided a warm and clearly detailed sound
quality and the booklet notes from Keith Horner are written
to a high standard. I had to laugh when Keith Horner was discussing
the commission of the Barber Violin Concerto by Samuel
Fels the manufacturer of Fels Naptha household soap; he writes
that Barber, “must have wished he could have washed his
hands of the circumstances of the commission.”
My nominations
for 2006 ‘Records of the Year’ have already been made otherwise
this release would have been a certainty for inclusion. This
generous Onyx recording from James Ehnes of three late-Romantic
violin concertos is superbly played and recorded, and deserves
the highest possible praise.
Michael
Cookson
Note:
Those
interested in the controversial background to the writing
of Barber’s Violin Concerto may wish to read the perspective
from the Briselli family entitled, “The Real Story
Behind The Barber Violin Concerto” on this webpage.
